"Swimming and sex seemed a lot alike to me when I was growing up. You took off most of your clothes to do them and you only did them with people who were the same color as you. As your daddy got richer, you got to do them in fancier places." Starting with her father, who never met a whitetail buck he couldn't shoot, a whiskey bottle he couldn't empty, or a woman he couldn't charm, and her mother, who "invented road rage before 1960," Melissa Delbridge introduces us to the people in her own family bible. Readers will find elements of Southern Gothic and familiar vernacular characters, but Delbridge endows each with her startling and original interpretation. In this disarmingly unguarded and unapologetic memoir, she shows us what really happened in the "stew of religion and sex" that was 1960s Tuscaloosa.
For the preconquest Maya, sexuality was a part of ritual discourse and performance, and all sex acts were understood in terms of their power to create, maintain, and destroy society. As postconquest Maya adapted to life under colonial rule, they neither fully abandoned these views nor completely adopted the formulation of sexuality prescribed by Spanish Catholicism. Instead, they evolved hybridized notions of sexual desire, represented in the figure of the Virgin Mary as a sexual goddess, whose sex acts embodied both creative and destructive components.
This highly innovative book decodes the process through which this colonization of Yucatan Maya sexual desire occurred. Pete Sigal frames the discussion around a series of texts, including the Books of Chilam Balam and the Ritual of the Bacabs, that were written by seventeenth and eighteenth century Maya nobles to elucidate the history, religion, and philosophy of the Yucatecan Maya communities. Drawing on the insights of philology, discourse analysis, and deconstruction, he analyzes the sexual fantasies, fears, and desires that are presented, often unintentionally, in the "margins" of these texts and shows how they illuminate issues of colonialism, power, ritual, and gender.
Stallings uses funk to highlight the importance of the erotic and eroticism in Black cultural and political movements, debunking "the truth of sex" and its histories. Brandishing funk as a theoretical tool, Stallings argues that Western theories of the erotic fail as universally applicable terms or philosophies, and thus lack utility in discussions of black bodies, subjects, and culture. In considering the Victorian concept of freak in black funk, Stallings proposes that black artists across all media have fashioned a tradition that embraces the superfreak, sexual guerrilla, sexual magic, mama's porn, black trans narratives, and sex work in a post-human subject position. Their goal: to ensure survival and evolution in a world that exploits black bodies in capitalist endeavors, imperialism, and colonization.
Revitalizing and wide-ranging, Funk the Erotic offers a needed examination of black sexual cultures, a discursive evolution of black ideas about eroticism, a critique of work society, a reexamination of love, and an articulation of the body in black movements.
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