BiblioVault - Books about Sharpe, Christina

Borders, Human Itineraries, and All Our Relation

Dele Adeyemo, Natalie Diaz, Nadia Yala Kisukidi, and Rinaldo Walcott. With a Foreword by Christina Sharpe

Duke University Press, 2024

The first annual Alchemy Lecture brings four deep and agile writers from different geographies and disciplines into vibrant conversation on a topic of urgent relevance: humans and borders. Borders, Human Itineraries, and All Our Relation captures and expands those conversations in insightful, passionate ways. Architect, artist, and urban theorist Dele Adeyemo (UK/Nigeria) calls attention to the complexity of Black infrastructures, questioning how “the environments that surround us condition the possibility of our being.” Poet Natalie Diaz (US/Mojave/Akimel O’otham) writes, “Like story, migration is the sensual movement of knowledge,” and asks, “What is the language we need to live right now?” Philosopher Nadia Yala Kisukidi (France) suggests there is no diasporic life “without the dynamics of fabulation, where we pass down, from generation to generation, the stories of our ancestors who walked barefoot for many months.” And cultural theorist Rinaldo Walcott (Canada) asks us to consider inheritances beyond white supremacist logics: “What might it mean to live a life, if we can’t risk desiring and working towards utopia?” As each alchemist considers the legacies of anticolonial struggle, the future of the planet, and the textures of Black and Indigenous life, their essays speak to each other in multiple ways, creating something startling and revelatory: a vision of the world as it is, and as it could be.

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In the Wake

On Blackness and Being

Christina Sharpe

Duke University Press, 2016

In this original and trenchant work, Christina Sharpe interrogates literary, visual, cinematic, and quotidian representations of Black life that comprise what she calls the "orthography of the wake." Activating multiple registers of "wake"—the path behind a ship, keeping watch with the dead, coming to consciousness—Sharpe illustrates how Black lives are swept up and animated by the afterlives of slavery, and she delineates what survives despite such insistent violence and negation. Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

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Monstrous Intimacies

Making Post-Slavery Subjects

Christina Sharpe

Duke University Press, 2010

Arguing that the fundamental, familiar, sexual violence of slavery and racialized subjugation have continued to shape black and white subjectivities into the present, Christina Sharpe interprets African diasporic and Black Atlantic visual and literary texts that address those “monstrous intimacies” and their repetition as constitutive of post-slavery subjectivity. Her illuminating readings juxtapose Frederick Douglass’s narrative of witnessing the brutal beating of his Aunt Hester with Essie Mae Washington-Williams’s declaration of freedom in Dear Senator: A Memoir by the Daughter of Strom Thurmond, as well as the “generational genital fantasies” depicted in Gayl Jones’s novel Corregidora with a firsthand account of such “monstrous intimacies” in the journals of an antebellum South Carolina senator, slaveholder, and vocal critic of miscegenation. Sharpe explores the South African–born writer Bessie Head’s novel Maru—about race, power, and liberation in Botswana—in light of the history of the KhoiSan woman Saartje Baartman, who was displayed in Europe as the “Hottentot Venus” in the nineteenth century. Reading Isaac Julien’s film The Attendant, Sharpe takes up issues of representation, slavery, and the sadomasochism of everyday black life. Her powerful meditation on intimacy, subjection, and subjectivity culminates in an analysis of Kara Walker’s black silhouettes, and the critiques leveled against both the silhouettes and the artist.

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Nomenclature

New and Collected Poems

Dionne Brand

Duke University Press, 2022

Spanning almost four decades, Dionne Brand’s poetry has given rise to whole new grammars and vocabularies. With a profound alertness that is attuned to this world and open to some other, possibly future, time and place, Brand’s ongoing labors of witness and imagination speak directly to where and how we live and reach beyond those worlds, their enclosures, and their violences.

Nomenclature: New and Collected Poems begins with a new long poem, the titular Nomenclature for the Time Being, in which Dionne Brand’s diaspora consciousness dismantles our quotidian disasters. In addition to this searing new work, Nomenclature collects eight volumes of Brand’s poetry published between 1982 and 2010 and includes a critical introduction by the literary scholar and theorist Christina Sharpe.

Nomenclature: New and Collected Poems features the searching and centering cantos of Primitive Offensive; the sharp musical conversations of Winter Epigrams and Epigrams to Ernesto Cardenal in Defense of Claudia; and the documentary losses of revolutions in Chronicles of the Hostile Sun, in which “The street was empty/with all of us standing there.” No Language Is Neutral reads language, coloniality, and sexuality as a nexus. Land to Light On writes intimacies and disaffections with nation, while in thirsty a cold-eyed flâneur surveys the workings of the city. In Inventory, written during the Gulf Wars, the poet is “the wars’ last and late night witness,” her job is not to soothe but to “revise and revise this bristling list/hourly.” Ossuaries’ futurist speaker rounds out the collection and threads multiple temporal worlds—past, present, and future.

This masterwork displays Dionne Brand’s ongoing body of thought—trenchant, lyrical, absonant, discordant, and meaning-making. Nomenclature: New and Collected Poems is classic and living, a record of one of the great writers of our age.

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Public Catastrophes, Private Losses

Sarah Tobias

Rutgers University Press, 2025

From COVID to climate-change-induced wildfires and hurricanes, we live in an era where catastrophes have become the new normal. But even though these events affect us all, some members of society are more vulnerable to harm than others.

This essay collection explores how the definition of catastrophe might be expanded to include many forms of large-scale structural violence on communities, species, and ecosystems. Using feminist methodologies, the contributors to Public Catastrophes, Private Losses trace the connections between seemingly unrelated forms of violence such as structural racism, environmental degradation, and public health crises. In contrast to a news media that focuses on mass fatalities and immediate consequences, these essays call our attention to how catastrophes can also involve slow violence with long-term effects.

The authors also consider how these catastrophes are profoundly shaped by government action or inaction, offering a powerful critique of how government neglect has cost lives and demonstrating how vulnerable populations can be better protected. The essays in this collection examine how public catastrophes imprint themselves on lives, as individuals and communities narrate, process, and grapple with legacies of loss. The book is thus a feminist intervention that challenges the binary between public and private, personal and political.

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