The Color Pynk is a passionate exploration of Black femme poetics of survival. Sidelined by liberal feminists and invisible to mainstream civil rights movements, Black femmes spent the Trump years doing what they so often do best: creating politically engaged art, entertainment, and ideas. In the first full-length study of Black queer, cis-, and trans-femininity, Omise'eke Natasha Tinsley argues that this creative work offers a distinctive challenge to power structures that limit how we color, gender, and explore freedom. Tinsley engages 2017-2020 Black femme cultural production that colorfully and provocatively imagines freedom in the stark white face of its impossibility. Looking to the music of Janelle Monae and Kelsey Lu, Janet Mock's writing for the television show Pose, the fashion of Indya Moore and (F)empower, and the films of Tourmaline and Juliana Huxtable, as well as poetry and novels, The Color Pynk conceptualizes Black femme as a set of consciously, continually rescripted cultural and aesthetic practices that disrupts conventional meanings of race, gender, and sexuality. There is an exuberant defiance in queer Black femininity, Tinsley finds-so that Black femmes continue to love themselves wildly in a world that resists their joy.

The Color Pynk is a passionate exploration of Black femme poetics of survival. Sidelined by liberal feminists and invisible to mainstream civil rights movements, Black femmes spent the Trump years doing what they so often do best: creating politically engaged art, entertainment, and ideas. In the first full-length study of Black queer, cis-, and trans-femininity, Omise'eke Natasha Tinsley argues that this creative work offers a distinctive challenge to power structures that limit how we color, gender, and explore freedom. Tinsley engages 2017-2020 Black femme cultural production that colorfully and provocatively imagines freedom in the stark white face of its impossibility. Looking to the music of Janelle Monae and Kelsey Lu, Janet Mock's writing for the television show Pose, the fashion of Indya Moore and (F)empower, and the films of Tourmaline and Juliana Huxtable, as well as poetry and novels, The Color Pynk conceptualizes Black femme as a set of consciously, continually rescripted cultural and aesthetic practices that disrupts conventional meanings of race, gender, and sexuality. There is an exuberant defiance in queer Black femininity, Tinsley finds--so that Black femmes continue to love themselves wildly in a world that resists their joy.

Making headlines when it was launched in 2015, Omise’eke Tinsley’s undergraduate course “Beyoncé Feminism, Rihanna Womanism� has inspired students from all walks of life. In Beyoncé in Formation, Tinsley now takes her rich observations beyond the classroom, using the blockbuster album and video Lemonade as a soundtrack for vital new-millennium narratives. Woven with candid observations about her life as a feminist scholar of African studies and a cisgender femme married to a trans spouse, Tinsley’s “Femme-onade� mixtape explores myriad facets of black women’s sexuality and gender. Turning to Beyoncé’s “Don’t Hurt Yourself,� Tinsley assesses black feminist critiques of marriage and then considers the models of motherhood offered in “Daddy Lessons,� interspersing these passages with memories from Tinsley’s multiracial family history. Her chapters on nontraditional bonds culminate in a discussion of contemporary LGBT politics through the lens of the internet-breaking video “Formation,� underscoring why Beyoncé’s black femme-inism isn’t only for ciswomen. From pleasure politics and the struggle for black women’s reproductive justice to the subtext of blues and country music traditions, the landscape in this tour is populated by activists and artists (including Loretta Lynn) and infused with vibrant interpretations of Queen Bey’s provocative, peerless imagery and lyrics. In the tradition of Roxanne Gay’s Bad Feminist and Jill Lepore’s best-selling cultural histories, Beyoncé in Formation is the work of a daring intellectual who is poised to spark a new conversation about freedom and identity in America.

From the dagger mistress Ezili Je Wouj and the gender-bending mermaid Lasiren to the beautiful femme queen Ezili Freda, the Ezili pantheon of Vodoun spirits represents the divine forces of love, sexuality, prosperity, pleasure, maternity, creativity, and fertility. And just as Ezili appears in different guises and characters, so too does Omise'eke Natasha Tinsley in her voice- and genre-shifting, exploratory book Ezili's Mirrors. Drawing on her background as a literary critic as well as her quest to learn the lessons of her spiritual ancestors, Tinsley theorizes black Atlantic sexuality by tracing how contemporary queer Caribbean and African American writers and performers evoke Ezili. Tinsley shows how Ezili is manifest in the work and personal lives of singers Whitney Houston and Azealia Banks, novelists Nalo Hopkinson and Ana Lara, performers MilDred Gerestant and Sharon Bridgforth, and filmmakers Anne Lescot and Laurence Magloire-none of whom identify as Vodou practitioners. In so doing, Tinsley offers a model of queer black feminist theory that creates new possibilities for decolonizing queer studies.

From the dagger mistress Ezili Je Wouj and the gender-bending mermaid Lasiren to the beautiful femme queen Ezili Freda, the Ezili pantheon of Vodoun spirits represents the divine forces of love, sexuality, prosperity, pleasure, maternity, creativity, and fertility. And just as Ezili appears in different guises and characters, so too does Omise'eke Natasha Tinsley in her voice- and genre-shifting, exploratory book Ezili's Mirrors. Drawing on her background as a literary critic as well as her quest to learn the lessons of her spiritual ancestors, Tinsley theorizes black Atlantic sexuality by tracing how contemporary queer Caribbean and African American writers and performers evoke Ezili. Tinsley shows how Ezili is manifest in the work and personal lives of singers Whitney Houston and Azealia Banks, novelists Nalo Hopkinson and Ana Lara, performers MilDred Gerestant and Sharon Bridgforth, and filmmakers Anne Lescot and Laurence Magloire-none of whom identify as Vodou practitioners. In so doing, Tinsley offers a model of queer black feminist theory that creates new possibilities for decolonizing queer studies.

In Thiefing Sugar, Omise'eke Natasha Tinsley explores the poetry and prose of Caribbean women writers, revealing in their imagery a rich tradition of erotic relations between women. She takes the book's title from Dionne Brand's novel In Another Place, Not Here, where eroticism between women is likened to the sweet and subversive act of cane cutters stealing sugar. The natural world is repeatedly reclaimed and reinterpreted to express love between women in the poetry and prose that Tinsley analyzes. She not only recuperates stories of Caribbean women loving women, stories that have been ignored or passed over by postcolonial and queer scholarship until now, she also shows how those erotic relations and their literary evocations form a poetics and politics of decolonization. Tinsley's interpretations of twentieth-century literature by Dutch-, English-, and French-speaking women from the Caribbean take into account colonialism, migration, labor history, violence, and revolutionary politics. Throughout Thiefing Sugar, Tinsley connects her readings to contemporary matters such as neoimperialism and international LGBT and human-rights discourses. She explains too how the texts that she examines intervene in black feminist, queer, and postcolonial studies, particularly when she highlights the cultural limitations of the metaphors that dominate queer theory in North America and Europe, including those of the closet and "coming out."