Here are 100 books that Aberrations in Black fans have personally recommended if you like
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I’ve been pondering philosophical questions and trying to understand my queer sexuality since childhood. While checking out The Portable Nietzsche in my high school library, the librarian warned me the philosopher was “a bad man.” Then I had to read the book, which not only taught me to become critical of all forms of authority, but also, perhaps paradoxically, empowered me to embrace my queerness. As a college and graduate student, I studied many of the American academic movements based in Continental philosophy grouped under the rubric, “theory.” When queer theory emerged in the early 1990s’, I found a place for myself. I'm convinced that we should never stop putting our identities under critique.
A foundational text of queer theory and queer literary reading practices, Epistemology of the Closet is absolutely irreplaceable.
Originally also an intervention in the AIDS crisis and in late-twentieth-century homophobia, the updated version places the original argument in historical context. The book elaborates on an influential practice later termed “closet reading,” wherein the reader analyzes homoerotic meaning that for various reasons, including censorship, legal repercussions, and social norms, the author couldn’t or wouldn’t state directly.
Sedgwick offers sharp and illuminating interpretations of such writers as Friedrich Nietzsche and Oscar Wilde. The sweep of the book extends from law, public policy, and Continental philosophy to literary study.
Since the late 1980s, queer studies and theory have become vital to the intellectual and political life of the United States. This has been due, in no small degree, to the influence of Eve Kosofsky Sedgwick's critically acclaimed "Epistemology of the Closet". Working from classic texts of European and American writers - including Melville, James, Nietzsche, Proust, and Wilde -Sedgwick analyzes a turn-of-the-century historical moment in which sexual orientation became as important a demarcation of personhood as gender had been for centuries. In her preface to this updated edition Sedgwick places the book both personally and historically, looking specifically at…
I’ve been pondering philosophical questions and trying to understand my queer sexuality since childhood. While checking out The Portable Nietzsche in my high school library, the librarian warned me the philosopher was “a bad man.” Then I had to read the book, which not only taught me to become critical of all forms of authority, but also, perhaps paradoxically, empowered me to embrace my queerness. As a college and graduate student, I studied many of the American academic movements based in Continental philosophy grouped under the rubric, “theory.” When queer theory emerged in the early 1990s’, I found a place for myself. I'm convinced that we should never stop putting our identities under critique.
Beyond Sexuality is the most consequential psychoanalytic intervention in queer theory.
Much of queer theory has used Michel Foucault’s History of Sexuality to reject or downplay psychoanalysis. Dean argues that psychoanalysis, particularly in the writings and seminars of French psychoanalyst Jacques Lacan, offers a far more useful theoretical model.
Such theorists as Judith Butler misconstrue sexual desire by focusing on identity, rather than language and its effects. Desire, according to psychoanalysis, does not arise from our identifications—not even our gender identifications—but from the failures of identity. Desire is not constructed in language but manifests precisely where language breaks down.
Beyond Sexuality also offers a psychoanalytic reading of HIV/AIDS in the aftermath of the AIDS crisis.
Combining psychoanalytic emphasis on the unconscious with a respect for the historical variability of sexual identities, this work of queer theory makes the case for vewing erotic desire as fundamentally impersonal. Dean develops a reading of Jacques Lacan that - rather than straightening out this notoriously difficult French psychoanalyst - brings out the queer tensions and productive incoherencies in his account of desire. Dean shows that Lacanian unconscious "deheterosexualizes" desire, and along the way he reveals how psychoanalytic thinkers as well as queer theorists have failed to exploit the full potential of this conception of desire. The book elaborates this…
I’ve been pondering philosophical questions and trying to understand my queer sexuality since childhood. While checking out The Portable Nietzsche in my high school library, the librarian warned me the philosopher was “a bad man.” Then I had to read the book, which not only taught me to become critical of all forms of authority, but also, perhaps paradoxically, empowered me to embrace my queerness. As a college and graduate student, I studied many of the American academic movements based in Continental philosophy grouped under the rubric, “theory.” When queer theory emerged in the early 1990s’, I found a place for myself. I'm convinced that we should never stop putting our identities under critique.
