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Henri Lopes’s  1990  novel,  Le Chercheur d’Afriques , embraces the post-colonial reality of multiple roots (Glissant). Much like Jazz music itself, the novel embodies the principles of  la créolité  outlined by Bernabé, Chamoiseau, and Confiant in their 1989 work,  Éloge de la Créolité . This paper will explore the rhythms, musical composition, and musical intersections that enrich and shape the novel paying particular attention to jazz music, lyrics, rhythm, and sounds embedded in the novel’s structure, language, and imagery, and examine ways in which the layering music and musical references throughout the text has the power to create soundscapes, evoke emotions and memories.

Le Chercheur d’Afriques : Henri Lopes, Créolité , and Jazz