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In this original and trenchant work, Christina Sharpe interrogates
literary, visual, cinematic, and quotidian representations of Black
life that comprise what she calls the "orthography of the wake."
Activating multiple registers of "wake"-the path behind a ship,
keeping watch with the dead, coming to consciousness-Sharpe
illustrates how Black lives are swept up and animated by the
afterlives of slavery, and she delineates what survives despite
such insistent violence and negation. Initiating and describing a
theory and method of reading the metaphors and materiality of "the
wake," "the ship," "the hold," and "the weather," Sharpe shows how
the sign of the slave ship marks and haunts contemporary Black life
in the diaspora and how the specter of the hold produces conditions
of containment, regulation, and punishment, but also something in
excess of them. In the weather, Sharpe situates anti-Blackness and
white supremacy as the total climate that produces premature Black
death as normative. Formulating the wake and "wake work" as sites
of artistic production, resistance, consciousness, and possibility
for living in diaspora, In the Wake offers a way forward.
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Ordinary Notes (Paperback)
Christina Sharpe
bundle available
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R477
R397
Discovery Miles 3 970
Save R80 (17%)
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Ships in 9 - 15 working days
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In this original and trenchant work, Christina Sharpe interrogates
literary, visual, cinematic, and quotidian representations of Black
life that comprise what she calls the "orthography of the wake."
Activating multiple registers of "wake"-the path behind a ship,
keeping watch with the dead, coming to consciousness-Sharpe
illustrates how Black lives are swept up and animated by the
afterlives of slavery, and she delineates what survives despite
such insistent violence and negation. Initiating and describing a
theory and method of reading the metaphors and materiality of "the
wake," "the ship," "the hold," and "the weather," Sharpe shows how
the sign of the slave ship marks and haunts contemporary Black life
in the diaspora and how the specter of the hold produces conditions
of containment, regulation, and punishment, but also something in
excess of them. In the weather, Sharpe situates anti-Blackness and
white supremacy as the total climate that produces premature Black
death as normative. Formulating the wake and "wake work" as sites
of artistic production, resistance, consciousness, and possibility
for living in diaspora, In the Wake offers a way forward.
A powerful reframing of the study of Black art and the historical
and contemporary status of Black lives Perceptual Drift offers a
new interpretive model drawing on four key works of Black art in
the Cleveland Museum of Art's collection. In its chapters, leading
Black scholars from multiple disciplines deploy materialist
approaches to challenge the limits of canonic art history, rooted
as it is in social and racial inequities. The opening essay by Key
Jo Lee introduces the concept of "perceptual drift": a means of
exploring the matter of Blackness, or Blackness as matter in art
and scholarship. Christina Sharpe examines Rho I (1977) by Jack
Whitten; Lee explores Lorna Simpson's Cure/Heal (1992); Robin Coste
Lewis analyzes Ellen Gallagher's Bouffant Pride (2003); and Erica
Moiah James considers Simone Leigh's Las Meninas (2019). This
approach seeks to transform how art history is written, introduce
readers to complex objects and theoretical frameworks, illuminate
meanings and untold histories, and simultaneously celebrate and
open new entry points into Black art. Distributed for the Cleveland
Museum of Art
Spanning almost four decades, Dionne Brand’s poetry has given
rise to whole new grammars and vocabularies. With a profound
alertness that is attuned to this world and open to some other,
possibly future, time and place, Brand’s ongoing labors of
witness and imagination speak directly to where and how we live and
reach beyond those worlds, their enclosures, and their violences.
Nomenclature: New and Collected Poems begins with a new long poem,
the titular Nomenclature for the Time Being, in which Dionne
Brand’s diaspora consciousness dismantles our quotidian
disasters. In addition to this searing new work, Nomenclature
collects eight volumes of Brand’s poetry published between
1982Â and 2010 and includes a critical introduction by the
literary scholar and theorist Christina Sharpe. Nomenclature: New
and Collected Poems features the searching and centering
cantos of Primitive Offensive; the sharp musical conversations of
Winter Epigrams and Epigrams to Ernesto Cardenal in Defense of
Claudia; and the documentary losses of revolutions in Chronicles of
the Hostile Sun, in which “The street was empty/with all of us
standing there.†No Language Is Neutral reads language,
coloniality, and sexuality as a nexus. Land to Light On writes
intimacies and disaffections with nation, while in thirsty a
cold-eyed flâneur surveys the workings of the city. In
Inventory, written during the Gulf Wars, the poet is “the wars’
last and late night witness,†her job is not to soothe but
to “revise and revise this bristling
list/hourly.â€Â Ossuaries’ futurist speaker rounds out the
collection and threads multiple temporal worlds—past,
present, and future. This masterwork displays Dionne Brand’s
ongoing body of thought—trenchant, lyrical, absonant, discordant,
and meaning-making. Nomenclature: New and Collected Poems is
classic and living, a record of one of the great writers of our
age.
