The essential premise of #MeToo is that, while large numbers of women are subject to sexual harassment and assault, this reality is not known to or understood by unnamed others. This article interrogates the subject of non-knowing #MeToo points to but does not name, asking: who exactly does not know, and why? These questions provide the starting point to elaborate the concept of male ignorance. While this lexicon has been fleetingly deployed in canonical feminist works – where it denotes something (...) so obvious that is does not require explanation, functioning instead as a kind of feminist common sense – I develop it here so it might be put to greater use as a dedicated analytic. The work of Charles Mills, particularly his writings on white ignorance, provides a critical precedent in this regard. Following Mills in foregrounding the ideological operations of not knowing, I conceive male ignorance as a structure of concerted if unconscious epistemic occlusion which both stems from and serves to protect male privilege. As such, it plays a crucial role in securing the overall relation of domination and oppression within which gendered lives are lived. While male ignorance is itself multiple and has a variety of stakeholders, I argue that the non-knowing that surrounds sexual harassment and assault – which #MeToo draws attention to and seeks to undo – constitutes a paradigmatic manifestation, one in which cisgender heterosexual men have a particular stake. (shrink)

This article examines the critical work of Octavia Butler’s speculative fiction novel Dawn, which follows Lilith Ayapo, a black American woman who is rescued by an alien species after a nuclear war destroys nearly all life on Earth. Lilith awakens 250 years later and learns that the aliens have tasked her with reviving other humans and repopulating the planet. In reframing Reagan-era debates about security and survival, Butler captured the spirit of ‘pessimistic futurism’, a unique way of thinking and writing (...) black female sexuality, reproduction and survival. Suturing concepts central to both Afro-pessimism and Afrofuturism, pessimistic futurism carefully considers how black female subjectivity and labour create the coming world. By linking human survival to Lilith’s own ability to adapt to the new and dangerous world, Butler offers scholars of black studies a vital interpretive framework for thinking about the points of contact between pessimism and futurism. Specifically, Butler presents a form of futurism brought back to Earth, grounded in the sensibility of the black female experience. (shrink)

Hortense Spillers ends “Mama's Baby, Papa's Maybe” with a provocative suggestion: “Actually claiming the monstrosity … ‘Sapphire’ might rewrite after all a radically different text for female empowerment.” In this article, I knead the material, representational, and performative powers operating through conceptually separate and yet deeply entangled contested terrains: the “real,” or the scene of “actual mutilation,” whose high crimes against the flesh coincide with the construction of the “symbolic.” Through Baradian performativity, I read Spillers's theorization on the name as (...) an event wherein proprietary relationships, which necessarily oscillate between material/signification binaries, are called forth in historical terrain in the moment of racial address. Paying close attention to her grammar, the first half of this article tracks Spillers's movement through an undercurrent of American historical mythology that, as she demonstrates, misnames the black mother. The rest of this article then takes up to what extent certain “mocking doubles”—minstrel and/or monstrous tropes resuscitated but not redeemed or even necessarily renamed—might agitate their way toward new texts for female empowerment and the cultivation of the black mother's power to “name.”. (shrink)

Although many iterations of the mammy in the last two centuries have received analytical attention, the construction of this figure as asexual or undesiring and undesirable remains to be interrogated. This essay attends to this under-theorised dimension of her image. Resisting a reading of the mammy as fixed in silence, I assert that she might instead ‘say nothing’, and bring into focus a black asexual agency that I call a declarative silence. This strategy of ‘saying nothing’ is then explored in (...) a reading of the withholdings of the character of Mama in Gayl Jones's neo-slave narrative, Corregidora (1975). (shrink)

Contemplating the techniques of white nationalism used to refuse Black ontology and deny Black belonging to the humanity of Canadian nationhood, this article considers how art imaginatively visualizes rebellion against the racist logics that regulate such denials. Exploring the function of hyperbole, this article examines the ways the willfully heightened strangeness of the extraterrestrial Afro-Astronaut and Black Muslim monster depicted in performance and visual art trouble racial matrixes through the dissonance provoked by the Other's unfamiliar display of excess.