Profit and Pleasure is the most provocative Marxist intervention in queer theory.
Hennessy charges that queer theory’s focus on representation, identity, and subjectivity works to render the structures of capitalism invisible. Postindustrial capitalism produces “gender-flexible” and sexually diverse subjects to meet the demands of today’s globalized commodity system.
Queer theory, instead of addressing this development, has aided in our commodification by repressing the connections between the multiplication of identities and economic exploitation, connections that capitalism works to conceal. Queer theory needs to extend beyond the cultural purview of identity politics to address contemporary capitalism directly.
Drawing on an international range of examples, from Che Guevarra to "The Crying Game," Profit and Pleasure leads the discussion of sexuality to a consideration of material reality and the substance of men and women's everyday lives.
I’ve been pondering philosophical questions and trying to understand my queer sexuality since childhood. While checking out The Portable Nietzsche in my high school library, the librarian warned me the philosopher was “a bad man.” Then I had to read the book, which not only taught me to become critical of all forms of authority, but also, perhaps paradoxically, empowered me to embrace my queerness. As a college and graduate student, I studied many of the American academic movements based in Continental philosophy grouped under the rubric, “theory.” When queer theory emerged in the early 1990s’, I found a place for myself. I'm convinced that we should never stop putting our identities under critique.
Paul B. Preciado’s Testo Junkie, originally published in Spanish in 2008 and republished in English translation in 2013, is lusty, hyperbolic, and explosive.
It’s part postqueer, trans-feminist manifesto, part record of a cis-female’s illicit experimentation with testosterone, and part explicit fucking. A much more enjoyable book than Judith Butler’s groundbreaking Gender Trouble and Bodies that Matter, and it has the advantage of updating Butler’s Foucault-based theory with the twenty-first-century concerns.
Preciado argues that today’s “pharmacopornographic” regime utilizes drugs and erotic imagery—hormone shots and money shots—to control our subjectivity and gender, instating a system of knowledge and power in which the body “no longer inhabits disciplinary spaces but is inhabited by them.”
This visionary book on gender and sexuality weaves together high theory and intimate memoir, with "spectacular" results—"and the gendered body will never be the same again" (Jack Halberstam).
What constitutes a "real" man or woman in the twenty-first century? Since birth control pills, erectile dysfunction remedies, and factory-made testosterone and estrogen were developed, biology is definitely no longer destiny.
In this penetrating analysis of gender, Paul B. Preciado shows the ways in which the synthesis of hormones since the 1950s has fundamentally changed how gender and sexual identity are formulated, and how the pharmaceutical and pornography industries are in the…
As a historian with expertise in the early church, Middle Ages, and Reformation, I am obsessed with finding the writings and stories of women of the past. Whenever we discover works written by an unknown or forgotten woman in an archive or historical record, my co-author Marion Taylor and I excitedly email one another: “We rescued another woman!” I study the history of biblical interpretation and the history of women in religion. In most of my books, these two interests intersect—as I write about men throughout history who viewed stories of biblical women through patriarchal lenses and how women themselves have been biblical interpreters, often challenging men’s prevailing views.
Drawing upon her expertise in African American literature, Katherine Clay Bassard writes about the ways Black women poets, novelists, preachers, and orators from the 1700s through the 1900s used biblical themes and images to challenge the dominant culture’s oppression of women and people of color. African American women used a variety of scriptural images, including the Queen of Sheba and the “black but comely” female speaker in the Song of Songs, to argue for Black women’s dignity. Bassard celebrates African American women’s creativity and their shrewd employment of scriptural passages to engage in resistance to racism and sexism.
