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With In a Field of Static, James Bliss examines how the debates at the heart of feminist and queer studies represent missed encounters with Black feminist theorizing. For Bliss, Audre Lorde’s public falling out with Mary Daly, feminist theory’s arguments about intersectionality and assemblage theory, queer theory’s debates over negativity and futurity, and the transnational and diasporic turns in feminist and queer studies each demonstrate how different debates, misunderstandings, and missed encounters have drawn the horizons of our political and conceptual imaginations. Engaging literary and critical works by Hortense Spillers, Audre Lorde, Kimberlé Crenshaw, Saidiya Hartman, Toni Morrison, Barbara Smith, and others, Bliss recontextualizes concepts like relationality, subjectivity, negativity, and belonging through readings across the archive of Black feminism. By revisiting and restaging these conceptual debates, Bliss presents a genealogy of Black feminist theorizing that marks the indeterminacy, the field of static, at the core of Blackness and antiblackness. Insisting on the potential within indeterminacy, this genealogy embraces negativity, abstraction, and speculation as methods for an insurgent conceptual inventiveness—ways of imagining new worlds and new forms of being and relation.

In Indenture Aesthetics, Jordache A. Ellapen examines the visual and performance art practices of feminist, queer, femme, and gender-nonconforming Afro-Indian and South African black artists to understand the paradoxes of freedom in contemporary South Africa. Tracing the afterlife of apartheid-era racial categories and revisiting Bantu Stephen Biko’s Black Consciousness, Ellapen theorizes South African blackness through the Indian Ocean World, showing how the development of an Afro-Indian identity after generations of indentured labor and segregation troubles persistent racial hierarchies. Staging unexpected encounters between artists such as Sharlene Khan, Mohau Modisakeng, Lebohang Kganye, and Reshma Chhiba, he analyzes how their works challenge these racial categories to create new imaginaries of freedom. Situated in a context in which the authentic (hetero)normative black subject of the post-apartheid state is bracketed from other formulations of blackness, these artists' aesthetic practices, alongside those of other artists like Ellapen himself, disrupt desires for national belonging and catalyze alternative and transgressive politics and subjects. By rethinking the relationship between blackness, Afro-Indianness, and Africanness, Ellapen highlights the role of the aesthetic in crafting a blueprint for coalitional building across difference in contemporary South Africa.

Informatics of Domination is an experimental collection addressing formations of power that manifest through technical systems and white capitalist patriarchy in the twenty-first century. The volume takes its name from a chart in Donna J. Haraway’s canonical 1985 essay “A Manifesto for Cyborgs.” Haraway theorizes the informatics of domination as a feminist, diagrammatic concept for situating power and a world system from which the figure of the cyborg emerges. Informatics of Domination builds on Haraway’s chart as an open structure for thought, inviting fifty scholars, artists, and creative writers to unfold new perspectives. Their writings take on a variety of forms, such as essays on artificial intelligence, disability and protest, and transpacific imaginaries; conversations with an AI trained on Black oral history; a three-dimensional response to Mexico-US border tensions; hand-drawn images on queer autotheory; ecological fictions about gut microbiomes and wet markets; and more. Together, the writings take up the unfinished structure of the chart in order to proliferate critiques of white capitalist patriarchal power with the study of information systems, networks, and computation today. This volume includes an afterword by Haraway.

Contributors. Dalida María Benfield, Zach Blas, Ama Josephine Budge Johnstone, micha cárdenas, Amy Sara Carroll, Shu Lea Cheang, Jian Neo Chen, Heather Dewey-Hagborg, Ranjodh Singh Dhaliwal, Stephanie Dinkins, Ricardo Dominguez, Ashley Ferro-Murray, Matthew Fuller, Jacob Gaboury, Jennifer Gabrys, Alexander R. Galloway, Jennifer Mae Hamilton, Donna J. Haraway, Eva Hayward, Stefan Helmreich, Kathy High, Leon J. Hilton, Ho Rui An, Hi'ilei Julia Kawehipuaakahaopulani Hobart, Tung-Hui Hu, Caroline A. Jones, Melody Jue, Homay King, Larissa Lai, Lawrence Lek, Esther Leslie, Alexis Lothian, Isadora Neves Marques, Radha May (Elisa Giardina-Papa, Nupur Mathur, and Bathsheba Okwenje), Shaka McGlotten, Mahan Moalemi, madison moore, Astrida Neimanis, Bahar Noorizadeh, Luciana Parisi, Thao Phan, Ana Teixeira Pinto, Luiza Prado de O. Martins, Rita Raley, Patricia Reed, Jennifer Rhee, Bassem Saad, Ashkan Sepahvand, Justin Talplacido Shoulder, Lucy Suchman, Ollie Zhang

