The title of this opening poem of the collection anticipates the magical metamorphosis which occurs at the end of the poem: the repositioning of "un dieu noir." This metamorphosis takes place against a background of natural phenomena, an overcast sky in which only a thin slice of blue is visible ("une lèche de ciel"), and high winds ("vous bêtes qui sifflez"), which are characteristic of the destructive "tornade." The island, "ce quignon de terre," is represented as virtually dead, "cette morte," threatened by and at the mercy of the "bêtes" and the "fougères" that are shown to be already "libres." The metaphors signify a geopolitical context of conflict, between "vous bêtes" and "cette morte"; between "vous libres fougères" and "les roches assassines"; between "les conques," suggestive of the island, and "leur destin"; even between the implies light of "midi" and the darkness associated with "les étoiles." Césaire suggests here a conflict between forces of oppression and destruction and other forces with an impulse toward liberation. The struggle takes place on an island, but one that shares a situational bond of worthlessness with other islands, in that they are "englouties comme un sou," and "oubliées comme un sou."

Against this background, the poetic voice identifies itself through the plural "nous" of line 14 ("mol glissement des grains de l'été que nous fûmes"). This is significantly a communal identity, with an already realized potential for regeneration and metamorphosis. The poet also assumes the roles of "bouche," of "suffète des îles englouties," and of "prophète des îles oubliées," attempting to communicate with an audience, designated as "vous bêtes" and "vous libres fougères." The context evoked, within which this communication takes place, is that of "l'île," "cette morte," featuring "roches assassines" and "conques trop vastes pour leur destin."

The voice of the poet in this situation attempts to transcend the limitations of the island: "la bouche aux parois du nid." The poet assumes the role of responsible leadership, that of "suffète," but also that of "prophète" announcing the future of his people. Through the vision and the prophecy of the poet, the dead island, "cette morte," is restored to life; through the poetic activity implicit in the poem a metamorphosis takes place, "ce mol glissement des grains d'été que nous fumes."

The hope of change is implicit throughout the poem. For, even in the midst of the atmosphere of menace and danger, signs of hope appear: the "lèche de ciel" bore within itself signs of good weather to come; the "étoiles" suggest not only darkness, but also light, with associations of good fortune, "trèfles au ciel," and vitality, "gouttes de lait chu." Hope is at the heart of the "message" of this poem: the restoration of the divinity of the black man ("réadjustent un dieu noir mal né de son tonnerre").

The poem functions as a means of concretizing this hope, and of articulating the poet's prophetic voice, his sense of responsibility and leadership. It illustrates the identity dilemma confronting the French Caribbean poet. The poet as a linking voice magically emerges out of the silence historically imposed on Blacks in a neo-colonial situation. It is essentially through the poem that the "black" voice acquires validity.