Offers a new framework for reading American literatures that critically links African American and Latinx traditions and struggles for liberation. Animating Black and Brown Liberation introduces a vital new tool for reading American literatures. Rooted in both ancient Egyptian ideas about life and cutting-edge theories of animacy, or levels of aliveness, this tool—ankhing—enables Michael Datcher to examine the ways African American and Latinx literatures respond to and ultimately work to resist hegemonic forces of neoliberalism and state-sponsored oppression. Weaving together close readings and politically informed philosophical reflection, Datcher considers the work of writer-activists Toni Cade Bambara, Cherríe Moraga, Gloria Anzaldúa, June Jordan, Salvador Plascencia, and Ishmael Reed, in light of theoretical interventions by Jane Bennett, Mel Y. Chen, Bruno Latour, Michel Foucault, Paulo Freire, and Erica R. Edwards. How, he asks, can cultural production positively influence Black and Brown material conditions and mobilize collective action “off the page”? How can art-based counterpublics provide a foundation for Black and Brown community organizing? What emerges from Datcher’s innovative analysis is a frank assessment of the links between embodied experiences of racialization, as well as a distinctive vision of twentieth- and twenty-first-century American literature as a repository of emancipatory strategies with real-world applications. “In Animating Black and Brown Liberation, Michael Datcher posits a bold new way of approaching a variety of important texts, including those authored by Toni Cade Bambara, Ishmael Reed, Salvador Plascencia, Gloria Anzaldúa, and June Jordan, among others. Drawing on ideas by theorists such as Foucault, Arendt, Giorgio Agamben, and Alexander Weheliye, Datcher offers a fresh and original way of valuing these works. This volume is a thought-provoking addition to the world of literary criticism.” — Henry Louis Gates Jr., Alphonse Fletcher University Professor, Harvard University “This book offers a much-needed perspective on what is generally regarded in the field of American literary studies as ‘Black and Brown’ comparative ethnic literature. Few projects have endeavored to bridge African American and Latinx literatures, and Animating Black and Brown Liberation does so with a clarity and brilliance not seen in a long time.” — Ellie D. Hernández, author of Postnationalism in Chicana/o Literature and Culture

African futurism, gothic romance, ghost story, parable, psychological thriller, inner-space fiction—Dumas’s stories form a vivid, expansive portrait of Black life in America. Henry Dumas’s fabulist fiction is a masterful synthesis of myth and religion, culture and nature, mask and identity, the present and the ancestral. From the Deep South to the simmering streets of Harlem, his characters embark on real, magical, and mythic quests. Humming with life, Dumas’s stories create a collage of mid-twentieth-century Black experiences, interweaving religious metaphor, African cosmologies, diasporic folklore, and America’s history of slavery and systemic racism.

A breathtaking poetry collection on hope, heart, and heritage from the most prominent and promising Black poets and writers of our time, edited by #1 New York Times bestselling author Kwame Alexander. In this comprehensive and vibrant poetry anthology, bestselling author and poet Kwame Alexander curates a collection of contemporary anthems at turns tender and piercing and deeply inspiring throughout. Featuring work from well-loved poets such as Rita Dove, Jericho Brown, Warsan Shire, Ross Gay, Tracy K. Smith, Terrance Hayes, Morgan Parker, and Nikki Giovanni, This Is the Honey is a rich and abundant offering of language from the poets giving voice to generations of resilient joy, “each incantation,” as Mahogany L. Browne puts it in her titular poem, is “a jubilee of a people dreaming wildly.” This essential collection, in the tradition of Dudley Randall’s The Black Poets and E. Ethelbert Miller’s In Search of Color Everywhere, contains poems exploring joy, love, origin, race, resistance, and praise. Jacqueline A.Trimble likens “Black woman joy” to indigo, tassels, foxes, and peacock plumes. Tyree Daye, Nate Marshall, and Elizabeth Acevedo reflect on the meaning of “home” through food, from Cuban rice and beans to fried chicken gizzards. Clint Smith and Cameron Awkward-Rich enfold us in their intimate musings on love and devotion. From a “jewel in the hand” (Patricia Spears Jones) to “butter melting in small pools” (Elizabeth Alexander), This Is the Honey drips with poignant and delightful imagery, music, and raised fists. Fresh, memorable, and deeply moving, this definitive collection a must-have for any lover of language and a gift for our time.