Inside the Body of Black Feminism connects historical studies of medical racism with Black feminist theories of the body to reimagine the material and metaphoric possibilities for political subjectivity across race, gender, and culture.

Inside the Body of Black Feminism charts a cultural genealogy of antiracist and feminist engagement with some of the most objectified internal “parts” of racist medical and scientific inquiry: bones and blood, brains and hearts, guts and wombs. In a move counterintuitive to Black feminism’s emphasis on externalized representations of the body, Samantha Pinto reinterprets the relationship between embodiment, health, and race through cultural archives that reimagine the inside of the Black body. Working through materials such as medical textbooks, memoirs, data visualizations, museum displays, speculative fiction, and horror films, Pinto explores how a visually inaccessible corporeal interior becomes discernible and racialized in the public sphere. Inside the Body of Black Feminism engages expressive cultural work to ask how we might know the inside of the Black body differently through Black feminist theory and how scientific and medical inquiry might enable us to understand political subjectivity anew.

In a current era marked by carceral logics, authoritarianism, and white supremacy, there has never been a greater need for the tools and inspiration that radical feminism provides. In Insurgent Visions, Chandra Talpade Mohanty explores methods of anticapitalist resistance to radically transform everyday life. She presents insurgent feminism—a theory and praxis with which to contest and replace the practices of violence grounded in racialized gender relations. Insurgent feminism unsettles existing power structures in order to enact new relationships and forge new subjectivities, epistemologies, and communities. Drawing on organizing efforts in the US-Mexico borderlands, Palestine/Israel, and Kashmir, as well as on abolitionist and Dalit feminisms, Mohanty contends that the knowledge that emerges from the experiences of marginalized groups who are struggling for economic, racial, and social justice is key for imagining feminist futures. She also turns to the neoliberal landscape of higher education in the United States and the difficulties of instituting transformative antiracist and anti-imperialist feminist knowledge building. Mapping new challenges for radical praxis, Mohanty reconfigures feminist studies while offering a model for decolonial cross-border organizing and solidarity.

In Inter-imperiality Laura Doyle theorizes the co-emergence of empires, institutions, language regimes, stratified economies, and literary cultures over the longue durée. Weaving together feminist, decolonial, and dialectical theory, she shows how inter-imperial competition has generated a systemic stratification of gendered, racialized labor, while literary and other arts have helped both to constitute and to challenge this world order. To study literature is therefore, Doyle argues, to attend to world-historical processes of imaginative and material co-formation as they have unfolded through successive eras of vying empires. It is also to understand oral, performed, and written literatures as power-transforming resources for the present and future. To make this case, Doyle analyzes imperial-economic processes across centuries and continents in tandem with inter-imperially entangled literatures, from A Thousand and One Nights to recent Caribbean fiction. Her trenchant interdisciplinary method reveals the structural centrality of imaginative literature in the politics and possibilities of earthly life.

Chicana feminisms are living theory deriving value and purpose by affecting social change. Advocating for and demonstrating the importance of an intersectional, multidisciplinary, activist understanding of Chicanas, Intersectional Chicana Feminisms provides a much-needed overview of the key theories, thinkers, and activists that have contributed to Chicana feminist thought.

Aída Hurtado, a leading Chicana feminist and scholar, traces the origins of Chicanas’ efforts to bring attention to the effects of gender in Chicana and Chicano studies. Highlighting the innovative and pathbreaking methodologies developed within the field of Chicana feminisms—such as testimonio, conocimiento, and autohistoria—this book offers an accessible introduction to Chicana theory, methodology, art, and activism. Hurtado also looks at the newest developments in the field and the future of Chicana feminisms.

The book includes short biographies of key Chicana feminists, additional suggested readings, and exercises with each chapter to extend opportunities for engagement in classroom and workshop settings.