This concluding chapter meditates on Walrond's career, remarking on the fact that Tropic Death did not aptly represent the totality of it. He was not the first West Indian in Panama, the first Caribbean arrival to New York, the first “Negro” in Paris, nor the first of London's “coloured” colonials—but he managed to compress these paradigmatic lines of flight into a single, extraordinary career, and the unusual perspective he acquired was necessarily comparative and transnational. Even as we recognize in Eric Walrond incipient forms of familiar contemporary identities and communities, we should also consider the “historical mutilation” of the anticolonial struggles, transnational periodical formations, aesthetic movements, and political solidarities that animated Walrond's work. He was not as prolific as some of his peers, but he was far more prolific than many realized.
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