Black women writers reclaim the sacred text. ""Transforming Scriptures"" is the first sustained treatment of African American women writers' intellectual, even theological, engagements with the book ""Northrup Frye"" referred to as the 'great code' of Western civilization. Katherine Clay Bassard looks at poetry, novels, speeches, sermons, and prayers by Maria W. Stewart, Frances Harper, Hannah Crafts, Harriet E. Wilson, Harriet Jacobs, Zora Neale Hurston, Toni Morrison, and Sherley Anne Williams and discusses how such texts respond as a collective 'literary witness' to the use of the Bible for purposes of social domination. Black women's historic encounters with the Bible were,…
I have been writing and teaching about African American poetry and poetics for more than two decades. My passion began when I kept discovering long-lost poems that were published once, in Black newspapers, and then forgotten. I wondered why I had never learned about Gwendolyn Brooks in school, though I’d read about e.e. cummings and Robert Frost. Once I stumbled on the fact that Claude McKay discovered cummings, I realized how much the questions of influence and power aren’t really central topics in thinking about the genealogy of Black poets and their influence on each other and on poetry in general.
Everyone should read this book and own this book, which contains key poems from A Street in Bronzeville, Annie Allen (the book for which Gwendolyn Brooks won the Pulitzer Prize in 1950), The Bean Eaters, as well as new poems. Brooks’s sonnets are like a knife in a heart made vulnerable. I could read these poems—especially “The Sundays of Satin-Legs Smith”—again and again. Gwendolyn Brooks was the best American poet of the twentieth century, bar none.
Selected Poems is the classic volume by the distinguished and celebrated poet Gwendolyn Brooks, winner of the 1950 Pulitzer Prize, and recipient of the National Book Foundation Medal for Distinguished Contribution to American Letters. This compelling collection showcases Brooks's technical mastery, her warm humanity, and her compassionate and illuminating response to a complex world. This edition also includes a special PS section with insights, interviews, and more—including a short piece by Nikki Giovanni entitled "Remembering Gwen."
By 1963 the civil rights movement was in full swing across the United States, and more and more African American writers were increasingly outspoken…
I am a theater historian whose research focuses on African American theater of 1940s-50s. While other periods and movements—the Harlem Renaissance (1920s), the Federal Theatre Project (1930s), the Black Arts Movement (1960s), and contemporary theater—have been well studied and documented, I saw a gap of scholarship around the 1940s-50s; I wondered why those years had been largely overlooked. As I dived deeper, I saw how African American performance culture (ie. theater, film, television, music) of the later-20th Century had its roots in the history of those somewhat overlooked decades. I’m still investigating that story, and these books have helped me do it.
We tend to think about the Black Arts Movement of the 1960s as dominated by militant male voices. This book explores the rich contributions of black women artists to the movement—by amplifying the voices of women artists in their own words. The book is a collection of oral histories, drawing on dozens of interviews with influential Black women artists. Some of them are recognizable, like playwrights/poets Sonia Sanchez and Ntozake Shange. Others are less familiar names whose influence should be appreciated more fully. This is a rich celebration of the impact of women artists during a key period of African American cultural change.
The first oral history to fully explore the contributions of black women intellectuals to the Black Arts Movement, Sistuhs in the Struggle reclaims a vital yet under-researched chapter in African American, women's, and theater history. This groundbreaking study documents how black women theater artists and activists-many of whom worked behind the scenes as directors, designers, producers, stage managers, and artistic directors-disseminated the black aesthetic and emboldened their communities.
Drawing on nearly thirty original interviews with well-known artists such as Ntozake Shange and Sonia Sanchez as well as less-studied figures including distinguished lighting designer Shirley Prendergast, dancer and choreographer Halifu Osumare,…
By Cathy N. Davidson and Christina Katopodis
Author
Why are we passionate about this?
We are two college-level educators, one has had a long career, one a recent PhD. We share a commitment to lifelong learning, not just in the classroom but beyond. And we love learning from one another. We wrote The New College Classroomtogether during the pandemic, meeting over Zoom twice a week, discussing books by other educators, writing and revising and rewriting every word together, finding ways to think about improving our students’ lives for a better future even as the world seemed grim. The books we cherish share those values: hope, belief in the next generation, and a deep commitment to learning even in—especiallyin—the grimmest of times.
