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Glissant’s entire oeuvre explores writing as a spatialising activity. On a graphic level he creates a properly textual geography where the paragraphs, separated with blank spaces, could be seen as islands, the sections as regions and the books as continents linked to each other. His thinking then travels through this textual geography, comes back to certain points, retakes the same itinerary but differently, and so on. But to analyse the practice and implications of Glissantian geo-poetics, I will turn to one of his earlier novels, La Lézarde from 1956. The novel borrows its name from the Lézarde river and evokes a split, or a crack, that runs through the country and the narration, dividing but at the same time connecting its dispersed elements, such as the hills and the sea, submission and revolt (Dash, 1995: 63) The movements of a river, perhaps more than any other geographical feature, incarnate the geographical paradox we spoke of earlier; land is simultaneously identity and difference, stability and change.