The recent surge of interest in Afrofuturism has resulted in some groundbreaking work looking at the ways technology and race intersect in film, fashion, music and literature, as is evidenced by the important collection of essays “Afrofuturism 2.0” (2016), edited by Reynaldo Anderson and Charles E. Jones. However there has not yet been an aca…[Read more]

In its encounter with James Baldwin across form— “Letter to my nephew,” “Sonny’s Blues,” and archival footage of Baldwin being interviewed by the psychologist Kenneth Clark— this article offers an exploration of how Baldwin’s figuration of children and his own acts of care illuminate the political possibilities of both filiation and aff…[Read more]

This essay explores how Pierre Nora’s sites of memory work a specific cultural function through what Melvin Dixon refers to as “a memory that ultimately rewrites history.” I look at two of the most well-known poems of the Harlem Renaissance, Langston Hughes’s “The Negro Speaks of Rivers” and Countee Cullen’s “Heritage,” one of which reveals a…[Read more]

This essay brings together two texts, a letter to the editor written in experimental prose by the Black avant-garde Beat poet, Bob Kaufman, and “The Unlocking,” a spoken-word poem written and performed by Ursula Rucker that appears at the end of The Roots’ critically acclaimed rap album, Do You Want More??!?. By using the aural to disrupt expec…[Read more]

The problem of the “yes,” of affirming an historical identity that is potentially harmful to oneself, troubles some of the imaginative leaps necessary to how readers desire to identify with texts. With that in mind, this article reads Octavia Butler’s 1979 novel Kindred as a story about memory, history, and embodiment as written both on and thr…[Read more]

This essay examines James Baldwin’s conception of what he calls “black English” and its link to historical and cultural identity. I link Baldwin’s defense of black English to his reflections on the sor- row songs and sound, which draws on long-standing accounts of musicality as the foundation of the African-American tradition. In order to demonst…[Read more]

This essay takes a long view of Wright’s work, arguing that his racial consciousness always extended beyond national boundaries and was forged from a globalist perspective. This outlook is not, as some critics have maintained, a late-stage development in Wright’s career, but rather the predominant theme that unites his oeuvre with a single con…[Read more]

Black artists have created, modified, or otherwise treated the book as an object of aesthetic expression since at least the nineteenth century. African American artists’ production and circulation of friendship albums and scrapbooks, democratic multiples and artist publishing, accordion folds, enclosures, and fine printing editions, all work to…[Read more]

In light of (re)new(ed) interest in focusing interdisciplinary scholarly attention on the history of capitalism – a focus captured in Edward Baptist’s recent book, The Half has Never Been Told – this essay reads Toni Morrison’s 2008 novel A Mercy as a key text for considering the history of capitalism as central to conceptions of circum-…[Read more]

This special issue of Social Text takes as its starting point the generative tension between recovery as an imperative that is fundamental to historical writing and research, and the impossibility of recovery when engaged with archives whose very assembly and organization occlude certain historical subjects. Responding to recent debates among…[Read more]

Our work in this course will center around two questions. First, what were the material and social conditions for Black men, women, and children living in the territory that would become the United States, from roughly 1750 until on or about 1860? While slavery is likely the first concept that comes to mind, additional concepts such as racism,…[Read more]

Review of Daniel Hack, “Reaping Something New: African American Transformations of Victorian Literature” (Princeton UP, 2017).

Charles Chesnutt’s Marrow of Tradition (1901) is overwhelmingly understood as an historical novel. Critics have again and again focused on its journalistic historicity; its ambivalent racial politics; its attitudes towards assimilation, separatism, vengeance, and resistance; and Chesnutt’s alleged biographical identification with various cha…[Read more]

A contribution to a forum on Martin Delany, Blake; Or the Huts of America, ed. Jerome Mcgann.

http://www.jstor.org/stable/20077873