Abstract

This article examines the belated reception and occlusion of the photographic work of Roy DeCarava by evaluating two recent publications: The Sound I Saw: Improvisations on a Jazz Theme (2019) and Light Break (2019). In the article, I attend to the ways in which DeCarava’s closely cropped photographs delve into the sensual, private textures of everyday life but also track as well the collective anguish and social discontent that still burns on today.