Most cultural critics theorize modernity as a state of disenchanted distraction, one linked to both the rationalizing impulses of scientific and technological innovation and the kind of dispersed, fragmented attention that characterizes the experience of mass culture. Patrick Kindig’s Fascination, however, tells a different story, showing that many fin-de-siècle Americans were in fact concerned about (and intrigued by) the modern world’s ability to attract and fix attention in quasi-supernatural ways. Rather than being distracting, modern life in their view had an almost magical capacity to capture attention and overwhelm rational thought. Fascination argues that, in response to the dramatic scientific and cultural changes of the late nineteenth and early twentieth centuries, many American thinkers and writers came to conceive of the modern world as fundamentally fascinating. Describing such diverse phenomena as the electric generator, the movements of actresses, and ethnographic cinema as supernaturally alluring, they used the language of fascination to process and critique both popular ideologies of historical progress and the racializing logic upon which these ideologies were built. Drawing on an archive of primary texts from the fields of medicine, (para)psychology, philosophy, cultural criticism, and anthropology—as well as creative texts by Harriet Prescott Spofford, Charles Chesnutt, Theodore Dreiser, Paul Laurence Dunbar, Edward S. Curtis, Robert J. Flaherty, and Djuna Barnes—Kindig reconsiders what it meant for Americans to be (and to be called) modern at the turn of the twentieth century.

Following Jane Bennett and Mel Y. Chen's theoretical interventions regarding "levels of aliveness," cultural production, animacy hierarchies and racial mattering, this study explores how twentieth and twenty-first century American literature can function as an emancipatory repository for African American and Latina/o embodied racialized subjects. The methodology involves close readings and theoretical interventions informed by Bennett, Chen, Gloria Anzaldúa, Bruno Latours, Michel Foucault, Paulo Freire and Erica R. Edwards, while investigating how art-tethered counterpublics can help resist the hegemonic forces of neoliberalism on the African American and Latina/o communities. Through the aforementioned methodology, Animacy Matters interrogates the following questions: Can twentieth and twenty-first century American literature, specifically, function as a source of effective liberatory strategies for Black and Brown folk operated on in the sovereign sphere? What theoretical interventions, and practical applications, need to be animated in order that strategies found in literary-based cultural production can positively influence Black and Brown material conditions and mobilize their liberatory action "off the page"? How can art-based counterpublics, and the people who inhabit them, animate Black and Brown liberatory thought and action? Ultimately, in this present historical moment when racialized bodies are increasingly under violent attack by the State and the need is ardent for alternative solutions, this study affirms and seeks to build on Erica R. Edwards contention that "Literature is a repository for counter stories and alternative visions ... narrative is a dialogic site for reimagining possibilities."

Part memoir, part lies, this imaginative tale is a story about loving a woman made of paper, about the wounds made by first love and sharp objects.

Explores Black women writers' treatment of the ancestor figure.

“A must-read for a deeper understanding of a well-connected genius who enriched the cultural road map for African Americans and books about them.” — Kirkus Reviews (starred review) Amid the scholars, poets, authors, and artists of the Harlem Renaissance stood an Afro–Puerto Rican named Arturo Schomburg. This law clerk’s passion was to collect books, letters, music, and art from Africa and the African diaspora and bring to light the achievements of people of African descent through the ages. A century later, his groundbreaking collection, known as the Schomburg Center for Research in Black Culture, has become a beacon to scholars all over the world. In luminous paintings and arresting poems, two of children’s literature’s top African-American scholars track Arturo Schomburg’s quest to correct history.

Based on a thematic and topical structure, this handbook provides scholars and advanced students detailed description, analysis, and constructive discussions concerning African American theology - in the forms of black and womanist theologies. This volume surveys the academic content of African American theology by highlighting its sources; doctrines; internal debates; current challenges; and future prospects, in order to present key topics related to the wider palette of black religion in a sustained scholarly format.

In Black Madness :: Mad Blackness Therí Alyce Pickens rethinks the relationship between Blackness and disability, unsettling the common theorization that they are mutually constitutive. Pickens shows how Black speculative and science fiction authors such as Octavia Butler, Nalo Hopkinson, and Tananarive Due craft new worlds that reimagine the intersection of Blackness and madness. These creative writer-theorists formulate new parameters for thinking through Blackness and madness. Pickens considers Butler's Fledgling as an archive of Black madness that demonstrates how race and ability shape subjectivity while constructing the building blocks for antiracist and anti-ableist futures. She examines how Hopkinson's Midnight Robber theorizes mad Blackness and how Due's African Immortals series contests dominant definitions of the human. The theorizations of race and disability that emerge from these works, Pickens demonstrates, challenge the paradigms of subjectivity that white supremacy and ableism enforce, thereby pointing to the potential for new forms of radical politics.