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Winner of the 2015 LGBT Studies Award presented by the Lambda
Literary Foundation Unearths connections between homoeroticism,
cannibalism, and cultures of consumption in the context of American
literature and US slave culture that has largely been ignored until
now Scholars of US and transatlantic slavery have largely ignored
or dismissed accusations that Black Americans were cannibalized.
Vincent Woodard takes the enslaved person's claims of human
consumption seriously, focusing on both the literal starvation of
the slave and the tropes of cannibalism on the part of the
slaveholder, and further draws attention to the ways in which
Blacks experienced their consumption as a fundamentally homoerotic
occurrence. The Delectable Negro explores these connections between
homoeroticism, cannibalism, and cultures of consumption in the
context of American literature and US slave culture. Utilizing many
staples of African American literature and culture, such as the
slave narratives of Olaudah Equiano, Harriet Jacobs, and Frederick
Douglass, as well as other less circulated materials like James L.
Smith's slave narrative, runaway slave advertisements, and numerous
articles from Black newspapers published in the nineteenth century,
Woodard traces the racial assumptions, political aspirations,
gender codes, and philosophical frameworks that dictated both
European and white American arousal towards Black males and hunger
for Black male flesh. Woodard uses these texts to unpack how slaves
struggled not only against social consumption, but also against
endemic mechanisms of starvation and hunger designed to break them.
He concludes with an examination of the controversial chain gang
oral sex scene in Toni Morrison's Beloved, suggesting that even at
the end of the twentieth and beginning of the twenty-first century,
we are still at a loss for language with which to describe Black
male hunger within a plantation culture of consumption.
The follow-up to the groundbreaking Black Queer Studies, the edited
collection No Tea, No Shade brings together nineteen essays from
the next generation of scholars, activists, and community leaders
doing work on black gender and sexuality. Building on the
foundations laid by the earlier volume, this collection's
contributors speak new truths about the black queer experience
while exemplifying the codification of black queer studies as a
rigorous and important field of study. Topics include "raw" sex,
pornography, the carceral state, gentrification, gender
nonconformity, social media, the relationship between black
feminist studies and black trans studies, the black queer
experience throughout the black diaspora, and queer music, film,
dance, and theater. The contributors both disprove naysayers who
believed black queer studies to be a passing trend and respond to
critiques of the field's early U.S. bias. Deferring to the past
while pointing to the future, No Tea, No Shade pushes black queer
studies in new and exciting directions. Contributors. Jafari S.
Allen, Marlon M. Bailey, Zachary Shane Kalish Blair, La Marr
Jurelle Bruce, Cathy J. Cohen, Jennifer DeClue, Treva Ellison,
Lyndon K. Gill, Kai M. Green, Alexis Pauline Gumbs, Kwame Holmes,
E. Patrick Johnson, Shaka McGlotten, Amber Jamilla Musser, Alison
Reed, Ramon H. Rivera-Servera, Tanya Saunders, C. Riley Snorton,
Kaila Story, Omise'eke Natasha Tinsley, Julia Roxanne Wallace,
Kortney Ziegler
Staging an important new conversation between performers and
critics, Blacktino Queer Performance approaches the interrelations
of blackness and Latinidad through a stimulating mix of theory and
art. The collection contains nine performance scripts by
established and emerging black and Latina/o queer playwrights and
performance artists, each accompanied by an interview and critical
essay conducted or written by leading scholars of black, Latina/o,
and queer expressive practices. As the volume's framing device,
"blacktino" grounds the specificities of black and brown social and
political relations while allowing the contributors to maintain the
goals of queer-of-color critique. Whether interrogating
constructions of Latino masculinity, theorizing the black queer
male experience, or examining black lesbian relationships, the
contributors present blacktino queer performance as an artistic,
critical, political, and collaborative practice. These scripts,
interviews, and essays not only accentuate the value of blacktino
as a reading device; they radiate the possibilities for thinking
through the concepts of blacktino, queer, and performance across
several disciplines. Blacktino Queer Performance reveals the
inevitable flirtations, frictions, and seductions that mark the
contours of any ethnoracial love affair. Contributors. Jossiana
Arroyo, Marlon M. Bailey, Pamela Booker, Sharon Bridgforth,
Jennifer Devere Brody, Cedric Brown, Bernadette Marie Calafell,
Javier Cardona, E. Patrick Johnson, Omi Osun Joni L. Jones, John
Keene, Lawrence La Fountain-Stokes, D. Soyini Madison, Jeffrey Q.
