In Fanonian terms, the lived experience of the black, colonized body can be likened to an all-encompassing white song that ultimately consumes one's life, silences one's voice and extinguishes one's breath. As a sonic measure of the interconnectedness of the colonized and the colonizer, the slave and master, the empire and the oppressed, this metaphor demonstrates the will and desire to colonize the mind, body and spirit of the Other within a binary, object/subject relationship that is enforced on its subject. This entangled relationship between the colonized and the colonizer can best be understood in terms of the rhizomes of dependency, subjectivity and complicity that are constantly striving for resistance and revolutionary social change. In the building of the American Empire, the entangled roots of the colonized and the colonizer begin with the Middle Passage and the fact that the construction of whiteness depended entirely on the construction of blackness as the ultimate subaltern subject. Entanglements are what connect the subaltern African Diaspora to an empire with interconnected, oppressive socio-economic and political systems that have caused the systematic dislocation, displacement, dispersal, exile, and erasure of African diasporic people.

In the spaces between the empire's entangled roots of systematic oppression, Spirit resides in a third space with its own rhizomes—systems of divine justice that connect the subaltern to the Spirit of truth. It is a task of Africana critical theory and its revolutionary, decolonizing discourse to find Homi Bhabha's "third space of difference." It is within this space of difference that Spirit becomes the breath and the voice and the fire for the subaltern African Diaspora. It is in the third space that the creativity of hybridity rises up with a revolutionary Spirit that embraces difference and is able to dismantle oppressive systems of empire. This revolutionary concept of an Africana pneumatology that creates an empowering counter discourse of decolonization is armed only with the understanding of systems of divine justice that have the ability to spark transformation. So, what resides at the root of this interconnectedness between the white song and the subaltern African Diaspora? Is it an Africana pneumatology—a still, small voice that commands justice in the name of revolution for the ultimate struggle between life and death? Does this still, small voice reconcile the white song for a subaltern African Diaspora trapped and entangled inside the haunting refrain of a never ending white song? Perhaps a Fanonian postcolonial psychoanalysis of the colonized and the colonizer will construct a space for difference and the revolutionary work of the Spirit as disrupter can begin to enter this postcolonial discourse. To recap, the role of the Spirit is the song that this work will interpret for the African Diaspora.