Christopher Freeburg's Black Aesthetics and the Interior Life offers a crucial new reading of a neglected aspect of African American literature and art across the long twentieth century. Rejecting the idea that the most dehumanizing of black experiences, such as lynching or other racial violence, have completely robbed victims of their personhood, Freeburg rethinks what it means to be a person in the works of black artists. This book advances the idea that individual persons always retain the ability to withhold, express, or change their ideas, and this concept has profound implications for long-held assumptions about the relationship between black interior life and black collective political interests. Examining an array of seminal black texts-from Ida B. Wells's antilynching pamphlets to works by Richard Wright, Nina Simone, and Toni Morrison-Freeburg demonstrates that the personhood represented by these writers unsettles rather than automatically strengthens black subjects' relationships to political movements such as racial uplift, civil rights, and black nationalism. He shows how black artists illuminate the challenges of racial collectivity while stressing the vital stakes of individual personhood. In his challenge to current African Americanist criticism, Freeburg makes a striking contribution to our understanding of African American literature and culture.

In Counterlife Christopher Freeburg poses a question to contemporary studies of slavery and its aftereffects: what if freedom, agency, and domination weren't the overarching terms used for thinking about Black life? In pursuit of this question, Freeburg submits that current scholarship is too preoccupied with demonstrating enslaved Africans' acts of political resistance, and instead he considers Black social life beyond such concepts. He examines a rich array of cultural texts that depict slavery-from works by Frederick Douglass, Radcliffe Bailey, and Edward Jones to spirituals, the television cartoon The Boondocks, and Quentin Tarantino's Django Unchained-to show how enslaved Africans created meaning through artistic creativity, religious practice, and historical awareness both separate from and alongside concerns about freedom. By arguing for the impossibility of tracing slave subjects solely through their pursuits of freedom, Freeburg reminds readers of the arresting power and beauty that the enigmas of Black social life contain.

By examining the unique problems that blackness signifies in Moby-Dick, Pierre, Benito Cereno," and "The Encantadas," Christopher Freeburg analyzes how Herman Melville grapples with the social realities of racial difference in nineteenth-century America. Where Melville's critics typically read blackness as either a metaphor for the haunting power of slavery or an allegory of moral evil, Freeburg asserts that blackness functions as the site where Melville correlates the sociopolitical challenges of transatlantic slavery and U.S. colonial expansion with philosophical concerns about mastery. By focusing on Melville's iconic interracial encounters, Freeburg reveals the important role blackness plays in Melville's portrayal of characters' arduous attempts to seize their own destiny, amass scientific knowledge, and perfect themselves. A valuable resource for scholars and graduate students in American literature, this text will also appeal to those working in American, African American, and postcolonial studies.

By examining the unique problems that 'blackness' signifies in Moby-Dick, Pierre, 'Benito Cereno' and 'The Encantadas', Christopher Freeburg analyzes how Herman Melville grapples with the social realities of racial difference in nineteenth-century America. Where Melville's critics typically read blackness as either a metaphor for the haunting power of slavery or an allegory of moral evil, Freeburg asserts that blackness functions as the site where Melville correlates the sociopolitical challenges of transatlantic slavery and US colonial expansion with philosophical concerns about mastery. By focusing on Melville's iconic interracial encounters, Freeburg reveals the important role blackness plays in Melville's portrayal of characters' arduous attempts to seize their own destiny, amass scientific knowledge and perfect themselves. A valuable resource for scholars and graduate students in American literature, this text will also appeal to those working in American, African American and postcolonial studies.

In Counterlife Christopher Freeburg poses a question to contemporary studies of slavery and its aftereffects: what if freedom, agency, and domination weren't the overarching terms used for thinking about Black life? In pursuit of this question, Freeburg submits that current scholarship is too preoccupied with demonstrating enslaved Africans' acts of political resistance, and instead he considers Black social life beyond such concepts. He examines a rich array of cultural texts that depict slavery-from works by Frederick Douglass, Radcliffe Bailey, and Edward Jones to spirituals, the television cartoon The Boondocks, and Quentin Tarantino's Django Unchained-to show how enslaved Africans created meaning through artistic creativity, religious practice, and historical awareness both separate from and alongside concerns about freedom. By arguing for the impossibility of tracing slave subjects solely through their pursuits of freedom, Freeburg reminds readers of the arresting power and beauty that the enigmas of Black social life contain.

Christopher Freeburg's Black Aesthetics and the Interior Life offers a crucial new reading of a neglected aspect of African American literature and art across the long twentieth century. Rejecting the idea that the most dehumanizing of black experiences, such as lynching or other racial violence, have completely robbed victims of their personhood, Freeburg rethinks what it means to be a person in the works of black artists. This book advances the idea that individual persons always retain the ability to withhold, express, or change their ideas, and this concept has profound implications for long-held assumptions about the relationship between black interior life and black collective political interests. Examining an array of seminal black texts-from Ida B. Wells's antilynching pamphlets to works by Richard Wright, Nina Simone, and Toni Morrison-Freeburg demonstrates that the personhood represented by these writers unsettles rather than automatically strengthens black subjects' relationships to political movements such as racial uplift, civil rights, and black nationalism. He shows how black artists illuminate the challenges of racial collectivity while stressing the vital stakes of individual personhood. In his challenge to current African Americanist criticism, Freeburg makes a striking contribution to our understanding of African American literature and culture.