The Black Shoals

In The Black Shoals Tiffany Lethabo King uses the shoal—an offshore geologic formation that is neither land nor sea—as metaphor, mode of critique, and methodology to theorize the encounter between Black studies and Native studies. King conceptualizes the shoal as a space where Black and Native literary traditions, politics, theory, critique, and art meet in productive, shifting, and contentious ways. These interactions, which often foreground Black and Native discourses of conquest and critiques of humanism, offer alternative insights into understanding how slavery, anti-Blackness, and Indigenous genocide structure white supremacy. Among texts and topics, King examines eighteenth-century British mappings of humanness, Nativeness, and Blackness; Black feminist depictions of Black and Native erotics; Black fungibility as a critique of discourses of labor exploitation; and Black art that rewrites conceptions of the human. In outlining the convergences and disjunctions between Black and Native thought and aesthetics, King identifies the potential to create new epistemologies, lines of critical inquiry, and creative practices.

The contributors to Otherwise Worlds investigate the complex relationships between settler colonialism and anti-Blackness to explore the political possibilities that emerge from such inquiries. Pointing out that presumptions of solidarity, antagonism, or incommensurability between Black and Native communities are insufficient to understand the relationships between the groups, the volume's scholars, artists, and activists look to articulate new modes of living and organizing in the service of creating new futures. Among other topics, they examine the ontological status of Blackness and Indigeneity, possible forms of relationality between Black and Native communities, perspectives on Black and Indigenous sociality, and freeing the flesh from the constraints of violence and settler colonialism. Throughout the volume's essays, art, and interviews, the contributors carefully attend to alternative kinds of relationships between Black and Native communities that can lead toward liberation. In so doing, they critically point to the importance of Black and Indigenous conversations for formulating otherwise worlds. Contributors Maile Arvin, Marcus Briggs-Cloud, J. Kameron Carter, Ashon Crawley, Denise Ferreira da Silva, Chris Finley, Hotvlkuce Harjo, Sandra Harvey, Chad B. Infante, Tiffany Lethabo King, Jenell Navarro, Lindsay Nixon, Kimberly Robertson, Jared Sexton, Andrea Smith, Cedric Sunray, Se’mana Thompson, Frank B. Wilderson

An innovative exploration of how colonial interventions in Afghanistan have been made possible through representations of the country as 'backward'.

In 2008, the Canadian government established a Truth and Reconciliation Commission (TRC) to review the history of the residential school system, a brutal colonial project that killed and injured many Indigenous children and left a legacy of trauma and pain. In Fragments of Truth Naomi Angel analyzes the visual culture of reconciliation and memory in relation to this complex and painful history. In her analyses of archival photographs from the residential school system, representations of the schools in popular media and literature, and testimonies from TRC proceedings, Angel traces how the TRC served as a mechanism through which memory, trauma, and visuality became apparent. She shows how many Indigenous communities were able to use the TRC process as a way to claim agency over their memories of the schools. Bringing to light the ongoing costs of transforming settler states into modern nations, Angel demonstrates how the TRC offers a unique optic through which to survey the long history of colonial oppression of Canada’s Indigenous populations.

Three women uncover the secrets of a Georgia plantation that embodies the intertwined histories of Indigenous and enslaved Black communities—the fascinating debut novel, inspired by a true story, of the National Book Award-winning and New York Times bestselling author of All That She Carried, now featuring a new introduction and discussion guide. “The Cherokee Rose is a mic drop—an instant classic. An invitation to listen to the urgent, sweet choruses of past and present.”—Honorée Fanonne Jeffers, author of The Love Songs of W.E.B. Du Bois LAMBDA LITERARY AWARD FINALIST Conducting research for her weekly history column, Jinx, a free-spirited Muscogee (Creek) historian, travels to Hold House, a Georgia plantation originally owned by Cherokee chief James Hold, to uncover the mystery of what happened to a tribal member who stayed behind after Indian removal, when Native Americans were forcibly displaced from their ancestral homelands in the nineteenth century. At Hold House, she meets Ruth, a magazine writer visiting on assignment, and Cheyenne, a Southern Black debutante seeking to purchase the estate. Hovering above them all is the spirit of Mary Ann Battis, the young Indigenous woman who remained in Georgia more than a century earlier. When they discover a diary left on the property that reveals even more about the house’s dark history, the three women’s connections to the place grow deeper. Over a long holiday weekend, Cheyenne is forced to reconsider the property’s rightful ownership, Jinx reexamines assumptions about her tribe’s racial history, and Ruth confronts her own family’s past traumas before surprising herself by falling into a new romance. Imbued with a nuanced understanding of history, The Cherokee Rose brings the past to life as Jinx, Ruth, and Cheyenne unravel mysteries with powerful consequences for them all.

At the turn of the century, the North Carolina Mutual Life Insurance Company became the "world's largest Negro business." Located in Durham, North Carolina, which was known as the "Black Wall Street of America," this business came to symbolize the ideas of racial progress, self-help, and solidarity in America. Walter B. Weare's social and intellectual history, originally published in 1973 (University of Illinois Press) and updated here to include a new introduction, still stands as the definitive history of black business in the New South. Drawing on a wide range of sources—including personal papers of the company's leaders and oral history interviews—Weare traces the company's story from its ideological roots in the eighteenth century to its economic success in the twentieth century.

As Shane Neilson writes in Margin of Interest, ‘Maritime poetry is the sum of what’s come before, a unique history, and yes, a unique place.’ In Margin of Interest Neilson examines representation, identity, power, and the politics of literary history, from the creative traditions of the Mi’kmaq to the work of young poets today. He pays due homage to iconic Maritime writers (Milton Acorn, Alden Nowlan, George Elliott Clarke), shines a critical spotlight on lesser-known masters from the region (Travis Lane, Wayne Clifford) and provides a glimpse inside the ‘diverse ecosystem’ of poets under 40 writing in or about the Maritimes (Rebecca Thomas, Lucas Crawford, El Jones). He also combats the prejudices so often applied to writers from Atlantic Canada—stigma associated with mental illness, rigid gendering, vernacular language and even poetic form—and advocates for a long-overdue reappropriation of the regionalist stance, as well as a proper recognition of the region’s writers and their contribution to the Canadian literary landscape. For as Neilson wisely asks, ‘What’s the matter with taking pride in any kind of regional identity that we articulate?’