When Frantz Fanon's critiques of racism, sexism, colonialism, capitalism, and humanism are brought into the ever-widening orbit of Africana critical theory something unprecedented in the annals of Africana intellectual history happens: five distinct forms of Fanonism emerge. Forms of Fanonism: Frantz Fanon's Critical Theory and the Dialectics of Decolonization is discursively distinguished from other engagements of Fanon's thought and texts insofar as it is the first study to consciously examine his contributions to Africana Studies and critical theory or, rather, the Africana tradition of critical theory. Forms of Fanonism identifies and intensely analyzes Fanon's contributions to the deconstruction and reconstruction of Africana Studies, radical politics, and critical social theory. In highlighting his unique 'solutions' to the 'problems' of racism, sexism, colonialism, capitalism, and humanism, five distinct forms of Fanonism materialize. These five forms of Fanonism allow contemporary critical theorists to innovatively explore the ways in which his thought and texts can be dialectically put to use in relieving the wretched experience of this generation's wretched of the earth. Critics can also apply these forms to deconstruct and reconstruct Africana Studies, radical politics, and critical social theory using their anti-imperialist interests. Throughout Forms of Fanonism, Reiland Rabaka critically dialogues with Fanon, incessantly asking his corpus critical questions and seeking from it crucial answers. This book, in short, solemnly keeps with Fanon's own predilection for connecting critical theory to revolutionary praxis by utilizing his thought and texts as paradigms and points of departure to deepen and develop the Africana tradition of critical theory.

Forms of Fanonism is the first study to consciously identify and intensely analyze Fanon's contributions to the deconstruction and reconstruction of Africana Studies, radical politics, and critical social theory.

Black Skin, White Masks is a classic, devastating account of the dehumanising effects of colonisation experienced by black subjects living in a white world. First published in English in 1967, this book provides an unsurpassed study of the psychology of racism using scientific analysis and poetic grace.Franz Fanon identifies a devastating pathology at the heart of Western culture, a denial of difference, that persists to this day. A major influence on civil rights, anti-colonial, and black consciousness movements around the world, his writings speak to all who continue the struggle for political and cultural liberation.With an introduction by Paul Gilroy, author of There Ain't No Black in the Union Jack.

This ambitious volume provides a comparative perspective on the challenges facing the discipline of history as Eurocentrism fades as a lens for viewing the world. Exploring the state of history and the struggle over its ownership throughout the world, the authors address the issues of globalization, postmodernism, and postcolonialism that have been largely ignored by practicing historians despite their importance to cultural studies and their relevance to history. Engaging in a vigorous critique of Eurocentrism, the volume at the same time reaffirms the importance of historical ways of knowing.

By examining Amilcar Cabral’s theories and praxes, as well as several of the antecedents and major influences on the evolution of his radical politics and critical social theory, Concepts of Cabralism:Amilcar Cabral and Africana Critical Theory simultaneously reintroduces, chronicles, and analyzes several of the core characteristics of the Africana tradition of critical theory. Reiland Rabaka’s primary preoccupation is with Cabral’s theoretical and political legacies—that is to say, with the ways in which he constructed, deconstructed, and reconstructed theory and the aims, objectives, and concrete outcomes of his theoretical applications and discursive practices. The book begins with the Negritude Movement, and specifically the work of Léopold Senghor, Aimé Césaire, and Jean-Paul Sartre. Next, it shifts the focus to Frantz Fanon’s discourse on radical disalienation and revolutionary decolonization. Finally, it offers an extended engagement of Cabral’s critical theory and contributions to the Africana tradition of critical theory. Ultimately, Concepts of Cabralism chronicles and critiques, revisits and revises the black radical tradition with an eye toward the ways in which classical black radicalism informs, or should inform, not only contemporary black radicalism, African nationalism, and Pan-Africanism, but also contemporary efforts to create a new anti-racist, anti-sexist, anti-capitalist, anti-colonialist, and anti-imperialist critical theory of contemporary society—what has come to be called “Africana critical theory.”

The Negritude Movement provides readers with not only an intellectual history of the Negritude Movement but also its prehistory (W.E.B. Du Bois, the New Negro Movement, and the Harlem Renaissance) and its posthistory (Frantz Fanon and the evolution of Fanonism). By viewing Negritude as an “insurgent idea” (to invoke this book’s intentionally incendiary subtitle), as opposed to merely a form of poetics and aesthetics, The Negritude Movement explores Negritude as a “traveling theory” (à la Edward Said’s concept) that consistently crisscrossed the Atlantic Ocean in the twentieth century: from Harlem to Haiti, Haiti to Paris, Paris to Martinique, Martinique to Senegal, and on and on ad infinitum. The Negritude Movement maps the movements of proto-Negritude concepts from Du Bois’s discourse in The Souls of Black Folk through to post-Negritude concepts in Fanon’s Black Skin, White Masks and The Wretched of the Earth. Utilizing Negritude as a conceptual framework to, on the one hand, explore the Africana intellectual tradition in the twentieth century, and, on the other hand, demonstrate discursive continuity between Du Bois and Fanon, as well as the Harlem Renaissance and Negritude Movement, The Negritude Movement ultimately accents what Negritude contributed to arguably its greatest intellectual heir, Frantz Fanon, and the development of his distinct critical theory, Fanonism. Rabaka argues that if Fanon and Fanonism remain relevant in the twenty-first century, then, to a certain extent, Negritude remains relevant in the twenty-first century.

Hip Hop's Inheritance arguably offers the first book-length treatment of what hip hop culture has, literally, 'inherited' from the Harlem Renaissance, the Black Arts movement, the Feminist Art movement, and 1980s and 1990s postmodern aesthetics. By comparing and contrasting the major motifs of the aforementioned cultural aesthetic traditions with those of hip hop culture, all the while critically exploring the origins and evolution of black popular culture from antebellum America through to 'Obama's America,' Hip Hop's Inheritance demonstrates that the Hip Hop generation is not the first generation of young black folk preoccupied with spirituality and sexuality, race and religion, entertainment and athletics, or ghetto culture and bourgeois culture.