An immense achievement, comprising a decades-long career - new and
collected poetry from one of Canada's most honoured and significant
poets Spanning almost four decades, Dionne Brand's poetry has given
rise to whole new grammars and vocabularies. With a profound
alertness that is attuned to this world and open to some other,
possibly future, time and place, Brand's ongoing labours of witness
and imagination speak directly to where and how we live and reach
beyond those worlds, their enclosures, and their violences.
Nomenclature: New and Collected Poems begins with a new long poem,
the titular "Nomenclature for the Time Being," in which Dionne
Brand's diaspora consciousness dismantles our quotidian disasters.
In addition to this searing new work, Nomenclature collects eight
volumes of Brand's poetry published between 1982 and 2010 and
includes a critical introduction by the literary scholar and
theorist Christina Sharpe. Nomenclature: New and Collected Poems,
features the searching and centering cantos of Primitive Offensive;
the sharp musical conversations of Winter Epigrams and Epigrams to
Ernesto Cardenal in Defense of Claudia; the documentary losses of
revolutions in Chronicles of the Hostile Sun, in which "The street
was empty/with all of us standing there." No Language Is Neutral
connects language, coloniality, and sexuality. Land to Light On
explores intimacies and disaffections with nationality and the
nation-state, while in thirsty a cold-eyed flâneur surveys the
workings of the city. In Inventory, written during the Gulf Wars,
the poet is "the wars' last and late night witness," her job not to
soothe but to "revise and revise this bristling list/hourly."
Ossuaries' futurist speaker rounds out the collection, and threads
multiple temporal worlds - past, present, and future. This
masterwork displays Dionne Brand's ongoing body of thought -
trenchant, lyrical, absonant, discordant, and meaning-making.
Nomenclature: New and Collected Poems is classic and living, a
record of one of the great writers of our age.
New commissioned work by an important American contemporary artist
using a multidisciplinary approach to examine issues of race and
identity Produced for the Future Fields Commission in Time-Based
Media by the multidisciplinary artist Martine Syms (b. 1988),
Neural Swamp is an immersive video installation that builds upon
Syms's interest in the proliferation, circulation, and consumption
of images, as well as her continued research into machine systems
that erase or make invisible Black bodies, voices, and narratives.
The publication documents this new work, offering in-depth analysis
and a visual essay that reflects the specific approach to images
and text characterizing Syms's practice. Neural Swamp's
multichannel presentation reveals its characters through their
reading of a continually changing script, the variations determined
by a text-generating model. Through these dynamic interactions,
along with the installation's physical elements, Syms creates a
kaleidoscopic view of the world and our complex relationship with
one another and with technology. Published in association with the
Philadelphia Museum of Art and the Fondazione Sandretto Re
Rebaudengo Exhibition Schedule: Fondazione Sandretto Re Rebaudengo,
Turin (November 5, 2021-March 27, 2022) Philadelphia Museum of Art
(May 14-October 30, 2022)
Arguing that the fundamental, familiar, sexual violence of slavery
and racialized subjugation have continued to shape black and white
subjectivities into the present, Christina Sharpe interprets
African diasporic and Black Atlantic visual and literary texts that
address those "monstrous intimacies" and their repetition as
constitutive of post-slavery subjectivity. Her illuminating
readings juxtapose Frederick Douglass's narrative of witnessing the
brutal beating of his Aunt Hester with Essie Mae
Washington-Williams's declaration of freedom in "Dear Senator: A
Memoir by the Daughter of Strom Thurmond," as well as the
"generational genital fantasies" depicted in Gayl Jones's novel
"Corregidora" with a firsthand account of such "monstrous
intimacies" in the journals of an antebellum South Carolina
senator, slaveholder, and vocal critic of miscegenation. Sharpe
explores the South African-born writer Bessie Head's novel
"Maru"--about race, power, and liberation in Botswana--in light of
the history of the KhoiSan woman Saartje Baartman, who was
displayed in Europe as the "Hottentot Venus" in the nineteenth
century. Reading Isaac Julien's film "The Attendant," Sharpe takes
up issues of representation, slavery, and the sadomasochism of
everyday black life. Her powerful meditation on intimacy,
subjection, and subjectivity culminates in an analysis of Kara
Walker's black silhouettes, and the critiques leveled against both
the silhouettes and the artist.
