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 unfinished manuscript of literary and cultural theorist Lindon Barrett, this study offers a genealogy of how the development of racial blackness within the mercantile capitalist system of Euro-American colonial imperialism was constitutive of Western modernity. Masterfully connecting historical systems of racial slavery to post-Enlightenment modernity, this pathbreaking publication shows how Western modernity depended on a particular conception of racism contested by African American writers and intellectuals from the eighteenth century to the Harlem Renaissance.

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.

Over the course of his brief career, Melvin Dixon (1950-1992) became an important critical voice for African American scholarship as well as a widely read chronicler of the African American gay experience. His novels "Trouble the Water" and "Vanishing Rooms" still receive considerable attention, as do his collections of poetry and his major work of criticism, "Ride Out the Wilderness: Geography and Identity in Afro-American Literature."

In "A Melvin Dixon Critical Reader," scholars Justin A. Joyce and Dwight A. McBride have collected, for the first time in a single volume, the eight critical essays Dixon published during his lifetime. The volume divides Dixon's critical output into three categories--"Writing Black Diaspora Theory," "Writing African American Cultural Theory," and "Writing African American Literary Criticism"--and closes with a speech Dixon gave to the queer writers' conference, OutWrite, in 1992, just months before he succumbed to an AIDS-related illness.

What emerges from the essays collected here is the voice of a confident, engaging scholar, who tackles a wide range of literary and cultural topics. Dixon examines the trickster characters of Charles W. Chesnutt, the friendship between the Haitian novelist Jacques Roumain and Langston Hughes, and the aesthetic importance of black speech in the novels of Gayl Jones. His address to OutWrite serves as a poignant record of Dixon's knack to wax elegiac and poetic and to synthesize criticism, activism, and art. The introduction places Dixon in the contexts of African American cultural history and gay/lesbian critical discourse.

Justin A. Joyce is a doctoral candidate in the department of English at the University of Illinois-Chicago. Dwight A. McBride is Leon Forrest Professor and Chair of African American Studies at Northwestern University and the author of "Why I Hate Abercrombie & Fitch: Essays on Race and Sexuality in America" and "Impossible Witnesses: Truth, Abolitionism, and Slave Testimony."

The unfinished manuscript of literary and cultural theorist Lindon Barrett, this study offers a genealogy of how the development of racial blackness within the mercantile capitalist system of Euro-American colonial imperialism was constitutive of Western modernity. Masterfully connecting historical systems of racial slavery to post-Enlightenment modernity, this pathbreaking publication shows how Western modernity depended on a particular conception of racism contested by African American writers and intellectuals from the eighteenth century to the Harlem Renaissance.