"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. The essays resist categorization, moving from Moten's
opening meditation on Kant, Olaudah Equiano, and the conditions of
black thought through discussions of academic freedom, writing and
pedagogy, non-neurotypicality, and uncritical notions of freedom.
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 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.
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