This book offers a critical survey of film and media representations of black masculinity in the early twenty-first-century United States, between President George W. It argues that images of black masculine authority have become increasingly important to the legitimization of contemporary policing and its leading role in the maintenance of an antiblack social order forged by racial slavery and segregation.

It examines a constellation of film and television productions―from antoine fuqua’s Training Day to John Lee Hancock’s The Blind Side to Barry Jenkin's Moonlight―to illuminate the contradictory dynamics at work in attempts to reconcile the promotion of black male patriarchal empowerment and the preservation of gendered antiblackness within political and popular culture.

Bush’s 2001 announcement of the war on Terror and President Barack Obama’s 2009 acceptance of the Nobel Peace Prize.

Black and Blur consent not to be a single being

Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis. Brent hayes edwards, author of epistrophies: jazz and the literary imagination In Black and Blur—the first volume in his sublime and compelling trilogy consent not to be a single being—Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life.

In these interrelated essays, moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms. Moten holds that blackness encompasses a range of social, aesthetic, and theoretical insurgencies that respond to a shared modernity founded upon the sociological catastrophe of the transatlantic slave trade and settler colonialism.

In so doing, hearing, he unsettles normative ways of reading, and seeing, thereby reordering the senses to create new means of knowing. Black and blur is marked by unlikely juxtapositions: althusser informs analyses of rappers Pras and Ol' Dirty Bastard; Shakespeare encounters Stokely Carmichael; thinkers like Kant, Adorno, and José Esteban Muñoz and artists and musicians including Thornton Dial and Cecil Taylor play off each other.

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Ontological Terror: Blackness, Nihilism, and Emancipation

He illustrates how blacks embody a metaphysical nothing. This nothingness serves as a destabilizing presence and force as well as that which whiteness defines itself against. Thus, the function of blackness as giving form to nothing presents a terrifying problem for whites: they need blacks to affirm their existence, even as they despise the nothingness they represent.

. By pointing out how all humanism is based on investing blackness with nonbeing—a logic which reproduces antiblack violence and precludes any realization of equality, justice, and recognition for blacks—Warren urges the removal of the human from its metaphysical pedestal and the exploration of ways of existing that are not predicated on a grounding in being.

Warren uses the figure of the antebellum free black as a philosophical paradigm for thinking through the tensions between blackness and Being. Warren intervenes in afro-pessimism, Heideggerian metaphysics, and black humanist philosophy by positing that the "Negro question" is intimately imbricated with questions of Being.

In ontological Terror Calvin L.

Black on Both Sides: A Racial History of Trans Identity

Riley snorton identifies multiple intersections between blackness and transness from the mid-nineteenth century to present-day anti-black and anti-trans legislation and violence. Drawing on a deep and varied archive of materials—early sexological texts, fugitive slave narratives, sensationalist journalism, Afro-modernist literature, Hollywood films—Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable.

Winner of the john boswell prize from the american historical association 2018 winner of the william sanders scarborough prize from the modern Language Association 2018 Winner of an American Library Association Stonewall Honor 2018 Winner of Lambda Literary Award for Transgender Nonfiction 2018 Winner of the Sylvia Rivera Award in Transgender Studies from the Center for Lesbian and Gay Studies The story of Christine Jorgensen, America’s first prominent transsexual, famously narrated trans embodiment in the postwar era.

In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. In black on Both Sides, C. Reconstructing these theoretical and historical trajectories furthers our imaginative capacities to conceive more livable black and trans worlds.

Their erasure from trans history masks the profound ways race has figured prominently in the construction and representation of transgender subjects. Marion sims, the “father of American gynecology, ” to the negation of blackness that makes transnormativity possible.

Stolen Life consent not to be a single being

The force and creativity of moten's criticism resonate throughout, reminding us not only of his importance as a thinker, but of the continued necessity of interrogating blackness as a form of sociality. Moten also models black study as a form of social life through an engagement with Fanon, Hartman, and Spillers and plumbs the distinction between blackness and black people in readings of Du Bois and Nahum Chandler.

. The essays resist categorization, and the conditions of black thought through discussions of academic freedom, moving from Moten's opening meditation on Kant, Olaudah Equiano, non-neurotypicality, writing and pedagogy, and uncritical notions of freedom. Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis.

Brent hayes edwards, author of epistrophies: jazz and the literary Imagination In Stolen Life—the second volume in his landmark trilogy consent not to be a single being—Fred Moten undertakes an expansive exploration of blackness as it relates to black life and the collective refusal of social death.

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Whither Fanon? Cultural Memory in the Present

Frantz fanon may be most known for his more obviously political writings, he was a clinician, but in the first instance, a black Caribbean psychiatrist who had the improbable task of treating disturbed and traumatized North African patients during the wars of decolonization. He details this psychopolitics from two points of view, its diagnostic methods and concepts, and second, focusing first on Fanon's sociotherapy, on Fanon's cultural theory more generally.

Investigating and foregrounding the clinical system that Fanon devised in an attempt to intervene against negrophobia and anti-blackness, this book rereads his clinical and political work together, arguing that the two are mutually imbricated. For the first time, fanon's therapeutic innovations are considered along with his more overtly political and cultural writings to ask how the crises of war affected his practice, informed his politics, and shaped his subsequent ideas.

