What would it mean to ""get over slavery""? Is such a thing possible? Is it even desirable? Should we perceive the psychic hold of slavery as a set of mental manacles that hold us back from imagining a postracist America? Or could the psychic hold of slavery be understood as a tool, helping us get a grip on the systemic racial inequalities and restricted liberties that persist in the present day? Featuring original essays from an array of established and emerging scholars in the interdisciplinary field of African American studies, The Psychic Hold of Slavery offers a nuanced dialogue upon these questions. With a painful awareness that our understanding of the past informs our understanding of the present - and vice versa - the contributors place slavery's historical legacies in conversation with twenty-first-century manifestations of antiblack violence, dehumanization, and social death. Through an exploration of film, drama, fiction, performance art, graphic novels, and philosophical discourse, this volume considers how artists grapple with questions of representation, as they ask whether slavery can ever be accurately depicted, trace the scars that slavery has left on a traumatized body politic, or debate how to best convey that black lives matter. The Psychic Hold of Slavery thus raises provocative questions about how we behold the historically distinct event of African diasporic enslavement and how we might hold off the transhistorical force of antiblack domination.

What would it mean to ""get over slavery""? Is such a thing possible? Is it even desirable? Should we perceive the psychic hold of slavery as a set of mental manacles that hold us back from imagining a postracist America? Or could the psychic hold of slavery be understood as a tool, helping us get a grip on the systemic racial inequalities and restricted liberties that persist in the present day? Featuring original essays from an array of established and emerging scholars in the interdisciplinary field of African American studies, The Psychic Hold of Slavery offers a nuanced dialogue upon these questions. With a painful awareness that our understanding of the past informs our understanding of the present - and vice versa - the contributors place slavery's historical legacies in conversation with twenty-first-century manifestations of antiblack violence, dehumanization, and social death. Through an exploration of film, drama, fiction, performance art, graphic novels, and philosophical discourse, this volume considers how artists grapple with questions of representation, as they ask whether slavery can ever be accurately depicted, trace the scars that slavery has left on a traumatized body politic, or debate how to best convey that black lives matter. The Psychic Hold of Slavery thus raises provocative questions about how we behold the historically distinct event of African diasporic enslavement and how we might hold off the transhistorical force of antiblack domination.

The post-civil rights era of the 1970s offered African Americans an all-too-familiar paradox. Material and symbolic gains contended with setbacks fueled by resentment and reaction. African American artists responded with black approaches to expression that made history in their own time and continue to exercise an enormous influence on contemporary culture and politics. This collection's fascinating spectrum of topics begins with the literary and cinematic representations of slavery from the 1970s to the present. Other authors delve into visual culture from Blaxploitation to the art of Betye Saar to stage works like A Movie Star Has to Star in Black and White as well as groundbreaking literary works like Corregidora and Captain Blackman. A pair of concluding essays concentrate on institutional change by looking at the Seventies surge of black publishing and by analyzing Ntozake Shange's for colored girls. . . in the context of current controversies surrounding sexual violence. Throughout, the writers reveal how Seventies black cultural production anchors important contemporary debates in black feminism and other issues while spurring the black imagination to thrive amidst abject social and political conditions. Contributors: Courtney R. Baker, Soyica Diggs Colbert, Madhu Dubey, Nadine Knight, Monica White Ndounou, Kinohi Nishikawa, Samantha Pinto, Jermaine Singleton, Terrion L. Williamson, and Lisa Woolfork

Using the term "exodus politics" to theorize the valorization of black male leadership in the movement for civil rights, Robert J. Patterson explores the ways in which the political strategies and ideologies of this movement paradoxically undermined the collective enfranchisement of black people. He argues that by narrowly conceptualizing civil rights in only racial terms and relying solely on a male figure, conventional African American leadership, though frequently redemptive, can also erode the very goals of civil rights.

The author turns to contemporary African American writers such as Ernest Gaines, Gayl Jones, Alice Walker, and Charles Johnson to show how they challenge the dominant models of civil rights leadership.

He draws on a variety of disciplines--including black feminism, civil rights history, cultural studies, and liberation theology--in order to develop a more nuanced formulation of black subjectivity and politics.

Patterson's connection of the concept of racial rights to gender and sexual rights allows him to illuminate the literature's promotion of more expansive models. By considering the competing and varied political interests of black communities, these writers reimagine the dominant models in a way that can empower communities to be self-sustaining in the absence of a messianic male leader.

Using the term "exodus politics" to theorize the valorization of black male leadership in the movement for civil rights, Robert J. Patterson explores the ways in which the political strategies and ideologies of this movement paradoxically undermined the collective enfranchisement of black people. He argues that by narrowly conceptualizing civil rights in only racial terms and relying solely on a male figure, conventional African American leadership, though frequently redemptive, can also erode the very goals of civil rights.

The author turns to contemporary African American writers such as Ernest Gaines, Gayl Jones, Alice Walker, and Charles Johnson to show how they challenge the dominant models of civil rights leadership.

He draws on a variety of disciplines--including black feminism, civil rights history, cultural studies, and liberation theology--in order to develop a more nuanced formulation of black subjectivity and politics.

Patterson's connection of the concept of racial rights to gender and sexual rights allows him to illuminate the literature's promotion of more expansive models. By considering the competing and varied political interests of black communities, these writers reimagine the dominant models in a way that can empower communities to be self-sustaining in the absence of a messianic male leader.

The post-civil rights era of the 1970s offered African Americans an all-too-familiar paradox. Material and symbolic gains contended with setbacks fueled by resentment and reaction. African American artists responded with black approaches to expression that made history in their own time and continue to exercise an enormous influence on contemporary culture and politics. This collection's fascinating spectrum of topics begins with the literary and cinematic representations of slavery from the 1970s to the present. Other authors delve into visual culture from Blaxploitation to the art of Betye Saar to stage works like A Movie Star Has to Star in Black and White as well as groundbreaking literary works like Corregidora and Captain Blackman. A pair of concluding essays concentrate on institutional change by looking at the Seventies surge of black publishing and by analyzing Ntozake Shange's for colored girls. . . in the context of current controversies surrounding sexual violence. Throughout, the writers reveal how Seventies black cultural production anchors important contemporary debates in black feminism and other issues while spurring the black imagination to thrive amidst abject social and political conditions. Contributors: Courtney R. Baker, Soyica Diggs Colbert, Madhu Dubey, Nadine Knight, Monica White Ndounou, Kinohi Nishikawa, Samantha Pinto, Jermaine Singleton, Terrion L. Williamson, and Lisa Woolfork