When people respond to chants of “Black lives matter” with “All lives matter” or excoriate Colin Kaepernick for being “anti-military” or “anti-American” when he sits or kneels during the playing of the national anthem, there appears to be a break in understanding. BLM protestors and Kaepernick understand their actions and messages in one way, detractors in quite a different way. This presents an interpretive challenge. In this essay, I aim to explore the nature of this interpretive challenge by illuminating the (...) various obstacles that leave us without understanding. I will refer to such breaks in understanding as hermeneutical impasses. First, I sketch a taxonomy of hermeneutical impasses. I then discuss various ways of describing the notion of ‘understanding’ that may be at issue in impasses. Next, I discuss the relation between power and hermeneutical impasses, showing some of the ways power relations constrain our discursive practices. I conclude by arguing the structures of our environment make hermeneutical impasses difficult to avoid, if not inevitable. (shrink)

The fourteen essays and speeches collected in this work, several of them published for the first time, span almost a decade of this Black lesbian feminnist's work. Lorde is unflinching in her observations and is lucid and clarifying in her coverage of a range of essential topics.

Those who know anything about black history and culture probably know that aesthetics has long been a central concern for black thinkers and activists. The Harlem Renaissance, the Negritude movement, the Black Arts Movement, and the discipline of Black British cultural studies all attest to the intimate connection between black politics and questions of style, beauty, expression, and art. And the participants in these and other movements have made art and offered analyses that wrestle with clearly philosophical issues. In _A (...) Philosophy of Black Aesthetics_, I propose to identify and explore the most significant philosophical issues that emerge from the aesthetic dimensions of black life. The book will consist of eight short chapters, each of which will discuss a complex of related themes and phenomena. Every chapter will begin with one or two illustrative real-world examples, and then use the complexities of these opening cases to introduce the relevant issues. Many people in several fields have explored various bits of the terrain that I’ll cover. But none has surveyed the entire terrain in the name of aesthetics, and none has conducted this survey from an explicitly philosophical perspective. Setting up the project in this way means that its main conclusions will come in two forms. One kind of conclusion will emerge from the way I frame the issues. The two most important points here are that the field of aesthetics ought to cover more than the study of western fine art, and that the field of black aesthetics allows and requires the sort of comprehensive and philosophical analysis that I’ll offer. Another set of conclusions will emerge from my treatment of the specific issues in each chapter. In each case the aim will be to defend, albeit briefly, some position on the major issues raised in each chapter. (shrink)

At their best, mottos help us cope by crystallizing attitudes, eliciting resolve, and guiding conduct. Mottos have moral significance when they allude to the virtues and reflect the character of individuals and groups. As such, they function in the moral space between abstract ethical theory and contextual moral judgment. I discuss personal mottos such as those of Isak Dinesen (“I will answer”) and group mottos such as found in social movements (“Think globally, act locally”), professions (“Above all, do no harm”), (...) philosophy (“The personal is political”), and therapeutic groups like Alcoholics Anonymous (“One day at a time”). (shrink)

Argues that the War on Drugs and policies that deny convicted felons equal access to employment, housing, education and public benefits create a permanent under-caste based largely on race. Reprint. 12,500 first printing.