The first wound for all of us who are classified as “black” is empire. In Black and Female, Tsitsi Dangarembga examines the legacy of imperialism on her own life and on every aspect of black embodied African life. This paradigm-shifting essay collection weaves the personal and political in an illuminating exploration of race and gender. Dangarembga recounts a painful separation from her parents as a toddler, connecting this experience to the ruptures caused in Africa by human trafficking and enslavement. She argues that, after independence, the ruling party in Zimbabwe only performed inclusion for women while silencing the work of self-actualized feminists. She describes her struggles to realize her ambitions in theater, film, and literature, laying out the long path to the publication of her novels. At once philosophical, intimate, and urgent, Black and Female is a powerful testimony of the pervasive and long-lasting effects of racism and patriarchy that provides an ultimately hopeful vision for change. Black feminists are “the status quo’s worst nightmare.” Dangarembga writes, “our conviction is deep, bolstered by a vivid imagination that reminds us that other realities are possible beyond the one that obtains.”

Tracy Brown's Single Black Female is a taut, edgy, deftly spun novel about four friends grappling with the dramatic twists and turns of life, love and what it means to “make it” in America. Ivy Donovan is a successful stylist, entrepreneur, and single mom who has been loyal to her sons’ father, Michael, who’s serving a lengthy prison sentence. But life has gotten lonely over the years, and Ivy wants more for herself. Michael, however, isn’t about to lose his family. Coco Norris is well-off, single, childless, and struggling with her allegiance to emotionally unavailable men. When she finds a man who seems like he can give her everything she has ever wanted, Coco soon discovers that she has taken on more than she can possibly handle. Deja Maddox is a real estate agent who is married to Bobby, a police sergeant with the NYPD. They have assimilated, looking down on anything that doesn’t fit their buttoned-up, polished life. But Deja isn’t as satisfied as she would like everyone to believe. When Deja’s past returns with a vengeance, she’s forced to face herself as her “perfect” life begins to crumble. Nikki Diamond is a savvy, self-made businesswoman and social media darling who lives large and with no regrets. She’s also Deja’s little sister and thinks her sister can have so much more than her ho-hum marriage. And Nikki is all too happy to lend a “helping” hand to make that happen. Things come to a head when Ivy’s youngest son, Kingston, is caught up in a polarizing encounter with the NYPD. Everyone must figure out where they stand, including Bobby, who suddenly has to decide if his “blue life” matters more to him than his Black life and the Black lives of those he loves. Single Black Female highlights the nuances of Black love, the often tested bonds of Black families, what it means to face the world as a Black man and the joy and pain of being a Black woman.

Posthuman Blackness and the Black Female Imagination examines the future-oriented visions of black subjectivity in works by contemporary black women writers, filmmakers, and musicians, including Toni Morrison, Octavia Butler, Julie Dash, and Janelle Monáe. In this innovative study, Kristen Lillvis supplements historically situated conceptions of blackness with imaginative projections of black futures. This theoretical approach allows her to acknowledge the importance of history without positing a purely historical origin for black identities. The authors considered in this book set their stories in the past yet use their characters, particularly women characters, to show how the potential inherent in the future can inspire black authority and resistance. Lillvis introduces the term “posthuman blackness” to describe the empowered subjectivities black women and men develop through their simultaneous existence within past, present, and future temporalities. This project draws on posthuman theory—an area of study that examines the disrupted unities between biology and technology, the self and the outer world, and, most important for this project, history and potentiality—in its readings of a variety of imaginative works, including works of historical fiction such as Gayl Jones’s Corregidora and Morrison’s Beloved. Reading neo–slave narratives through posthuman theory reveals black identity and culture as temporally flexible, based in the potential of what is to come and the history of what has occurred.

This volume explores issues of black female identity through the various "imaginings" of the black female body in print and visual culture. Contributions emphasize the ways in which the black female body is framed and how black women (and their allies) have sought to write themselves back into social discourses on their terms.

Recovering the Black Female Body recognizes the pressing need to highlight through scholarship the vibrant energy of African American women's attempts to wrest control of the physical and symbolic construction of their bodies away from the distortions of others.

From the New York Times–bestselling author of Hunger and Bad Feminist, a powerful short story collection exploring the Haitian diaspora experience. In Ayiti, a married couple seeking boat passage to America prepares to leave their homeland. A young woman procures a voodoo love potion to ensnare a childhood classmate. A mother takes a foreign soldier into her home as a boarder, and into her bed. And a woman conceives a daughter on the bank of a river while fleeing a horrific massacre, a daughter who later moves to America for a new life but is perpetually haunted by the mysterious scent of blood. Roxane Gay is an award-winning literary voice praised for her fearless and vivid prose, and her debut collection Ayiti exemplifies the raw talent that made her “one of the voices of our age” (National Post, Canada). Praise for Ayiti “Highly dimensioned characters and unforgettable moments. . . . Dismantling the glib misconceptions of her complex ancestral home, Gay cuts and thrills. Readers will find her powerful first book difficult to put down.” —Booklist “The themes explored in Gay’s nonfiction, such as the transactional nature of violence and the ways in which stereotypes of poverty add another layer of dehumanization, are just as potent here. Even her more lyrical mode is filtered through a keen sense of the lost promise of one country and the blinkered privilege of the other. It’s Gay’s unflinching directness—the sense that her characters are in the room with you, telling it like it is—that makes her irresistible.” —Vogue “A set of brief, tart stories mostly set amid the Haitian-American community and circling around themes of violation, abuse, and heartbreak . . . This book set the tone that still characterizes much of Gay’s writing: clean, unaffected, allowing the (often furious) emotions to rise naturally out of calm, declarative sentences. That gives her briefest stories a punch even when they come in at two pages or fewer, sketching out the challenges of assimilation in terms of accents, meals, or ‘What You Need to Know About a Haitian Woman’. . . . This debut amply contains the righteous energy that drives all her work.” —Kirkus Reviews

This book offers the first concentrated examination of the representation of the black female subject in Western art through the lenses of race/color and sex/gender. Charmaine A. Nelson poses critical questions about the contexts of production, the problems of representation, the pathways of circulation and the consequences of consumption. She analyzes not only how, where, why and by whom black female subjects have been represented, but also what the social and cultural impacts of the colonial legacy of racialized western representation have been. Nelson also explores and problematizes the issue of the historically privileged white artistic access to black female bodies and the limits of representation for these subjects. This book not only reshapes our understanding of the black female representation in Western Art, but also furthers our knowledge about race and how and why it is (re)defined and (re)mobilized at specific times and places throughout history.