AFRICAN AMERICAN REVIEW最新文献

{"title":"Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism by Alex Zamalin (review)","authors":"P. Rankine","doi":"10.1353/afa.2022.0035","DOIUrl":"https://doi.org/10.1353/afa.2022.0035","url":null,"abstract":"This final part of the collection emphasizes “the possibility that pleasure and risk, excitement and disappointment can reside in a single experience” (237) for performers, critics, and audiences across different temporalities, such as in Mario Lamothe’s reading of queer Haitian “self-possessed lives” (246) in art photography. Finally, Joshua Chambers-Letson brings us back to the Introduction’s evoked “care” by tracing Black feminist performance art’s “revelation” of repetition in everyday life within “the sphere of performative behavior that reproduces the world anew each day [and] coheres through routines and rituals that accumulate into performative reality, whereby a social fiction (that a body lying right in front of you is not, in fact, there) becomes a material fact” (277). Rather than stop at the “gotcha” moment of revelation, however, and like the Nyong’o essay that begins the collection, Chambers-Letson argues that this genealogy of work by Black feminist performance artists (as well as the theories of José Esteban Muñoz that course throughout the collection) create a different temporality of the present that insists on incommensurability. It is through this articulation of knowing race differently through the “savvy virtuosity” of Black and minoritarian performance that these two books collaborate on new epistemologies in the field.","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45014235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Are You Entertained? Black Popular Culture in the Twenty-First Century ed. by Simone C. Drake and Dwan K. Henderson (review)","authors":"Janée A. Moses","doi":"10.1353/afa.2022.0033","DOIUrl":"https://doi.org/10.1353/afa.2022.0033","url":null,"abstract":"importance of photography and mass media to the modern civil rights movement but also how the trauma of white supremacy and anti-Black violence continues to haunt, threaten, and end our lives. As Smith considers the civil rights and Black Power movements of the 1960s and ’70s, chapter six, “Photographic Reenactments,” examines Carrie Mae Weems’s Constructing History, a body of work about the era that includes a series of blackand-white photographs and a video that Weems created with art students in Atlanta. As part of the project, the artists re-created some of the era’s iconic images through photographed performances. Through these reenactments, Smith shows how the multilayered project draws attention to links between photography and history. Moving from photograph to performance to photograph, the students and their guide attempt expressly to embody the past, experience its present weight, and imagine what may be useful to carry forward to the future. In chapter seven, “False Returns,” Smith reflects on Taryn Simon’s The Innocents (2002), a photographic project in which the artist documents legal cases of mistaken identification by photographing exonerated individuals at the sites with which they were wrongly, fatefully associated. Here, Smith discusses Simon’s subjects, who were “misrecognized as the perpetrators of violent crimes on the basis of mug shots and other visual aids” in relation to longer histories and practices of racial profiling and criminal identification (152). Smith carefully considers the way in which the project both challenges and upholds photography’s powerful and painful relation to criminal identification and the prison industrial complex. In her Coda, “A Glimpse Forward,” Smith explores Dawoud Bey’s The Birmingham Project (2012-13), in which Bey recalls the white supremacist bombing of the Sixteenth Street Baptist Church on September 15, 1963 by pairing portraits of residents the age of the four murdered African American girls with portraits of people the age the martyred victims would have been, had they been free to survive. In describing this project, Smith writes: “Bey’s work looks back, but also forward to a viewer whom it asks to take up the unfinished work of racial justice” (14). In its mindful activation of past, present, and future, Bey’s Birmingham Project crystallizes Smith’s aims and intentions in Photographic Returns. Like many of the artists whose work she engages, she impels her audience both “to look back and move forward” (173) as we continue to struggle for racial justice and build the world we need to survive. For Smith, “the time of photography,” like the time for justice, is now.","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49600496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Stolen Time: Black Fad Performance and the Calypso Craze by Shane Vogel, and: Race and Performance after Repetition ed. by Soyica Diggs Colbert, Douglas A. Jones, Jr., and Shane Vogel (review)","authors":"Samantha Pinto","doi":"10.1353/afa.2022.0034","DOIUrl":"https://doi.org/10.1353/afa.2022.0034","url":null,"abstract":"","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41246885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Love Story Black and the Third Plane Novel","authors":"K. Mack","doi":"10.1353/afa.2022.0021","DOIUrl":"https://doi.org/10.1353/afa.2022.0021","url":null,"abstract":"Abstract:Focusing on Love Story Black, William Demby's 1978 novel, this article considers how it can be classified as part of what Pancho Savery calls the \"Third Plane.