Christina Sharpe

Using the multiple meanings of wake to illustrate the ways Black lives are determined by slavery s afterlives, Christina Sharpe weaves personal experiences with readings of literary and artistic representations of Black life and death to examine what survives in the face of insistent violence and the possibilities for resistance."

On Blackness and Being

In the Wake

Ordinary Notes

Natalie Diaz

Dele Adeyemo

Nadia Yala Kisukidi

Four Alchemists. One book. A constellation of ideas.

In November 2022, the first annual Alchemy Lecture took place at York University in Toronto, bringing four deep and agile writers from different geographies and disciplines into vibrant conversation on a topic of urgent relevance: humans and borders. Now, in these pages, that conversation is captured and expanded in insightful, passionate ways.
    Architect, artist, and urban theorist Dele Adeyemo (UK/Nigeria) calls attention to the complexity of Black infrastructures, questioning how “the environments that surround us condition the possibility of our being.” Poet Natalie Diaz (US/Mojave/Akimel O’otham) writes: “Like story, migration is the sensual movement of knowledge,” and asks, “What is the language we need to live right now?” Philosopher Nadia Yala Kisukidi (France) suggests there is no diasporic life “without the dynamics of fabulation, where we pass down, from generation to generation, the stories of our ancestors who walked barefoot for many months.” And cultural theorist Rinaldo Walcott (Canada) asks us to consider inheritances beyond white supremacist logics: “What might it mean to live a life, if we can’t risk desiring and working towards utopia?”
    As each Alchemist considers the legacies of anti-colonial struggle, the future of the planet, and the textures of Black and Indigenous life, their essays speak to each other in multiple ways, creating something startling and revelatory: a vision of the world as it is, and as it could be.

The 2022 Alchemy Lecture

Borders, Human Itineraries, and All Our Relation

George Yancy

Beth Kamunge

Azeezat Johnson

Remi Joseph-Salisbury

Anti-Racist Scholarship in Times of Explicit Racial Violence

Fire Now

Torkwase Dyson

Paul Hlava Ceballos

Quenton Baker

Poetry. African & African American Studies. Latinx Studies. Art. This tÍte-bÍche (head-to-toe) book is more than the sum of its parts: two poetic accounts of Empire by two different writers. Assembled from Senate documents detailing the 1841 slave revolt aboard the brig Creole, Quenton Baker's we pilot the blood considers the position of blackness and the ongoing afterlife of slavery. Paul Hlava Ceballos's Banana [ ] collages declassified CIA documents, corporate reports, horticultural papers and personal accounts into a bloody portrait of multinational exploitation. Between these lyrical interrogations is a contemplative interval conducted by the writer and scholar Christina Sharpe in collaboration with Torkwase Dyson's Hypershapes.

Banana [ ] / We Pilot the Blood

Arguing that the fundamental, familiar, sexual violence of slavery and racialized subjugation have continued to shape black and white subjectivities into the present, Christina Sharpe interprets African diasporic and Black Atlantic visual and literary texts that address those “monstrous intimacies” and their repetition as constitutive of post-slavery subjectivity. Her illuminating readings juxtapose Frederick Douglass’s narrative of witnessing the brutal beating of his Aunt Hester with Essie Mae Washington-Williams’s declaration of freedom in Dear Senator: A Memoir by the Daughter of Strom Thurmond, as well as the “generational genital fantasies” depicted in Gayl Jones’s novel Corregidora with a firsthand account of such “monstrous intimacies” in the journals of an antebellum South Carolina senator, slaveholder, and vocal critic of miscegenation. Sharpe explores the South African–born writer Bessie Head’s novel Maru—about race, power, and liberation in Botswana—in light of the history of the KhoiSan woman Saartje Baartman, who was displayed in Europe as the “Hottentot Venus” in the nineteenth century. Reading Isaac Julien’s film The Attendant, Sharpe takes up issues of representation, slavery, and the sadomasochism of everyday black life. Her powerful meditation on intimacy, subjection, and subjectivity culminates in an analysis of Kara Walker’s black silhouettes, and the critiques leveled against both the silhouettes and the artist.

Making Post-Slavery Subjects

Monstrous Intimacies

Christina Sharpe

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