In our present climate of fear and terror over black presence and the violence to which it gives rise, Whither Fanon? reminds us of Fanon's scandalous actuality and of the continued urgency of his message. As david marriott suggests, difficult, by definition, this combination of the clinical and political involves a psychopolitics that is, complex, and perpetually challenging.

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The Universal Machine consent not to be a single being

Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis. Brent hayes edwards, in which he explores questions of freedom, author of epistrophies: Jazz and the Literary Imagination In The Universal Machine—the concluding volume to his landmark trilogy consent not to be a single being—Fred Moten presents a suite of three essays on Emmanuel Levinas, and Frantz Fanon, capture, Hannah Arendt, and selfhood.

Throughout the universal machine—and the trilogy as a whole—Moten's theorizations of blackness will have a lasting and profound impact. Whether using levinas's idea of escape in unintended ways, examining Arendt's antiblackness through Mayfield's virtuosic falsetto and Anthony Braxton's musical language, or showing how Fanon's form of phenomenology enables black social life, Moten formulates blackness as a way of being in the world that evades regulation.

In trademark style, moten considers these thinkers alongside artists and musicians such as William Kentridge and Curtis Mayfield while interrogating the relation between blackness and phenomenology.

In the Wake: On Blackness and Being

Duke University Press. Initiating and describing a theory and method of reading the metaphors and materiality of "the wake, " "the hold, " Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, and punishment, " and "the weather, " "the ship, regulation, but also something in excess of them.

Formulating the wake and "wake work" as sites of artistic production, and possibility for living in diaspora, resistance, consciousness, In the Wake offers a way forward. In this original and trenchant work, visual, cinematic, Christina Sharpe interrogates literary, and quotidian representations of Black life that comprise what she calls the "orthography of the wake.

Activating multiple registers of "wake"—the path behind a ship, keeping watch with the dead, coming to consciousness—Sharpe illustrates how Black lives are swept up and animated by the afterlives of slavery, and she delineates what survives despite such insistent violence and negation. In the weather, sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative.

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Red, White & Black: Cinema and the Structure of U.S. Antagonisms

Both positions are foundational to the existence of White humanity. Wilderson provides detailed readings of two films by black directors, Skins Chris Eyre; and one by a White director, Antwone Fisher Denzel Washington and Bush Mama Haile Gerima; one by an Indian director, Monster’s Ball Marc Foster. From the beginning of the european slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human or anti-human against which Whites have defined themselves as human.

Yet, as he explains, in decisions regarding matters such as lighting, camera angles, those antagonisms are unintentionally disclosed in the films’ non-narrative strategies, and sound. These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration.

Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Offering an unflinching account of race and representation, Frank B. Red, white & black is a provocative critique of socially engaged films and related critical discourse. They portray social turmoil in terms of conflict, as problems that can be solved at least theoretically, if not in the given narratives.

That structure, ” “master, he argues, ” and “human”, the red the “savage” and “half-human”, is based on three essential subject positions: that of the White the “settler, and the Black the “slave” and “non-human”. Duke University Press.

Carceral Capitalism Semiotexte / Intervention Series

While these techniques of governance often involve physical confinement and the state-sanctioned execution of black Americans, new carceral modes have blurred the distinction between the inside and outside of prison. Parasitic governance, automation, extraction and looting, operates through five primary techniques: financial states of exception, Wang argues, confinement, and gratuitous violence.

Included in this volume is wang's influential critique of liberal anti-racist politics, techno-policing, ” as well as essays on RoboCop, “Against Innocence, and the aesthetic problem of making invisible forms of power legible. Wang shows that the new racial capitalism begins with parasitic governance and predatory lending that extends credit only to dispossess later.

Predatory lending has a decidedly spatial character and exists in many forms, including subprime mortgage loans, payday loans, car loans, rent-to-own scams, student loans for sham for-profit colleges, and bail bond loans. What psychic toll does this have on residents? how does it feel to be routinely dehumanized and exploited by the police?―from Carceral CapitalismIn this collection of essays in Semiotexte's Intervention series, Jackie Wang examines the contemporary incarceration techniques that have emerged since the 1990s.

Duke University Press. When people are trapped in a cycle of debt it also can affect their subjectivity and how they temporally inhabit the world by making it difficult for them to imagine and plan for the future. Used book in Good Condition. The essays illustrate various aspects of the carceral continuum, predatory policing, the political economy of fees and fines, including the biopolitics of juvenile delinquency, cybernetic governance, and algorithmic policing.

How We Get Free: Black Feminism and the Combahee River Collective

Her book from #blacklivesmatter to black Liberation won the 2016 Lannan Cultural Freedom Award for an Especially Notable Book. Her articles have been published in souls: a critical journal of Black Politics, Jacobin, New Politics, Culture and Society, The Guardian, Black Agenda Report, In These Times, Ms.

International Socialist Review, and other publications. The combahee river collective, a path-breaking group of radical black feminists, was one of the most important organizations to develop out of the antiracist and women’s liberation movements of the 1960s and 70s. Duke University Press. Used book in Good Condition.

Taylor is assistant professor in the Department of African American Studies at Princeton University. In this collection of essays and interviews edited by activist-scholar Keeanga-Yamahtta Taylor, founding members of the organization and contemporary activists reflect on the legacy of its contributions to Black feminism and its impact on today’s struggles.

Keeanga-yamahtta taylor writes on Black politics, social movements, and racial inequality in the United States.