\" Given that Demby's first novel Beetlecreek was published in 1950, while the other Third Plane artists' major works were first published in the late 1960s/early 1970s, Demby is not normally included in this group. Ultimately, I argue that Love Story Black shares many important features with other Third Plane books and should be counted among them, allowing for a reconsideration of Demby's later work as more contemporary and influential than has previously been recognized.","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48608299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ut pictura poësis: William Demby's Writings and the Roman Visual Neo-Avant-Garde","authors":"Barbara Drudi","doi":"10.1353/afa.2022.0019","DOIUrl":"https://doi.org/10.1353/afa.2022.0019","url":null,"abstract":"Abstract:In the 1950s and '60s, beyond his circle of writers and poets, William Demby frequented the Roman art community: He kept company with young artists such as Toti Scialoja, Mimmo Rotella, Francesco Lo Savio, and Mario Schifano. My analysis of The Catacombs (1965) explores his intense relationship with the world of visual arts—to the extent that he himself actually worked on creative experiments of words and images in search of a possible integration (or contamination) between literature and painting. Working toward the definition of Demby's creative personality, I focus mainly on the reconstruction of the Roman artistic context, especially emphasizing the relationship between Demby and Italian artists and giving a detailed overview of the cultural situation that had an undeniable impact on Demby's creativity.","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42384436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Man Out of Time: Beetlecreek and Midcentury Liberalism","authors":"J. C. Hall","doi":"10.1353/afa.2022.0017","DOIUrl":"https://doi.org/10.1353/afa.2022.0017","url":null,"abstract":"Abstract:William Demby's first novel Beetlecreek (1950) was produced and received outside major centers of African American literary production. It is most easily framed in terms of currents of cultural talk that saw in the aesthetic an important resource to thriving in the postwar world. Demby's deep investment in the idea of human \"incommensurability\" figures \"liberalism\" as an important framework for understanding the novel and its reception.","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43080084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Staging Black Fugitivity by Stacie Selmon McCormick (review)","authors":"P. Maley","doi":"10.1353/afa.2022.0036","DOIUrl":"https://doi.org/10.1353/afa.2022.0036","url":null,"abstract":"","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46876802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Freedom in Laughter: Dick Gregory, Bill Cosby, and the Civil Rights Movement by Malcolm Frierson, and: Laughing to Keep from Dying: African American Satire in the Twenty-First Century by Danielle Fuentes Morgan (review)","authors":"B. Edmonds","doi":"10.1353/afa.2022.0038","DOIUrl":"https://doi.org/10.1353/afa.2022.0038","url":null,"abstract":"based challenges. But Finley also carefully points out that profits, not social conscience, drove the promotion of men of color to leadership positions and that achievement at sea did not translate into acceptance or equality on land. Finley provides a detailed and wide-ranging study of the entire history of the whaling trade and the role of men of color in it. His account of how crews hunted whales, processed their kills, and delivered their oil to market provides a useful backdrop as to why the industry was so vital and why so many in America’s growing industrial center required the efforts of so many whalers. His description of the pioneers of the whaling industry, especially the sea captain, businessman, and educator Paul Cuffe, establishes that men of color were not later additions but rather an integral part of the business from the start. Perhaps the most interesting portion of the book is Finley’s association of men of color in the whaling industry to the abolitionist movement. As some of the relatively few free men of color with disposable wealth, the ship captains included in the book (such as Edward Pompey and James Forten) were contributors to the nascent abolitionist movement while at the same time serving as examples of what men of color could achieve in the face of racist attitudes. Captains were also at risk from slavery, however, and many of the men of color who rose through the ranks had to take drastic action to avoid its perils. The contribution of the abolitionists and their allies of color aided slavery’s ending, but that contribution foreshadowed bad times for the whaling industry. The Civil War led to the growth of the petroleum industry as whale oil fell out of general use. The industry continued into the early twentieth century, and, as it declined, became more of a source of opportunity for men of color, especially as Jim Crow attitudes proliferated. Men like William Shorey (known to his crew as the “Black Ahab”) became prominent members of the community in the process of defying the segregationist racism of the day. Overall, Finley has produced an excellent work. It offers a complete account of men of color in the whaling industry from its beginning to its final days, with multiple examples of individual achievement to reinforce his thesis of whaling as a meritocracy. In this regard, it is a useful work for comparison to W. Jeffrey Bolster’s 1997 work, Black Jacks: African American Seamen in the Age of Sail. The book is well illustrated and Finley’s ability to write good biographies of the various ship captains is plainly evident. The only downside to the biographies is that the book at points becomes just a list of biographies that the author could have limited to a few main examples. Despite this, however, the writing style is clear and effective. Finley presents his thesis clearly and without overpromotion, allowing the reader to draw conclusions without leading comments by the author. The extensive Appendixes are a","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47322280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Africa in William Demby's The Catacombs and Love Story Black","authors":"L. Amine","doi":"10.1353/afa.2022.0020","DOIUrl":"https://doi.org/10.1353/afa.2022.0020","url":null,"abstract":"Abstract:This essay explores the function of Africa in William Demby's novels The Catacombs and Love Story Black, particularly the commercialization of an African blackness in 1930s Italy and 1970s America. Against the view that blackness is depoliticized in his works, I reveal the author's anticolonial critique in Europe and satire of Afrocentrism in the United States through their intersection with gender politics.","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41510175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Odo Nnyew Fie Kwan (or, Love Never Loses Its Way)","authors":"Ayinde I. Ricco","doi":"10.1353/afa.2022.0028","DOIUrl":"https://doi.org/10.1353/afa.2022.0028","url":null,"abstract":"","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41287384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}