McCune Jr., Andreea Micu, Charles I. Nero, Tavia Nyong'o, Paul
Outlaw, Coya Paz, Charles Rice-Gonzalez, Sandra L. Richards, Matt
Richardson, Ramon H. Rivera-Servera, Celiany Rivera-Velazquez,
Tamara Roberts, Lisa B. Thompson, Beliza Torres Narvaez, Patricia
Ybarra, Vershawn Ashanti Young
E. Patrick Johnson's Honeypot opens with the fictional trickster
character Miss B. barging into the home of Dr. EPJ, informing him
that he has been chosen to collect and share the stories of her
people. With little explanation, she whisks the reluctant Dr. EPJ
away to the women-only world of Hymen, where she serves as his tour
guide as he bears witness to the real-life stories of queer Black
women throughout the American South. The women he meets come from
all walks of life and recount their experiences on topics ranging
from coming out and falling in love to mother/daughter
relationships, religion, and political activism. As Dr. EPJ hears
these stories, he must grapple with his privilege as a man and as
an academic, and in the process he gains insights into patriarchy,
class, sex, gender, and the challenges these women face. Combining
oral history with magical realism and poetry, Honeypot is an
engaging and moving book that reveals the complexity of identity
while offering a creative method for scholarship to represent the
lives of other people in a rich and dynamic way.
The follow-up to the groundbreaking Black Queer Studies, the edited
collection No Tea, No Shade brings together nineteen essays from
the next generation of scholars, activists, and community leaders
doing work on black gender and sexuality. Building on the
foundations laid by the earlier volume, this collection's
contributors speak new truths about the black queer experience
while exemplifying the codification of black queer studies as a
rigorous and important field of study. Topics include "raw" sex,
pornography, the carceral state, gentrification, gender
nonconformity, social media, the relationship between black
feminist studies and black trans studies, the black queer
experience throughout the black diaspora, and queer music, film,
dance, and theater. The contributors both disprove naysayers who
believed black queer studies to be a passing trend and respond to
critiques of the field's early U.S. bias. Deferring to the past
while pointing to the future, No Tea, No Shade pushes black queer
studies in new and exciting directions. Contributors. Jafari S.
Allen, Marlon M. Bailey, Zachary Shane Kalish Blair, La Marr
Jurelle Bruce, Cathy J. Cohen, Jennifer DeClue, Treva Ellison,
Lyndon K. Gill, Kai M. Green, Alexis Pauline Gumbs, Kwame Holmes,
E. Patrick Johnson, Shaka McGlotten, Amber Jamilla Musser, Alison
Reed, Ramon H. Rivera-Servera, Tanya Saunders, C. Riley Snorton,
Kaila Story, Omise'eke Natasha Tinsley, Julia Roxanne Wallace,
Kortney Ziegler
While over the past decade a number of scholars have done
significant work on questions of black lesbian, gay, bisexual, and
transgendered identities, this volume is the first to collect this
groundbreaking work and make black queer studies visible as a
developing field of study in the United States. Bringing together
essays by established and emergent scholars, this collection
assesses the strengths and weaknesses of prior work on race and
sexuality and highlights the theoretical and political issues at
stake in the nascent field of black queer studies. Including work
by scholars based in English, film studies, black studies,
sociology, history, political science, legal studies, cultural
studies, and performance studies, the volume showcases the broadly
interdisciplinary nature of the black queer studies project.The
contributors consider representations of the black queer body,
black queer literature, the pedagogical implications of black queer
studies, and the ways that gender and sexuality have been glossed
over in black studies and race and class marginalized in queer
studies. Whether exploring the closet as a racially loaded
metaphor, arguing for the inclusion of diaspora studies in black
queer studies, considering how the black lesbian voice that was so
expressive in the 1970s and 1980s is all but inaudible today, or
investigating how the social sciences have solidified racial and
sexual exclusionary practices, these insightful essays signal an
important and necessary expansion of queer studies. Contributors.
