In the Politics of Black Joy, Lindsey Stewart develops Hurston's contributions to political theory and philosophy of race by introducing the politics of joy as a refusal of neoabolitionism, a political tradition that reduces southern Black life to tragedy or social death.

In “Post‐Liberation Feminism,” Ladelle McWhorter raises the question of what practices will be helpful to further feminist goals if we are no longer in a state of domination, but are still oppressed. McWhorter finds resources in Michel Foucault's concept of “practices of freedom” to begin to answer this question. I build upon McWhorter's insight while recalling Angela Davis's Blues Legacies and Black Feminism: namely, that sexual love, as conceived in hoodoo and the blues, became a terrain upon which newly emancipated (...) blacks worked out what their newfound freedom meant. In this essay, I consider what practices of freedom would look like within a life‐giving nexus of hoodoo, blues, and sexual love. Not only does the image of the hoodoo woman, prevalent within the blues, emerge through an interaction of race, class, region, gender, sexuality, and spiritualty, but analyzing sexual love within this hoodoo–blues coupling will help us track how sexual love was transformed into a practice of freedom. I will argue that sexual love within this hoodoo–blues coupling reveals an important dimension of emancipatory work that both defies categorization as resistance and is crucial to the development of capacities for resistance. (shrink)

In “Post-Liberation Feminism,” Ladelle McWhorter raises the question of what practices will be helpful to further feminist goals if we are no longer in a state of domination, but are still oppressed. McWhorter finds resources in Michel Foucault's concept of “practices of freedom” to begin to answer this question. I build upon McWhorter's insight while recalling Angela Davis's Blues Legacies and Black Feminism: namely, that sexual love, as conceived in hoodoo and the blues, became a terrain upon which newly emancipated (...) blacks worked out what their newfound freedom meant. In this essay, I consider what practices of freedom would look like within a life-giving nexus of hoodoo, blues, and sexual love. Not only does the image of the hoodoo woman, prevalent within the blues, emerge through an interaction of race, class, region, gender, sexuality, and spiritualty, but analyzing sexual love within this hoodoo–blues coupling will help us track how sexual love was transformed into a practice of freedom. I will argue that sexual love within this hoodoo–blues coupling reveals an important dimension of emancipatory work that both defies categorization as resistance and is crucial to the development of capacities for resistance. (shrink)

The difference between us is very marked. Most that I have done and suffered in the service of our cause has been in public, and I have received encouragement at every step of the way. You on the o...

Alice Walker claims that the “advantageous heritage” of Black southern life is replete with intellectual meat for thinking and writing. How might the insights found in this “advantageous heritage” enrich our discussions of Black feminism in philosophy? Taking stock of this “advantageous heritage” is no mean feat in the discipline of philosophy as it sits at the intersection of two subfields that are already marginalized: Black feminist philosophy and southern philosophy. To help situate southern Black feminist philosophy, I draw upon (...) Kristie Dotson's model of “inheritance maps,” or an “attempt to take stock of what one has been given in a particular project and what one inherits as work yet to do.” Focusing primarily on the theme of refusal, I develop an “inheritance map” that lays out aspects of southern Black feminism that I have inherited from Angela Davis's Blues Legacies and Black Feminism. (shrink)

Biographical essays explore the careers of two major early photographers, Joseph-Philibert Girault de Prangey and William James Stillman. in addition, portfolios with works by Maxime Du Camp, John Beasley Greene, Francis Frith, Robert Macpherson, Adolphe Braun and others testify to the strength and consistency of other early photographers who captured the antique worlds around the Mediterranean."--BOOK JACKET.

“Granny midwives” often based their authority to practice midwifery on the spiritual traditions of rootwork or conjure passed down by the foremothers who trained them. However, granny midwives were compelled to give up their conjure-infused methods of birthing if they wanted to become licensed or be authorized by the state to continue their practice of midwifery. In response, some granny midwives refused to recognize the authority of the state in the birthing realm, willfully retaining rootwork in their birthing practices. In (...) this article, I contrast the response of granny midwives, a politics of refusal, with another major tradition in African American thought, a politics of recognition, such as gaining citizenship and rights, permits, and licenses from the state. Due to the political stakes of the granny midwife's conflict with the state, I argue that black feminists often endow the figure of the granny midwife with the political significance of refusal in our emancipatory imaginaries. To demonstrate this, I will analyze the interventions in black liberation politics that two black feminist writers make through their invocation of granny midwives: Zora Neale Hurston's essay, “High John de Conquer,” and Toni Morrison's novel, Paradise. (shrink)

In both popular culture and academic disciplines, feminism, especially feminisms of women of color, is increasing in popularity. But with that popularity comes certain challenges. It would seem that, due to its popularity, Black feminism has gained a nominal invite to professional philosophy’s (largely) white school social affair. But it has been invited by hosts who don’t quite know what to do with Black feminism once it’s arrived.

The difference between us is very marked. Most that I have done and suffered in the service of our cause has been in public, and I have received encouragement at every step of the way. You on the o...