The first comprehensive companion to the key contemporary analytic in US feminist thought includes a range of diverse scholars from a range on disciplinary fields outlines major debates and definitions of intersectionality

Topics covered include racial politics in feminist theory and practice; critical masculinity; the relationship between feminism and masculinity; abolition politics; the meaning of “TERF� (trans-exclusionary radical feminist) and its implications for feminist theory, practice, and politics. Contributors Aren Aizura, Leticia Alvarado, Heather Berg, Marquis Bey, Sarah Bey-West, Andrew Cutrone, Ramzi Fawaz, Lisa Guenther, Huey Hewitt, Candice Merritt, Durba Mitra, Jennifer C. Nash, Emily Owens, Samantha Pinto, Robyn Wiegman  

In Birthing Black Mothers Black feminist theorist Jennifer C. Nash examines how the figure of the "Black mother" has become a powerful political category. "Mothering while Black" has become synonymous with crisis as well as a site of cultural interest, empathy, fascination, and support. Cast as suffering and traumatized by their proximity to Black death-especially through medical racism and state-sanctioned police violence-Black mothers are often rendered as one-dimensional symbols of tragic heroism. In contrast, Nash examines Black mothers' self-representations and public performances of motherhood-including Black doulas and breastfeeding advocates alongside celebrities such as Beyonce, Serena Williams, and Michelle Obama-that are not rooted in loss. Through cultural critique and in-depth interviews, Nash acknowledges the complexities of Black motherhood outside its use as political currency. Throughout, Nash imagines a Black feminist project that refuses the lure of locating the precarity of Black life in women and instead invites readers to theorize, organize, and dream into being new modes of Black motherhood.

In Birthing Black Mothers Black feminist theorist Jennifer C. Nash examines how the figure of the "Black mother" has become a powerful political category. "Mothering while Black" has become synonymous with crisis as well as a site of cultural interest, empathy, fascination, and support. Cast as suffering and traumatized by their proximity to Black death-especially through medical racism and state-sanctioned police violence-Black mothers are often rendered as one-dimensional symbols of tragic heroism. In contrast, Nash examines Black mothers' self-representations and public performances of motherhood-including Black doulas and breastfeeding advocates alongside celebrities such as Beyonce, Serena Williams, and Michelle Obama-that are not rooted in loss. Through cultural critique and in-depth interviews, Nash acknowledges the complexities of Black motherhood outside its use as political currency. Throughout, Nash imagines a Black feminist project that refuses the lure of locating the precarity of Black life in women and instead invites readers to theorize, organize, and dream into being new modes of Black motherhood.

In Black Feminism Reimagined Jennifer C. Nash reframes black feminism's engagement with intersectionality, often celebrated as its primary intellectual and political contribution to feminist theory. Charting the institutional history and contemporary uses of intersectionality in the academy, Nash outlines how women's studies has both elevated intersectionality to the discipline's primary program-building initiative and cast intersectionality as a threat to feminism's coherence. As intersectionality has become a central feminist preoccupation, Nash argues that black feminism has been marked by a single affect-defensiveness-manifested by efforts to police intersectionality's usages and circulations. Nash contends that only by letting go of this deeply alluring protectionist stance, the desire to make property of knowledge, can black feminists reimagine intellectual production in ways that unleash black feminist theory's visionary world-making possibilities.

In Black Feminism Reimagined Jennifer C. Nash reframes black feminism's engagement with intersectionality, often celebrated as its primary intellectual and political contribution to feminist theory. Charting the institutional history and contemporary uses of intersectionality in the academy, Nash outlines how women's studies has both elevated intersectionality to the discipline's primary program-building initiative and cast intersectionality as a threat to feminism's coherence. As intersectionality has become a central feminist preoccupation, Nash argues that black feminism has been marked by a single affect-defensiveness-manifested by efforts to police intersectionality's usages and circulations. Nash contends that only by letting go of this deeply alluring protectionist stance, the desire to make property of knowledge, can black feminists reimagine intellectual production in ways that unleash black feminist theory's visionary world-making possibilities.

In The Black Body in Ecstasy, Jennifer C. Nash rewrites black feminism's theory of representation. Her analysis moves beyond black feminism's preoccupation with injury and recovery to consider how racial fictions can create a space of agency and even pleasure for black female subjects. Nash's innovative readings of hardcore pornographic films from the 1970s and 1980s develop a new method of analyzing racialized pornography that focuses on black women's pleasures in blackness: delights in toying with and subverting blackness, moments of racialized excitement, deliberate enactments of hyperbolic blackness, and humorous performances of blackness that poke fun at the fantastical project of race. Drawing on feminist and queer theory, critical race theory, and media studies, Nash creates a new black feminist interpretative practice, one attentive to the messy contradictions-between delight and discomfort, between desire and degradation-at the heart of black pleasures.

In The Black Body in Ecstasy, Jennifer C. Nash rewrites black feminism's theory of representation. Her analysis moves beyond black feminism's preoccupation with injury and recovery to consider how racial fictions can create a space of agency and even pleasure for black female subjects. Nash's innovative readings of hardcore pornographic films from the 1970s and 1980s develop a new method of analyzing racialized pornography that focuses on black women's pleasures in blackness: delights in toying with and subverting blackness, moments of racialized excitement, deliberate enactments of hyperbolic blackness, and humorous performances of blackness that poke fun at the fantastical project of race. Drawing on feminist and queer theory, critical race theory, and media studies, Nash creates a new black feminist interpretative practice, one attentive to the messy contradictions—between delight and discomfort, between desire and degradation—at the heart of black pleasures.