Although her father died when she was only nine, the great scholar of African American life and literature, Farah Jasmine Griffin has never forgotten his admonition to her: “Read until you understand.” In this beautiful book, Professor Griffin guides us to an understanding of the U.S. Constitution, Malcolm X, Marvin Gaye, and Stevie Wonder, the artist Romare Bearden, and writers as different as the enslaved 18th-century poet Phillis Wheatley and Nobel Prize winner Toni Morrison. As educators, we have read and re-read and read again. Every read reveals a new level of understanding and we are grateful for the journey on which Professor Griffin leads us.
Farah Jasmine Griffin has taken to her heart the phrase "read until you understand," a line her father, who died when she was nine, wrote in a note to her. She has made it central to this book about love of the majestic power of words and love of the magnificence of Black life. Griffin has spent years rooted in the culture of Black genius and the legacy of books that her father left her. A beloved professor, she has devoted herself to passing these works and their wisdom on to generations of students.
I have been writing and teaching about African American poetry and poetics for more than two decades. My passion began when I kept discovering long-lost poems that were published once, in Black newspapers, and then forgotten. I wondered why I had never learned about Gwendolyn Brooks in school, though I’d read about e.e. cummings and Robert Frost. Once I stumbled on the fact that Claude McKay discovered cummings, I realized how much the questions of influence and power aren’t really central topics in thinking about the genealogy of Black poets and their influence on each other and on poetry in general.
Kevin Young’s anthology is the latest in a long line of Black poetry anthologies; the first was James Weldon Johnson’s Book of American Negro Poetry (1922), which Young duly acknowledges. Most of Young’s choices I agree with; some I don’t (at least one of Paul Laurence Dunbar’s great sonnets should have been included); but in the main it is a terrific anthology of poets historical up to the present day. I counted almost 40 sonnets among the poems included. Readers who are interested in the dates the poems were published can turn to an extensive set of notes in the back, which are really helpful.
A literary landmark: the biggest, most ambitious anthology of Black poetry ever published, gathering 250 poets from the colonial period to the present
Across a turbulent history, from such vital centers as Harlem, Chicago, Washington, D.C., Los Angeles, and the Bay Area, Black poets created a rich and multifaceted tradition that has been both a reckoning with American realities and an imaginative response to them. Capturing the power and beauty of this diverse tradition in a single indispensable volume, African American Poetry reveals as never before its centrality and its challenge to American poetry and culture.
Ever since my childhood on a farm poetry has helped me pay attention to the world around me. Like a naturalist’s field guide, nature poems name, depict, and explore what might otherwise pass unnoticed. Now in the midst of environmental crisis I believe poets have a role alongside ecologists, farmers, and foresters to protect and restore our threatened habitats and species. Writing nature poetry helps me face and express loss while celebrating what still survives. I value poetry that connects us to what we love and gives us courage to imagine different ways of living.
This is an exciting and important poetry anthology.
Spanning the history of black poetry in America, the editor Camille T. Dungy has collected one hundred and eighty poems by ninety-three poets. Her introduction radically enlarges the realm of eco-poetry as she considers the exclusion of African-American poets from the nature poetry genre while also exploring the complexity of their relationship with the land that witnessed or abetted centuries of racist subjugation.
Thought-provoking essays by Alice Walker, Marilyn Nelson, and others, introduce each of the ten sections in which I found a treasure trove of poets I’ve long admired, such as Rita Dove and Ross Gay, and poets I’ve never come across before, such as Kamilah Aisha Moon.
This book presents the natural world seen through the eyes of black poets. ""Black Nature"" is the first anthology to focus on nature writing by African American poets, a genre that until now has not commonly been counted as one in which African American poets have participated. Black poets have a long tradition of incorporating treatments of the natural world into their work, but it is often read as political, historical, or protest poetry - anything but nature poetry. This is particularly true when the definition of what constitutes nature writing is limited to work about the pastoral or the…
