In a few of the novels we’ve read, sex is described through a metaphor. In Season of Migration to the North, Lalami explains Mustafa’s sex scenes as “a theatre of war” (29). Sex becomes a symbol to the bigger picture of Mustafa’s attempt to conquer Englishwomen and regain masculinity to the African identity. Mustafa explains, “I would stay awake all night warring with bow and sword and spear and arrows” (29). His identity transforms throughout the novel as he performs identity through name changes and sexual metaphors.
In Chamoiseau’s Texaco, the sex metaphor is very different from Mustafa’s violent battles. Sex in this case is described through images of the water—-birds, the tide, a shipwreck and canoes. Oselia is “a starving bird pecking at his skin, pecking his sweet juice, pecking a bit of his blood and the rest of his soul” (66). He becomes a shipwreck that continually needs to be saved from the depths of the water. The violence of Mustafa’s sexual encounters is not seen in the same sense here. The water is a source of violence and in a way can be seen as a reason why Oselia can’t repeat this act with the narrator’s father. Metaphors and phrases of water are continued through the novel. Yet, going back to this specific scene, at the end of that same paragraph the narrator makes herself known again and says that she can only “make a sketch of what happened” because her father “hadn’t done school.” This break in the metaphor shows the reader that the identity of the novel is not fixed—there are tales of others, of herself, and in other voices. Sex in a way, is a means to invoking violence and challenging identity.
In the big picture of this novel, identity is a main concern. As we began reading Texaco, it was at first difficult because it seems natural to ground identity to understand where the novel is going. Chamoiseau makes this attempt difficult for his reader. In “Re-Imagining Diversity and Connection in the Chaos World,” Chamoiseau explains identity as, “In the past, people thought a cultural identity was powerful when it enclosed and defined what belonged to me and not to others; today it is powerful when one is—and recognizes that one is—in relationship with the diversity of cultures. And the more a cultural identity is capable of putting itself into connection with diversity, the more powerful it will be—that’s our big issue, that’s what we want to examine today in our literature.” This is what we see in the structure and voices Chamoiseau uses in Texaco.