Bryant K. Alexander, Devon Carbado, Faedra Chatard Carpenter, Keith
Clark, Cathy Cohen, Roderick A. Ferguson, Jewelle Gomez, Phillip
Brian Harper, Mae G. Henderson, Sharon P. Holland, E. Patrick
Johnson, Kara Keeling, Dwight A. McBride, Charles I. Nero, Marlon
B. Ross, Rinaldo Walcott, Maurice O. Wallace
This book is the stage version of E. Patrick Johnson's Sweet Tea:
Black Gay Men of the South - An Oral History, a groundbreaking text
for the fields of black studies, queer studies, and Southern oral
history and ethnography. Between 2004 and 2006, Johnson edited a
series of narratives from black gay men who were born and raised in
the South and have continued to live there. While the scholarly
text of Sweet Tea has enjoyed wide circulation, Johnson knew that
the stories of these individuals weren't able to come fully alive
on the page. He transformed the text into a theatrical performance,
which originally toured the country as Pourin' Tea: Black Gay Men
of the South Tell Their Tales. The oral history has also been
adapted into a documentary, Making Sweet Tea. Based on several
mounted tours and individual stagings, Sweet Tea: A Play provides
an opportunity for readers, students, theater practitioners, and
audiences from different backgrounds to engage with the lives of
these incredible characters.
E. Patrick Johnson's Honeypot opens with the fictional trickster
character Miss B. barging into the home of Dr. EPJ, informing him
that he has been chosen to collect and share the stories of her
people. With little explanation, she whisks the reluctant Dr. EPJ
away to the women-only world of Hymen, where she serves as his tour
guide as he bears witness to the real-life stories of queer Black
women throughout the American South. The women he meets come from
all walks of life and recount their experiences on topics ranging
from coming out and falling in love to mother/daughter
relationships, religion, and political activism. As Dr. EPJ hears
these stories, he must grapple with his privilege as a man and as
an academic, and in the process he gains insights into patriarchy,
class, sex, gender, and the challenges these women face. Combining
oral history with magical realism and poetry, Honeypot is an
engaging and moving book that reveals the complexity of identity
while offering a creative method for scholarship to represent the
lives of other people in a rich and dynamic way.
This book features new plays by Lisa B. Thompson, author of Single
Black Female. In these three plays, the black feminist playwright
and scholar thoughtfully explores themes such as the black family,
motherhood, migration, racial violence, and trauma and its effect
on black people from the early twentieth century to the present.
The works showcase Thompson's subversive humour and engagement with
black history and culture through the lens of the black middle
class. The thriller Underground explores the challenges of radical
black politics among the black middle class in the post-Obama era.
Monroe, a period drama about the Great Migration, depicts the
impact of a lynching on a family and community in 1940s Louisiana.
The Mamalogues, a satirical comedy, focuses on three middle-class
black single mothers as they lean in, stress out, and guide
precocious black children from diapers to college in a dangerous
world. This collection will be compelling to readers interested in
African American studies; drama, theater, and performance; feminist
and gender studies; popular culture and media studies; and American
studies.
