This book explores the relations among blackness, antiblackness, and Black people within the discourse of the blackness of black. This critical discourse developed during the last two decades as scholars explored what Saidiya Hartman describes as the afterlife of slavery. Hartman’s concept, which argues for a troubling continuity between the status of enslaved and emancipated Black people, is the pivot between discursive tributaries and trajectories. Tributaries of the discourse of the blackness of black comprise five foundational concepts: Frantz Fanon’s “phobogenic blackness,” Orlando Patterson’s “social death,” Cedric Robinson’s “racial capitalism and the black radical tradition,” and Hortense Spillers’ “flesh.” The book traces three trajectories within the afterlife of slavery: Frank Wilderson’s “ Afropessimism,” Fred Moten’s “generative blackness,” and Calvin Warren’s “black nihilism.” This ensemble of concepts enable us to understand what is at state in how we understand the relations among blackness, antiblackness, and Black people.

Not long ago, projections of how office technologies would revolutionize the production of documents in a high-tech future carriedmany promises. The paper less office and the seamless and problem-free sharing of texts and other work materials among co-workers werejust around the corner, we were told. To anyone who has been involved in putting together a volume of the present kind, such forecasts will be met with considerable skepticism, if not outright distrust. The diskette, the email, the fax, the net, and all the other forms of communication that are now around are powerful assets, but they do not in any way reduce the flow of paper or the complexity of coordinating activities involved in producing an artifact such as a book. Instead, the reverse seems to be true. Obviously, the use of such tools requires considerable skill at the center of coordination, to borrow an expression from a chapter in this volume. As editors, we have been fortunate to have Ms. Lotta Strand, Linkoping University, at the center of the distributed activity that producing this volume has required over the last few years. With her considerable skill and patience, Ms. Strand and her work provide a powerful illustration of the main thrust of most of the chapters in this volume: Practice is a coordination of thinking and action, and many things had to be kept in mind during the production of this volume.

Last year, more African Americans were reported with AIDS than any other racial or ethnic group. And while African Americans make up only 13 percent of the U.S. population, they account for more than 55 percent of all newly diagnosed HIV infections. These alarming developments have caused reactions ranging from profound grief to extreme anger in African-American communities, yet the organized political reaction has remained remarkably restrained. The Boundaries of Blackness is the first full-scale exploration of the social, political, and cultural impact of AIDS on the African-American community. Informed by interviews with activists, ministers, public officials, and people with AIDS, Cathy Cohen unflinchingly brings to light how the epidemic fractured, rather than united, the black community. She traces how the disease separated blacks along different fault lines and analyzes the ensuing struggles and debates. More broadly, Cohen analyzes how other cross-cutting issues—of class, gender, and sexuality—challenge accepted ideas of who belongs in the community. Such issues, she predicts, will increasingly occupy the political agendas of black organizations and institutions and can lead to either greater inclusiveness or further divisiveness. The Boundaries of Blackness, by examining the response of a changing community to an issue laced with stigma, has much to teach us about oppression, resistance, and marginalization. It also offers valuable insight into how the politics of the African-American community—and other marginal groups—will evolve in the twenty-first century.

Winner, 2021 Harry Shaw and Katrina Hazzard-Donald Award for Outstanding Work in African-American Popular Culture Studies, given by the Popular Culture Association Winner, 2021 Nancy Baym Annual Book Award, given by the Association of Internet Researchers An explanation of the digital practices of the black Internet From BlackPlanet to #BlackGirlMagic, Distributed Blackness places blackness at the very center of internet culture. André Brock Jr. claims issues of race and ethnicity as inextricable from and formative of contemporary digital culture in the United States. Distributed Blackness analyzes a host of platforms and practices (from Black Twitter to Instagram, YouTube, and app development) to trace how digital media have reconfigured the meanings and performances of African American identity. Brock moves beyond widely circulated deficit models of respectability, bringing together discourse analysis with a close reading of technological interfaces to develop nuanced arguments about how “blackness” gets worked out in various technological domains. As Brock demonstrates, there’s nothing niche or subcultural about expressions of blackness on social media: internet use and practice now set the terms for what constitutes normative participation. Drawing on critical race theory, linguistics, rhetoric, information studies, and science and technology studies, Brock tabs between black-dominated technologies, websites, and social media to build a set of black beliefs about technology. In explaining black relationships with and alongside technology, Brock centers the unique joy and sense of community in being black online now.

A 2008 cover of The New Yorker featured a much-discussed Black Power parody of Michelle and Barack Obama. The image put a spotlight on how easy it is to flatten the Black Power movement as we imagine new types of blackness. Margo Natalie Crawford argues that we have misread the Black Arts Movement's call for blackness. We have failed to see the movement's anticipation of the "new black" and "post-black." Black Post-Blackness compares the black avant-garde of the 1960s and 1970s Black Arts Movement with the most innovative spins of twenty-first century black aesthetics. Crawford zooms in on the 1970s second wave of the Black Arts Movement and shows the connections between this final wave of the Black Arts movement and the early years of twenty-first century black aesthetics. She uncovers the circle of black post-blackness that pivots on the power of anticipation, abstraction, mixed media, the global South, satire, public interiority, and the fantastic.

