Decolonial Exhumation, or the Future Where No One Is Home: Writing Abuse at the Trans-Queer-Feminist Intersection of Tropical Archipelagic Thinking
DOI:
https://doi.org/10.25120/etropic.24.2.2025.4118Keywords:
archipelagic thinking, decolonial exhumation, gender-based violence, queer poetry, same-sex intimate partner abuse, tropical futureAbstract
These poems are taken from an autobiographical book project on same-sex intimate partner abuse entitled SUNNY that interrogates how the conjoint forces of heterosexualism, racial classification, and capitalism—understood as Eurocentric—position the lives of queer people at the margins, or what Maria Lugones calls “coloniality of gender.” In these poems, the future is maternal, “the streaming touch of oil on burnt skin,” hopeful, yet is “still about our body, except only its ruination” or “a hill’s destruction.” Written at the trans-queer-feminist intersection of tropical archipelagic thinking, the future here is a metaphor of “elsewhere” or, in the words of Paul Carter, “a place not here but consisting of many (incommensurable) places reached from here…in the archipelago” (2019, p. 117; 2013). By interweaving a fictionalised version of my own victimisation and that of other victims of gendered violence, this archipelagic poetics of wounding not only carves out a space for a queer narrative of victimisation that is systematically erased and insufficiently represented in mainstream analyses of gender-based violence, but also maps out linkages of grief and solidarity amongst tropical bodies at the margins. In writing these poems, I framed a method of writing called “decolonial exhumation,” which is a creative practice of writing and experimentation that struggles for a narration of the pained and miserable present, but one that does not evade histories of multiple and intersectional oppressions. Inspired by Saidiya Hartman’s concept of “critical fabulation” and also informed by the work of plant evolutionary biologist Banu Subramaniam, decolonial exhumation is a creative mission to develop an epistemology and aesthetics that celebrates the fragmentary, lost, partial, incomplete, and perpetually unrecoverable. It is a trans-queer-feminist political response to the legacies of colonialism and empire, and the durable inequalities that cannot otherwise be fully understood without any reckoning of the colonial past and striving for a tropical future “elsewhere.”
References
Carter, P. (2019). Decolonising governance: Archipelagic thinking. Routledge. https://doi.org/10.4324/9781351213035
Carter, P. (2013). Tropical Knowledge: Archipelago Consciousness and the Governance of Excess. eTropic: electronic Journal of Studies in the Tropics, 12(2), 79-95. https://doi.org/10.25120/etropic.12.2.2013.3334
Hartman, S. (2008). Venus in two acts. Small Axe, 12 (2), 1-14. https://doi.org/10.1215/-12-2-1
Lilith, R. (2001). Reconsidering the abuse that dare not speak its name: A criticism of recent legal scholarship regarding same-gender domestic violence. Michigan Journal of Gender and Law, 7 (2), 181-219.
Lugones, M. (2007). Heterosexualism and the colonial/modern gender system. Hypatia: A Journal of Feminist Philosophy, 22 (1), 186-209. https://doi.org/10.2979/HYP.2007.22.1.186
Lugones, M. (2010). Toward a decolonial feminism. Hypatia: A Journal of Feminist Philosophy, 25 (4), 742–759. https://doi.org/10.1111/j.1527-2001.2010.01137.x
Lugones, M. (2021). Gender and universality in colonial methodology.” In Y. Espinosa-Miñoso, M. Lugones, & N. Maldonado-Torres (Eds.), Decolonial feminism in Abya Yala, (3-24). Rowman & Littlefield.
Ristock, J. (2011). Introduction. In J. Ristock (Ed.), Intimate partner violence in LGBTQ lives, (1-9). Routledge. https://doi.org/10.4324/9780203828977
Russel, B. (2015). Bridging the gap in knowledge about partner abuse in LGBTQ populations. Partner Abuse 6 (1), 3-7. DOI:10.1891/1946-6560.6.1.3. https://doi.org/10.1891/1946-6560.6.1.3
Subramaniam, B. (2024). Botany of empire: Plant worlds and the scientific legacies of colonialism. University of Washington Press. https://doi.org/10.1515/9780295752471
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2025 CC-BY

This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who submit articles to this journal agree to the following terms:
1. Authors are responsible for ensuring that any material that has influenced the research or writing has been properly cited and credited both in the text and in the Reference List (Bibliography). Contributors are responsible for gaining copyright clearance on figures, photographs or lengthy quotes used in their manuscript that have been published elsewhere.
2. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution (CC-BY) License that allows others to share and adapt the work with an acknowledgement of the work's authorship and initial publication in this journal.
3. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository, or publish it in a book), with proper acknowledgement of the work's initial publication in this journal.
4. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (see The Effect of Open Access or The Open Access Citation Advantage). Where authors include such a work in an institutional repository or on their website (i.e., a copy of a work which has been published in eTropic, or a pre-print or post-print version of that work), we request that they include a statement that acknowledges the eTropic publication including the name of the journal, the volume number and a web-link to the journal item.
5. Authors should be aware that the Creative Commons Attribution (CC-BY) License permits readers to share (copy and redistribute the work in any medium or format) and adapt (remix, transform, and build upon the work) for any purpose, even commercially, provided they also give appropriate credit to the work, provide a link to the license, and indicate if changes were made. They may do these things in any reasonable manner, but not in any way that suggests you or your publisher endorses their use.