Performance artist and scholar E. Patrick Johnson's provocative
study examines how blackness is appropriated and performed-toward
widely divergent ends-both within and outside African American
culture. Appropriating Blackness develops from the contention that
blackness in the United States is necessarily a politicized
identity-avowed and disavowed, attractive and repellent, fixed and
malleable. Drawing on performance theory, queer studies, literary
analysis, film criticism, and ethnographic fieldwork, Johnson
describes how diverse constituencies persistently try to prescribe
the boundaries of "authentic" blackness and how performance
highlights the futility of such enterprises.Johnson looks at
various sites of performed blackness, including Marlon Riggs's
influential documentary Black Is . . . Black Ain't and comedic
routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He
analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver,
the vernacular of black gay culture, an oral history of his
grandmother's experience as a domestic worker in the South, gospel
music as performed by a white Australian choir, and pedagogy in a
performance studies classroom. By exploring the divergent aims and
effects of these performances-ranging from resisting racism,
sexism, and homophobia to excluding sexual dissidents from the
black community-Johnson deftly analyzes the multiple significations
of blackness and their myriad political implications. His reflexive
account considers his own complicity, as ethnographer and teacher,
in authenticating narratives of blackness.
Drawn from the life narratives of more than seventy African
American queer women who were born, raised, and continue to reside
in the American South, this book powerfully reveals the way these
women experience and express racial, sexual, gender, and class
identities-all linked by a place where such identities have
generally placed them on the margins of society. Using methods of
oral history and performance ethnography, E. Patrick Johnson's work
vividly enriches the historical record of racialized sexual
minorities in the South and brings to light the realities of the
region's thriving black lesbian communities. At once transcendent
and grounded in place and time, these narratives raise important
questions about queer identity formation, community building, and
power relations as they are negotiated within the context of
southern history. Johnson uses individual stories to reveal the
embedded political and cultural ideologies of the self but also of
the listener and society as a whole. These breathtakingly rich life
histories show afresh how black female sexuality is and always has
been an integral part of the patchwork quilt that is southern
culture.
Giving voice to a population too rarely acknowledged, Sweet Tea
collects more than sixty life stories from black gay men who were
born, raised, and continue to live in the South. E. Patrick Johnson
challenges stereotypes of the South as ""backward"" or
""repressive"" and offers a window into the ways black gay men
negotiate their identities, build community, maintain friendship
networks, and find sexual and life partners--often in spaces and
activities that appear to be antigay. Ultimately, Sweet Tea
validates the lives of these black gay men and reinforces the role
of storytelling in both African American and southern cultures.
|Giving voice to a population too rarely acknowledged, Sweet Tea
collects more than sixty life stories from black gay men who were
born, raised, and continue to live in the South. E. Patrick Johnson
challenges stereotypes of the South as ""backward"" or
""repressive"" and offers a window into the ways black gay men
negotiate their identities, build community, maintain friendship
networks, and find sexual and life partners--often in spaces and
activities that appear to be antigay. Sweet Tea validates the lives
of these black gay men and reinforces the role of storytelling in
both African American and southern cultures.
Winner of the 2015 LGBT Studies Award presented by the Lambda
Literary Foundation Unearths connections between homoeroticism,
cannibalism, and cultures of consumption in the context of American
literature and US slave culture that has largely been ignored until
now Scholars of US and transatlantic slavery have largely ignored
or dismissed accusations that Black Americans were cannibalized.
Vincent Woodard takes the enslaved person's claims of human
consumption seriously, focusing on both the literal starvation of
the slave and the tropes of cannibalism on the part of the
slaveholder, and further draws attention to the ways in which
Blacks experienced their consumption as a fundamentally homoerotic
occurrence. The Delectable Negro explores these connections between
homoeroticism, cannibalism, and cultures of consumption in the
context of American literature and US slave culture. Utilizing many
staples of African American literature and culture, such as the
slave narratives of Olaudah Equiano, Harriet Jacobs, and Frederick
Douglass, as well as other less circulated materials like James L.