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Torkwase Dyson: A Liquid Belonging
Torkwase Dyson; Interview by Christina Sharpe; Text written by Dionne Brand, LeRonn P. Brooks, Saidiya Hartman, …
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R1,315
Discovery Miles 13 150
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Ships in 10 - 15 working days
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Not so long ago, many spoke of a 'post-racial' era, claiming that
advances made by people of colour showed that racial divisions were
becoming a thing of the past. But the hollowness of such claims has
been exposed by the rise of Trump and Brexit, both of which have
revealed deep seated white resentment, and have been attended by a
resurgence in hate crime and overt racial hatred on both sides of
the Atlantic. At a time when progress towards equality is not only
stalling, but being actively reversed, how should anti-racist
scholars respond? This collection carries on James Baldwin's legacy
of bearing witness to racial violence in its many forms. Its
authors address how we got to this particular moment, arguing that
it can only be truly understood by placing it within the wider
historical and structural contexts that normalise racism and white
supremacy. Its chapters engage with a wide range of contemporary
issues and debates, from the whiteness of the recent women's
marches, to anti-racist education, to the question of Black
resistance and intersectionality. Mapping out the problems we face,
and the solutions we need, the book considers how anti-racist
scholarship and activism can overcome the setbacks posed by the
resurgence of white supremacy.
Not so long ago, many spoke of a 'post-racial' era, claiming that
advances made by people of colour showed that racial divisions were
becoming a thing of the past. But the hollowness of such claims has
been exposed by the rise of Trump and Brexit, both of which have
revealed deep seated white resentment, and have been attended by a
resurgence in hate crime and overt racial hatred on both sides of
the Atlantic. At a time when progress towards equality is not only
stalling, but being actively reversed, how should anti-racist
scholars respond? This collection carries on James Baldwin's legacy
of bearing witness to racial violence in its many forms. Its
authors address how we got to this particular moment, arguing that
it can only be truly understood by placing it within the wider
historical and structural contexts that normalise racism and white
supremacy. Its chapters engage with a wide range of contemporary
issues and debates, from the whiteness of the recent women's
marches, to anti-racist education, to the question of Black
resistance and intersectionality. Mapping out the problems we face,
and the solutions we need, the book considers how anti-racist
scholarship and activism can overcome the setbacks posed by the
resurgence of white supremacy.
Arguing that the fundamental, familiar, sexual violence of slavery
and racialized subjugation have continued to shape black and white
subjectivities into the present, Christina Sharpe interprets
African diasporic and Black Atlantic visual and literary texts that
address those "monstrous intimacies" and their repetition as
constitutive of post-slavery subjectivity. Her illuminating
readings juxtapose Frederick Douglass's narrative of witnessing the
brutal beating of his Aunt Hester with Essie Mae
Washington-Williams's declaration of freedom in "Dear Senator: A
Memoir by the Daughter of Strom Thurmond," as well as the
"generational genital fantasies" depicted in Gayl Jones's novel
"Corregidora" with a firsthand account of such "monstrous
intimacies" in the journals of an antebellum South Carolina
senator, slaveholder, and vocal critic of miscegenation. Sharpe
explores the South African-born writer Bessie Head's novel
"Maru"--about race, power, and liberation in Botswana--in light of
the history of the KhoiSan woman Saartje Baartman, who was
displayed in Europe as the "Hottentot Venus" in the nineteenth
century. Reading Isaac Julien's film "The Attendant," Sharpe takes
up issues of representation, slavery, and the sadomasochism of
everyday black life. Her powerful meditation on intimacy,
subjection, and subjectivity culminates in an analysis of Kara
Walker's black silhouettes, and the critiques leveled against both
the silhouettes and the artist.
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