Bøger af Evie Shockley

Afrofuturismen er en relativt ny strømning indenfor fantastisk litteratur, der giver stemme til forfattere fra den afrikanske diaspora – det vil sige efterkommere af de afrikanere, der i sin tid blev bortført med vold og gjort til slaver, især i USA. Det er en litteratur der synliggør forholdene, både i historisk perspektiv og som de tager sig ud i dag. Den gør det på fantastisk vis, det vil sige ved at skrive om fremtiden, om rummet, om mystiske væsner og om ganske almindelige mennesker i specielle situationer.Denne bog er den første antologi på dansk, der præsenterer afrofuturistisk science fiction – og, da der er en vis uenighed om definitionen, også ”det der ligner”. Antologien præsenterer bl.a. en af de første forløbere for afrofuturismen i form af en post-apokalyptisk novelle fra 1920’erne; markante noveller fra forfattere som de nye afrofuturister har taget som deres forbilleder; samt historier om tid og rum, kloning, virtual reality (og sex!), tidsrejser, kunst og sameksistensen med aliens.Alle historierne er science fiction af den gode slags, der underholder under læsningen, men samtidig giver stof til eftertanke. For ud over den umiddelbare handling og de interessante personer, lægger de op til overvejelser, fx om hvordan vi tænker på andre (enkeltindivider, grupper, etniske konstellationer), på samfundet og på intet mindre end universet.Octavia Butler: BlodbarnNalo Hopkinson: Ganger (Kuglelyn)Linda D. Addison: Adskilt, sammenW. E. B. Du Bois: KometenTananarive Due: Mor og datterNisi Shawl: Maggierevie shockley: adskillelsesangstKalamu ya Salaam: TidstranceJelani Wilson: 22XX:One-ShotSamuel R. Delany: CoronaOmkring afrofuturisme. Efterord ved Lise Andreasen og Niels Dalgaard

Poetry that acts as a fierce and loving resistance to violence

Some of today''s most imaginative writers consider what it means to be made and fashioned by others.It is rare now for people to stay where they were raised, and when we encounter one another--whether in person or, increasingly, online--it is usually in contexts that obscure if not outright hide details about our past. But even in moments of pure self-invention, we are always shaped by the past. In Ancestors, some of today''s most imaginative writers consider what it means to be made and fashioned by others. Are we shaped by grandparents, family, the deep past, political forebears, inherited social and economic circumstances? Can we choose our family, or is blood always thicker? And looking forward, what will it mean to be ancestors ourselves, and how will our descendants remember us?ContributorsBennet Bergman, Sam Bett, Tyree Daye, Diamond Forde, Duana Fullwiley, José B. González, Racquel Goodison, Terrance Hayes, Day Heisinger-Nixon, Tyehimba Jess, Christina Knight, Emily Lordi, Vuyelwa Maluleke, Reginald McKnight, Cheswayo Mphanza, Achal Prabhala, Domenica Ruta, Metta Sáma, Sonia Sanchez, Izumi Suzuki, Deborah Taffa, Kyoko Uchida, Ocean Vuong, Binyavanga Wainaina, Yeoh Jo-Ann, Felicia Zamora

A profound and uplifting meditation on the meanings of race and belonging in America

Beginning with a deceptively simple question--What do we mean when we designate behaviors, values, or forms of expression as "black"?--Evie Shockley's Renegade Poetics separates what we think we know about black aesthetics from the more complex and nuanced possibilities the concept has long encompassed. The study reminds us, first, that even among the radicalized young poets and theorists who associated themselves with the Black Arts Movement that began in the mid-1960s, the contours of black aesthetics were deeply contested and, second, that debates about the relationship between aesthetics and politics for African American artists continue into the twenty-first century. Shockley argues that a rigid notion of black aesthetics commonly circulates that is little more than a caricature of the concept. She sees the Black Aesthetic as influencing not only African American poets and their poetic production, but also, through its shaping of criteria and values, the reception of their work. Taking as its starting point the young BAM artists' and activists' insistence upon the interconnectedness of culture and politics, this study delineates how African American poets--in particular, Gwendolyn Brooks, Sonia Sanchez, Harryette Mullen, Anne Spencer, Ed Roberson, and Will Alexander--generate formally innovative responses to their various historical and cultural contexts. Out of her readings, Shockley eloquently builds a case for redefining black aesthetics descriptively, to account for nearly a century of efforts by African American poets and critics to name and tackle issues of racial identity and self-determination. In the process, she resituates innovative poetry that has been dismissed, marginalized, or misread because its experiments were not "recognizably black"--or, in relation to the avant-garde tradition, because they were.