Smith's slave narrative, runaway slave advertisements, and numerous
articles from Black newspapers published in the nineteenth century,
Woodard traces the racial assumptions, political aspirations,
gender codes, and philosophical frameworks that dictated both
European and white American arousal towards Black males and hunger
for Black male flesh. Woodard uses these texts to unpack how slaves
struggled not only against social consumption, but also against
endemic mechanisms of starvation and hunger designed to break them.
He concludes with an examination of the controversial chain gang
oral sex scene in Toni Morrison's Beloved, suggesting that even at
the end of the twentieth and beginning of the twenty-first century,
we are still at a loss for language with which to describe Black
male hunger within a plantation culture of consumption.
Staging an important new conversation between performers and
critics, Blacktino Queer Performance approaches the interrelations
of blackness and Latinidad through a stimulating mix of theory and
art. The collection contains nine performance scripts by
established and emerging black and Latina/o queer playwrights and
performance artists, each accompanied by an interview and critical
essay conducted or written by leading scholars of black, Latina/o,
and queer expressive practices. As the volume's framing device,
"blacktino" grounds the specificities of black and brown social and
political relations while allowing the contributors to maintain the
goals of queer-of-color critique. Whether interrogating
constructions of Latino masculinity, theorizing the black queer
male experience, or examining black lesbian relationships, the
contributors present blacktino queer performance as an artistic,
critical, political, and collaborative practice. These scripts,
interviews, and essays not only accentuate the value of blacktino
as a reading device; they radiate the possibilities for thinking
through the concepts of blacktino, queer, and performance across
several disciplines. Blacktino Queer Performance reveals the
inevitable flirtations, frictions, and seductions that mark the
contours of any ethnoracial love affair. Contributors. Jossiana
Arroyo, Marlon M. Bailey, Pamela Booker, Sharon Bridgforth,
Jennifer Devere Brody, Cedric Brown, Bernadette Marie Calafell,
Javier Cardona, E. Patrick Johnson, Omi Osun Joni L. Jones, John
Keene, Lawrence La Fountain-Stokes, D. Soyini Madison, Jeffrey Q.
McCune Jr., Andreea Micu, Charles I. Nero, Tavia Nyong'o, Paul
Outlaw, Coya Paz, Charles Rice-Gonzalez, Sandra L. Richards, Matt
Richardson, Ramon H. Rivera-Servera, Celiany Rivera-Velazquez,
Tamara Roberts, Lisa B. Thompson, Beliza Torres Narvaez, Patricia
Ybarra, Vershawn Ashanti Young
Drawn from the life narratives of more than seventy African
American queer women who were born, raised, and continue to reside
in the American South, this book powerfully reveals the way these
women experience and express racial, sexual, gender, and class
identities-all linked by a place where such identities have
generally placed them on the margins of society. Using methods of
oral history and performance ethnography, E. Patrick Johnson's work
vividly enriches the historical record of racialized sexual
minorities in the South and brings to light the realities of the
region's thriving black lesbian communities. At once transcendent
and grounded in place and time, these narratives raise important
questions about queer identity formation, community building, and
power relations as they are negotiated within the context of
southern history. Johnson uses individual stories to reveal the
embedded political and cultural ideologies of the self but also of
the listener and society as a whole. These breathtakingly rich life
histories show afresh how black female sexuality is and always has
been an integral part of the patchwork quilt that is southern
culture.
The collection solo/black/woman features seven solo performances
by emerging and established feminist performance artists from the
past three decades. The scripts are accompanied by interviews and
critical essays, as well as a DVD showcasing the performances. The
performers range from Robbie McCauley and Rhodessa Jones, who were
at the leading edge of the solo monologue boom of the 1980s, to new
talents such as Stacey Robinson and Misty DeBerry. Collectively,
their work displays an enormous range of aesthetic approach and
thematic emphasis. The anthology offers a comprehensive,
stimulating introduction to the beauty, richness, urgency,
pleasure, and political promise of black feminist performance.
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