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This article explores tensions in French Jewish discourses about antisemitism in the post-2000 period. Drawing on commentary from French Jewish intellectuals, national Jewish organizations, and the French Jewish press from the mid-2000s until after the Charlie Hebdo and Hyper Cacher attacks, I note a complex relationship between change and continuity in discursive characterizations of French antisemitism. While empirical manifestations of antisemitism were notably transformed by the Toulouse attacks of 2012, much French Jewish discourse insisted on continuity from the early 2000s onward. At the same time, Jewish narrative practices shifted rather dramatically. In a political context where Israel was often depicted as part of a history of violent settler colonialism, early 2000s Jewish discourse divorced French antisemitism from the Israeli-Palestinian conflict and (post)colonial racism in France. After 2012, some Jewish commentators linked Israel to French antisemitism by likening terrorism in Israel with Islamic antisemitism in France. These disjunctures between narratives and empirical violence suggest that the “structures of feeling” behind Jewish reactions to contemporary antisemitism cannot be reduced to empirical questions about safety and security. Social scientists thus need to move beyond an empirical analysis of antisemitism itself and attend to the cultural and affective work Jewish discourses about antisemitism do in any particular moment.

To date, scholars have rarely talked about contemporary antisemitism and Islamophobia in France as part of a single story. When they have, it has typically been as part of a framework for analyzing racism that is essentially competitive: some depict Islamophobia as less a real problem than a frequent excuse to ignore antisemitism; others minimize antisemitism as an unfortunate but marginal phenomenon by comparison with the pervasive nature of anti-Muslim racism in French society. This article argues that the two are inseparable, and it focuses on a hitherto overlooked set of connections: in the era since the attacks on Charlie Hebdo and Hyper Cacher in January 2015, at key flash points that question Muslim belonging in France, the position of Jews has repeatedly been invoked in ambiguous, contradictory ways. Participants in these public debates have sometimes forcefully maintained that Jews are unlike Muslims, since they have long been fully integrated French citizens. At other moments, these discussions have raised the specter of Jewish ethnic and religious difference. By emphasizing Jewish particularity, such debates evoke, perforce, the past twenty-five years of controversies about the allegedly problematic attire, food, and beliefs of France’s Muslims. The article focuses on several key moments, from the speech of Prime Minister Manuel Valls before the French parliament in the wake of the Charlie Hebdo and Hyper Cacher attacks, to the kippah and burkini affairs of 2016, to the provocative comments of candidates in the 2017 presidential elections concerning Muslim and Jewish religious and ethnic markers of difference.

Paris, Capital of the Black Atlantic is unique both in its focus on literary fiction as a formal and sociological category and in the range of examples it brings to bear on the question of Paris as an imaginary capital of diasporic consciousness.

In recent years, young pious Muslims in France have become increasingly active as arts practitioners, notably in the domain of music and performing arts. This engagement is often explained with the desire to offer the French Muslim community an alternative to the ubiquitous secular mass culture deemed detrimental to a pious subjectivity. Because the official structures of the Islamic revival movement have for a long time adopted quite a restrictive stance with regard to cultural production, but also due to Muslims' largely working class backgrounds in France, the young artists perceive their work in terms of educating the umma. In other words, they seek to develop a cultural or artistic sensibility that is nonetheless conducive to Islamic sensitivities. By examining three small performance art pieces produced by a young generation of pious Muslim artists from the Paris region, I hope to extend our understanding of Islamic sensory politics, as well as aesthetic and ethical practices, in a world where entertainment, leisure, and the culture industry are considered increasingly decisive for the sustainability of pious self-cultivation.