Aimé Césaire, Discourse on Colonialism (Monthly Review Press, 2001), 42.
Leigh’s work troubles the terms of “animacy” itself, not unlike the work of: Mel Y. Chen, Animacies: Biopolitics, Racial Mattering, and Queer Affect (Duke University Press, 2012); Kim TallBear, “Beyond the Life/Not Life Binary: A Feminist-Indigenous Reading of Cryopreservation, Interspecies Thinking and the New Materialisms,” in Cryopolitics: Frozen Life in a Melting World, eds. Joanna Radin and Emma Kowal (MIT Press, 2017).
Harriet Jacobs, Incidents in the Life of a Slave Girl: Written by Herself (Harvard University Press, 2009).
See →.
With all due respect to our journal of arts and letters, Obsidian, in publication since 1975.
Christina Sharpe, In the Wake: On Blackness and Being (Duke University Press, 2016), 21.
Dionne Brand, Bread Out of Stone: Recollections on Sex, Recognitions, Race, Dreaming and Politics (Coach House, 1994).
My reading is indebted to Katherine McKittrick’s fundamental insights about black feminist cartographies, and about Brand’s work in particular, found in Demonic Grounds: Black Women and the Cartographies of Struggle (University of Minnesota Press, 2006).
Dionne Brand, A Map to the Door of No Return: Notes to Belonging (Vintage Canada, 2012). On Christina’s interpretation, see Sharpe, In the Wake, 19, 106, 131.
Dionne Brand, The Blue Clerk: Ars Poetica in 59 Versos (McClelland & Stewart, 2018), 135.
Omise’eke Tinsley, “Black Atlantic, Queer Atlantic: Queer Imaginings of the Middle Passage,” GLQ: A Journal of Lesbian and Gay Studies 14, no. 2–3 (2008).
Zakiyyah Jackson, “Animal: New Directions in the Theorization of Race and Posthumanism,” Feminist Studies 39, no. 3 (2013).
Zakiyyah Jackson, “Sense of Things,” Catalyst: Feminism, Theory, Technoscience 2, no. 2 (2016).
Zakiyyah Jackson, “Outer Worlds: The Persistence of Race in Movement ‘Beyond the Human,’” GLQ: A Journal of Lesbian and Gay Studies, 21, no. 2–3 (June 2015): 215–18.
Jackson, “Sense of Things.”
On asterisks, see Christina Sharpe, In the Wake, 29–34. On abstraction, see Saidiya Hartman, “Venus in Two Acts,” Small Axe: A Caribbean Journal of Criticism 26, no. 7 (2008).
Sharpe, In the Wake.