The essays in Nuances of Blackness in the Canadian Academy make visible the submerged stories of Black life in academia. They offer fresh historical, social, and cultural insights into what it means to teach, learn, research, and work while Black. In daring to shift from margin to centre, the book’s contributors confront two overlapping themes. First, they resist a singular construction of Blackness that masks the nuances and multiplicity of what it means to be and experience the academy as Black people. Second, they challenge the stubborn durability of anti-Black tropes, the dehumanization of Blackness, persistent deficit ideologies, and the tyranny of low expectations that permeate the dominant idea of Blackness in the white colonial imagination. Operating at the intersections of discourse and experience, contributors reflect on how Blackness shapes academic pathways, ignites complicated and often difficult conversations, and reimagines Black pasts, presents, and futures. This unique collection contributes to the articulation of more nuanced understandings of the ways in which Blackness is made, unmade, and remade in the academy and the implications for interrelated dynamics across and within post-secondary education, Black communities in Canada, and global Black diasporas.

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.

How do we make sense of what it means to be Black in a world with room for both Michelle Obama and Precious? Tour , an iconic commentator and journalist, defines and demystifies modern Blackness with wit, authority, and irreverent humor. In the age of Obama, racial attitudes have become more complicated and nuanced than ever before. Americans are searching for new ways of understanding Blackness, partly inspired by a President who is unlike any Black man ever seen on our national stage. This book aims to destroy the notion that there is a correct or even definable way of being Black. It’s a discussion mixing the personal and the intellectual. It gives us intimate and painful stories of how race and racial expectations have shaped Tour ’s life as well as a look at how the concept of Post-Blackness functions in politics, psychology, the Black visual arts world, Chappelle’s Show, and more. For research Tour has turned to some of the most important luminaries of our time for frank and thought-provoking opinions, including Rev. Jesse Jackson, Henry Louis Gates Jr., Cornel West, Michael Eric Dyson, Melissa Harris-Lacewell, Malcolm Gladwell, Harold Ford, Jr., Kara Walker, Kehinde Wiley, Chuck D, and many others. Their comments and disagreements with one another may come as a surprise to many readers. Of special interest is a personal racial memoir by the author in which he depicts defining moments in his life when he confronts the question of race head-on. In another chapter—sure to be controversial—he explains why he no longer uses the word “nigga.” Who’s Afraid of Post-Blackness? is a complex conversation on modern America that aims to change how we perceive race in ways that are as nuanced and spirited as the nation itself.

Posthuman Blackness and the Black Female Imagination examines the future-oriented visions of black subjectivity in works by contemporary black women writers, filmmakers, and musicians, including Toni Morrison, Octavia Butler, Julie Dash, and Janelle Monáe. In this innovative study, Kristen Lillvis supplements historically situated conceptions of blackness with imaginative projections of black futures. This theoretical approach allows her to acknowledge the importance of history without positing a purely historical origin for black identities. The authors considered in this book set their stories in the past yet use their characters, particularly women characters, to show how the potential inherent in the future can inspire black authority and resistance. Lillvis introduces the term “posthuman blackness” to describe the empowered subjectivities black women and men develop through their simultaneous existence within past, present, and future temporalities. This project draws on posthuman theory—an area of study that examines the disrupted unities between biology and technology, the self and the outer world, and, most important for this project, history and potentiality—in its readings of a variety of imaginative works, including works of historical fiction such as Gayl Jones’s Corregidora and Morrison’s Beloved. Reading neo–slave narratives through posthuman theory reveals black identity and culture as temporally flexible, based in the potential of what is to come and the history of what has occurred.

Soft Skull Press proudly offers this tenth-anniversary edition of visionary essays exploring the glory and power of Black Cool, curated by thought leader and bestselling author Rebecca Walker, with a foreword by Henry Louis Gates, Jr. Originally published in 2012, this collection of illuminating essays exploring the ineffable and protean aesthetics of Black Cool has been widely cited for its contribution to much of the contemporary discussion of the influence of Black Cool on culture, politics, and power around the world. Curated by Rebecca Walker, and drawing on her lifelong study of the African roots of Black Cool and its expression within the African diaspora, this collection identifies ancestral elements often excluded from colloquial understandings of Black Cool: cultivated reserve, coded resistance, intentional audacity, transcendent intellectual and spiritual rigor, intentionally disruptive eccentricity, and more. With essays by some of America’s most innovative Black thinkers, including visual artist Hank Willis Thomas, writer and filmmaker dream hampton, MacArthur-winning photographer Dawoud Bey, fashion legend Michaela angela Davis, and critical theorist and cultural icon bell hooks, Black Cool offers an excavation of the African roots of Cool and its hitherto undefined legacy in American culture and beyond. This edition includes a new introduction from Rebecca Walker, a powerful meditation on the genesis, creation, completion, and subsequent impact of this landmark volume over the last decade.