A play in Kreyol about two Haitians in a New York basement

In 1978 the Haitian writer and painter Franketyen published Pelin-tet, a play whose whole action happens in a basement flat in New York City furnished with a bed, a table and one bare bulb. Two men share it. Piram is an unschooled factory worker who speaks only Kreyol and holds legal papers. Polido is a French speaking pseudo-intellectual who left Haiti after the tontons macoutes tortured him and who lives in fear of deportation. They argue through a single afternoon. The most quoted line in Haitian theatre comes out of it, when Piram says he wants to see flies, meaning the rubbish and the noise and the ordinary liberty of the street he grew up in. Writing in Kreyol put theatre within reach of everyone in Haiti whatever their schooling. The first Port-au-Prince run was interrupted when the authorities telephoned the author with threats. He started again two weeks later. In 1979 he stopped writing in French.

The Duvaliers held power in Haiti from 1957, and by the end of the 1970s the reckoning stood at more than thirty thousand people disappeared, victims of a daily repression built up into a system of government, and close to a million Haitians in exile for economic or political reasons. The country was kept alive by international aid that in practice protected foreign capital and the local fraction allied with it. American power on its own does not explain how one family took the state and held it. Haitian opposition groups had proved unable to produce a radical critique of the language the regime spoke, and often reproduced that language without noticing, out of fear of an analysis that would show where it came from. Explaining the regime as a natural inclination of the masses toward dictatorship was the most common form of that failure.

Diamonds were found at Orapa in the lands of the Ngwato people in 1967, after prospectors spent twelve years following a small collection of rough stones picked out of a dry riverbed in 1955. By 1969 the size and quality of the deposit were proven and a joint company called Debswana existed, owned 85 per cent by De Beers and 15 per cent by a new and inexperienced Botswana government. In 1973 a far larger find was made at Jwaneng, west of Gaborone. Seretse Khama said in 1973 what other African leaders said about mineral wealth, that it belonged to the nation. Then he did something different with it. After four years of very tough bargaining, in 1975 Botswana and De Beers agreed to share Debswana with revenue split seventy per cent to the country and thirty per cent to the firm. Jwaneng was later split the same way. Diamonds have since run at times to half of Botswana's annual output.

Gus Pantel re-excavated several important stone tool sites in the Caribbean in 1975 and 1976, meaning to describe their assemblages properly. He found that large blades became more common the deeper he dug, which implies that toolmaking changed over time. He also found that saying when was close to impossible. Modern building and erosion had disturbed many of the deposits, so the layers no longer sat in the order they were laid down. At some sites stone tools turned up together with pottery, which is awkward, because Caribbean archaeology had split the islands' past into an Archaic age of stone and a Ceramic age of pots. Mixed deposits mean either that the two overlapped or that the ground has been churned, and often there is no way to decide between them. Pantel's report is still cited for that problem. The tidy sequences printed in textbooks rest on fewer undisturbed sites than most readers assume.