1946: (The LFAS Booklet as Counter-Archive — Several Days After the Assembly the LFAS Membership Publishing La Femme Haïtienne Repond aux Attaques Formulées …

1946: (The LFAS Booklet as Counter-Archive — Several Days After the Assembly the LFAS Membership Publishing La Femme Haïtienne Repond aux Attaques Formulées Contre Elle à L’Assemblée Constituante, Including Political Essays by President Madeleine Sylvain-Bouchereau Vice President Alice Garoute Novelist Cléante Desgraves Valcin Journalist Yvonne Hakim Rimpel and Educator Marie-Thérèse Poitevien, the Unnamed Woman’s Ejection Appearing Only in a Parenthetical Note in the Last Essay Breaking the Chronicler Form — She Was Not Supposed to Appear but the LFAS Women Disrupted Her Historical Erasure Refused Their Own Invisibility and Wrote Their Marginal Positions into the Text): Several days after the assembly, the LFAS membership narrated the events in the booklet La femme haïtienne repond aux attaques formulées contre elle à L’Assemblée Constituante — The Haitian Woman Responds to the Attacks Levied against Her at the Constitutional Assembly. The document included political essays by LFAS President Madeleine Sylvain-Bouchereau, Vice President Alice Garoute, novelist Cléante Desgraves Valcin, journalist Yvonne Hakim Rimpel, and educator Marie-Thérèse Poitevien. The unnamed woman’s ejection appears only in the last essay of the booklet, crafted in a chronicler format as a play-by-play of the assembly dialogue. Several lines before the last section of dialogue, the authors insert a parenthetical note: “Une femme du peuple veut entrer dans la tribune réservée aux femmes, le gendarme l’en empêche, les membres de la L.F.A.S. protestent soutenues par la foule, l’orateur veut dénaturer l’incident.” Sanders Johnson reads this parenthetical as a rupture in the archival form: the unnamed woman’s entry breaks the chronicler script — she was not supposed to appear, she was not accounted for in any other record of the day. But with the parenthetical reference, the LFAS women at once signaled their political practice of improvisation, disrupted the historical erasure of another woman, refused their own invisibility, and attuned the reader to their power of narration by writing their marginal positions into the text. When the femme du peuple enters the script, she brings all the other marginal actors with her — it is only in the context of her effort to enter the women’s section that we learn the chroniclers themselves are partitioned away from the action, not only as audience members or non-assemblymen but as women. The booklet ends abruptly after the parenthetical, with no formal conclusion, evidencing the women’s early exit from the assembly. The unnamed woman’s presence and absence linger unsettled.