Death Beyond Disavowal

Death beyond Disavowal utilizes “difference” as theorized by women of color feminists to analyze works of cultural production by people of color as expressing a powerful antidote to the erasures of contemporary neoliberalism. According to Grace Kyungwon Hong, neoliberalism is first and foremost a structure of disavowal enacted as a reaction to the successes of the movements for decolonization, desegregation, and liberation of the post–World War II era. It emphasizes the selective and uneven affirmation and incorporation of subjects and ideas that were formerly categorically marginalized, particularly through invitation into reproductive respectability. It does so in order to suggest that racial, gendered, and sexualized violence and inequity are conditions of the past, rather than the foundations of contemporary neoliberalism’s exacerbation of premature death. Neoliberal ideologies hold out the promise of protection from premature death in exchange for complicity with this pretense. In Audre Lorde’s Sister Outsider, Cherríe Moraga’s The Last Generation and Waiting in the Wings, Oscar Zeta Acosta’s The Revolt of the Cockroach People, Ana Castillo’s So Far from God, Gayl Jones’s Corregidora, Isaac Julien’s Looking for Langston, Inge Blackman’s B. D. Women, Rodney Evans’s Brother to Brother, and the work of the late Barbara Christian, Death beyond Disavowal finds the memories of death and precarity that neoliberal ideologies attempt to erase. Hong posits cultural production as a compelling rejoinder to neoliberalism’s violences. She situates women of color feminism, often dismissed as narrow or limited in its effect, as a potent diagnosis of and alternative to such violences. And she argues for the importance of women of color feminism to any critical engagement with contemporary neoliberalism.

Life and death are commonly seen as representing the starkest of binaries: Death is the ultimate adversary of all that lives. Beatrice Marovich argues that such understandings of mortality have been deeply influenced by a strain of Christian political theology that has left its mark on both religious and secular narratives. Adapting the figure of “Sister Death” from Saint Francis of Assisi, she calls for recognizing that life and death are family. Drawing on a wide range of sources—from Toni Morrison to Jacques Derrida, psychoanalysis to grassroots “death positive” movements—Marovich critiques a racialized political theology that pits life and death against each other in a state of endless war. In a time of extinctions, it is necessary to disrupt this dominant story in order to apprehend death as a collective, multispecies event. Sister Death proposes an alternative view in which life and death are not mortal enemies destined for mutual destruction. Instead, they are engaged in a contested, tense, and sometimes mutually empowering form of connection—a sisterhood. Eloquent and approachable, this book deftly integrates the insights of a number of disciplines to provide a profound reconsideration of the relations between life and death. Sister Death also features a series of original works by the artist Krista Dragomer that stage an ongoing conceptual conversation with the text.

"For Pleasure argues that aesthetic pleasure and formal experimentalism hold the twinned capacity to maintain a global racial order and also to undo it"--

The industrial-port belt of Los Angeles is home to eleven of the top twenty oil refineries in California, the largest ports in the country, and those "racist monuments" we call freeways. In this uncelebrated corner of "La La Land" through which most of America's goods transit, pollution is literally killing the residents. In response, a grassroots movement for environmental justice has grown, predominated by Asian and undocumented Latin@ immigrant women who are transforming our political landscape—yet we know very little about these change makers. In Refusing Death, Nadia Y. Kim tells their stories, finding that the women are influential because of their ability to remap politics, community, and citizenship in the face of the country's nativist racism and system of class injustice, defined not just by disproportionate environmental pollution but also by neglected schools, surveillance and deportation, and political marginalization. The women are highly conscious of how these harms are an assault on their bodies and emotions, and of their resulting reliance on a state they prefer to avoid and ignore. In spite of such challenges and contradictions, however, they have developed creative, unconventional, and loving ways to support and protect one another. They challenge the state's betrayal, demand respect, and, ultimately, refuse death.

Thirty years have passed since Cornel West's book Race Matters rose to the top of the bestseller lists in 1993. Yet his book remains as relevant as ever to American culture--even more so, if one considers its influence on contemporary racial justice movements such as Black Lives Matter, prison justice, and the fight for police reform. Prophetic Leadership and Visionary Hope, an edited volume of essays by leading scholars in Black studies, religious studies, and social justice history, looks back to the original 1993 text and forward into the future of racial understanding and healing in our current century, responding to Dr. West's own repeated insistence that we can only understand our present and future by looking back. By reengaging with West's book at this seminal moment, Prophetic Leadership and Visionary Hope offers new points of entry into the thorny issues that the 1993 text addressed: the challenge of leadership in a culture marked by the legacy of white supremacy; the limited value of liberal affirmative action programs in promoting the affirmation of Black humanity; the dangerous seductions of African American conservatism and the question of Black self-regard (what West called "black nihilism"); the necessity and difficulty of cross-race solidarity and cross-religious affinity; the need to channel legitimate Black rage over untenable conditions of existence into productive opportunities and viewpoints. All of these issues are even more marked in American society today. The voices collected in this volume are the legitimate intellectual heirs of the original Race Matters. With essays that span the topics of history, politics, philosophy, religion, cultural studies, music, and aesthetics, Prophetic Leadership and Visionary Hope is as wide-ranging as the thinker whose ideas it engages, interrogates, and celebrates. Contributors:Nkosi Du Bois Anderson, Paul A. Bové, Matthew M. Briones, Farah Jasmine Griffin, Susannah Heschel, Lucius T. Outlaw Jr., Andrew Prevot, Brandon M. Terry, Cornel West, Barbara Will.

In Fictions of Land and Flesh Mark Rifkin explores the impasses that arise in seeking to connect Black and Indigenous movements, turning to speculative fiction to understand those difficulties and envision productive ways of addressing them. Against efforts to subsume varied forms of resistance into a single framework in the name of solidarity, Rifkin argues that Black and Indigenous political struggles are oriented in distinct ways, following their own lines of development and contestation. Rifkin suggests how movement between the two can be approached as something of a speculative leap in which the terms and dynamics of one are disoriented in the encounter with the other. Futurist fiction provides a compelling site for exploring such disjunctions. Through analyses of works by Octavia Butler, Walter Mosley, Nalo Hopkinson, Melissa Tantaquidgeon Zobel, and others, the book illustrates how ideas about fungibility, fugitivity, carcerality, marronage, sovereignty, placemaking, and governance shape the ways Black and Indigenous intellectuals narrate the past, present, and future. In turning to speculative fiction, Rifkin illustrates how speculation as a process provides conceptual and ethical resources for recognizing difference while engaging across it.

Set on Idan Hayosh’s peculiar Instagram page of women holding dead fish, The Instagram Archipelago is a conversation with contemporary culture’s logics of gender and race. Working through recent thinking in Black studies and Hayosh’s satirical images, Elliot C. Mason presents the aesthetics of capitalism as a sea that makes everything the same, turning the world into a single form. The Instagram Archipelago brings radical antiracist and feminist scholarship to a general audience, applying a model of thinking beyond gender and race to the strange world of online fishing photos. This funny and fascinating book moves past the liberal celebration of gender and race, towards a tiny island of resistance in a growing archipelago.