Examines how generations of African Americans perceive, proclaim, and name the combined performance of race and class across genres.

Examines how generations of African Americans perceive, proclaim, and name the combined performance of race and class across genres.

This book enters as a corrective to the tendency to trivialize and (mis)appropriate African American language practices. The word ratchet has entered into a wider (whiter) American discourse the same way that many words in African American English have—through hip-hop and social media. Generally, ratchet refers to behaviors and cultural expressions of Black people that sit outside of normative, middle-class respectable codes of conduct. Ratchet can function both as a tool for critiquing bad Black behavior, and as a tool for resisting the notion that there are such things as “good” and “bad” behavior in the first place. This book takes seriously the way ratchet operates in the everyday lives of middle-class and upwardly mobile Black Queer women in Washington, DC who, because of their sexuality, are situated outside of the norms of (Black) respectability. The book introduces the concept of “ratchet/boojie cultural politics” which draws from a rich body of Black intellectual traditions which interrogate the debates concerning what is and is not “acceptable” Black (middle-class) behavior. Placing issues of non-normative sexuality at the center of the conversation about notions of propriety within normative modes of Black middle-class behavior, this book discusses what it means for Black Queer women’s bodies to be present within ratchet/boojie cultural projects, asking what Black Queer women’s increasing visibility does for the everyday experiences of Black queer people more broadly.

One of the most extensive studies of class in nineteenth-century African American literature to date, Dividing Lines unveils how black fiction writers represented the uneasy relationship between class differences, racial solidarity, and the quest for civil rights in black communities. By portraying complex, highly stratified communities with a growing black middle class, these authors dispelled notions that black Americans were uniformly poor or uncivilized. The book argues that the signs of class anxiety are embedded in postbellum fiction: from the verbal stammer or prim speech of class-conscious characters to fissures in the fiction's form. Andreá N. Williams delves into the familiar and lesser-known works of Frances E. W. Harper, Pauline Hopkins, Charles W. Chesnutt, Sutton Griggs, and Paul Laurence Dunbar, showing how these texts mediate class through discussions of labor, moral respectability, ancestry, spatial boundaries, and skin complexion. Dividing Lines also draws on reader responses—from book reviews, editorials, and letters—to show how the class anxiety expressed in African American fiction directly sparked reader concerns over the status of black Americans in the U.S. social order. Weaving literary history with compelling textual analyses, this study yields new insights about the intersection of race and class in black novels and short stories from the 1880s to 1900s.

Black Girlhood, Punishment, and Resistance: Reimagining Justice for Black Girls in Virginia provides a historical comprehensive examination of racialized, classed, and gendered punishment of Black girls in Virginia during the early twentieth century. It looks at the ways in which the court system punished Black girls based upon societal accepted norms of punishment, hinged on a notion that they were to be viewed and treated as adults within the criminal legal system. Further, the book explores the role of Black Club women and girls as agents of resistance against injustice by shaping a social justice framework and praxis for Black girls and by examining the establishment of the Virginia Industrial School for Colored Girls. This school was established by the Virginia State Federation of Colored Women’s Clubs and its first President, Janie Porter Barrett. This book advances contemporary criminological understanding of punishment by locating the historical origins of an environment normalizing unequal justice. It draws from a specific focus on Janie Porter Barrett and the Virginia Industrial School for Colored Girls; a groundbreaking court case of the first female to be executed in Virginia; historical newspapers; and Black Women’s Club archives to highlight the complexities of Black girls’ experiences within the criminal justice system and spaces created to promote social justice for these girls. The historical approach unearths the justice system’s role in crafting the pervasive devaluation of Black girlhood through racialized, gendered, and economic-based punishment. Second, it offers insight into the ways in which, historically, Black women have contributed to what the book conceptualizes as “resistance criminology,” offering policy implications for transformative social and legal justice for Black girls and girls of color impacted by violence and punishment. Finally, it offers a lens to explore Black girl resistance strategies, through the lens of the Black Girlhood Justice framework. Black Girlhood, Punishment, and Resistance uses a historical intersectionality framework to provide a comprehensive overview of cultural, socioeconomic, and legal infrastructures as they relate to the punishment of Black girls. The research illustrates how the presumption of guilt of Black people shaped the ways that punishment and the creation of deviant Black female identities were legally sanctioned. It is essential reading for academics and students researching and studying crime, criminal justice, theoretical criminology, women’s studies, Black girlhood studies, history, gender, race, and socioeconomic class. It is also intended for social justice organizations, community leaders, and activists engaged in promoting social and legal justice for the youth.

This book is an innovative study that places performance and dance studies in conversation with ecology by exploring the significance of dirt in performance. Focusing on a range of 20th- and 21st-century performances that include modern dance, dance-theatre, Butoh, and everyday life, this book demonstrates how the choreography of dirt makes biological, geographical, and cultural meaning, what the author terms "biogeocultography". Whether it’s the Foundling Father digging into the earth’s strata in Suzan-Lori Park’s The America Play (1994), peat hurling through the air in Pina Bausch’s The Rite of Spring (1975), dancers frantically shovelling out fistfuls of dirt in Eveoke Dance Theatre’s Las Mariposas (2010), or Butoh performers dancing with fungi in Iván-Daniel Espinosa’s Messengers Divinos (2018), each example shows how the incorporation of dirt can reveal micro-level interactions between species – like the interplay between microscopic skin bacteria and soil protozoa – and macro-level interactions – like the transformation of peat to a greenhouse gas. By demonstrating the stakes of moving dirt, this book posits that performance can operate as a space to grapple with the multifaceted ecological dilemmas of the Anthropocene. This book will be of broad interest to both practitioners and researchers in theatre, performance studies, dance, ecocriticism, and the environmental humanities.

Contributions by Jacob Agner, Susan V. Donaldson, Sarah Gilbreath Ford, Stephen M. Fuller, Jean C. Griffith, Ebony Lumumba, Rebecca Mark, Donnie McMahand, Kevin Murphy, Harriet Pollack, Christin Marie Taylor, Annette Trefzer, and Adrienne Akins Warfield The year 2013 saw the publication of Eudora Welty, Whiteness, and Race, a collection in which twelve critics changed the conversation on Welty’s fiction and photography by mining and deciphering the complexity of her responses to the Jim Crow South. The thirteen diverse voices in New Essays on Eudora Welty, Class, and Race deepen, reflect on, and respond to those seminal discussions. These essays freshly consider such topics as Welty’s uses of African American signifying in her short stories and her attention to public street performances interacting with Jim Crow rules in her unpublished photographs. Contributors discuss her adaptations of gothic plots, haunted houses, Civil War stories, and film noir. And they frame Welty’s work with such subjects as Bob Dylan’s songwriting, the idea and history of the orphan in America, and standup comedy. They compare her handling of whiteness and race to other works by such contemporary writers as William Faulkner, Richard Wright, Toni Morrison, Chester Himes, and Alice Walker. Discussions of race and class here also bring her masterwork The Golden Apples and her novel Losing Battles, underrepresented in earlier conversations, into new focus. Moreover, as a group these essays provide insight into Welty as an innovative craftswoman and modernist technician, busily altering literary form with her frequent, pointed makeovers of familiar story patterns, plots, and genres.