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In the film  Édouard Glissant, One World in Relation  (Diawara 2009) ,  Glissant states that “borders are necessary in order to appreciate the passage from the flavor of one country to the flavor of another.” This statement inspires an exploration of the workings of borders in Glissant's work, focusing on his book  Poetics of Relation  and the film. It argues that Glissant holds an attachment to borders that is both pragmatic and ontological, and through which he generates a philosophy of the border as generative, distinguishing it from modernity's externalized borders to greater and lesser effect. It also suggests that there appears through Glissant, and often in spite of his own attachment to borders, a trembling sense of the possibility of borderlessness. Trembling is invoked throughout as a material and conceptual force with the propensity for destabilizing and even negating borders. Glissant's work is read through a number of performative scenes, including: Martin Heidegger's famous reaction to viewing photographs of Earth from space in 1966; the dance piece  more, more, more … future  ( 2011 ) by Congolese choreographer Faustin Linyekula; Glissant's own half-ironic, and ultimately unrealized, suggestion for the making of the film; and scenes from  One World in Relation  of Glissant and Diawara exploring Martinique together.

As the world trembles: borders and borderlessness in the thought of Édouard Glissant