![]() ![]() ![]() It can look like passages deeply investigating the frames and beyond-the-frames context of exploitative photographs taken of Black girls by White men. She has published several articles on slavery, including Venus in Two Acts and The Time of Slavery. It can look like essays taking one almost inside the minds of, for example: theorist W.E.B du Bois a white, lesbian tenement house landlord named Helen Parrish who fancies herself a reformer Mabel Hampton, a Black lady lover and sometimes-stud who always loved performing and aspired to the opera Esther Brown, who hated work, “.had nearly perfected the art of surviving without having to scrape and bow” (233), who “longed for another world” (235) before being entrapped by a vagrancy statute and imprisoned and many others. Saidiya Hartman is the author of Lose Your Mother: A Journey Along the Atlantic Slave Route (2007) and Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth Century America (1997). It can look like piercing prose poems reminiscent of Evie Shockley or Harryette Mullen’s works, deconstructing phrases such as “A Manual for General Housework” or “Wayward: A Short Entry on the Possible.” It can look like critical passages bridging historical eras to ruminate on how laws, racism, and political movements-and the entanglement of all three-have led to the imprisonment, impoverishment, and devaluing of Black women and queers. ![]() On a piece by piece level, this can look like biographical essays deeply narrating the lives of early 20th century Black women and queers, many of whom were institutionalized or imprisoned for living free. ![]()
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