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cover of episode Jennifer C. Nash, "How We Write Now: Living with Black Feminist Theory" (Duke UP, 2024)

Jennifer C. Nash, "How We Write Now: Living with Black Feminist Theory" (Duke UP, 2024)

2024/12/25
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Jennifer C. Nash
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Kendall Deneen
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Jennifer C. Nash: 我探索了当代黑人女权主义者如何运用优美的文字来表达和处理丧失,特别是日常生活中被忽视的丧失。这种写作方式并非逃避,而是寻求与丧失的亲近,展现其温柔和美丽的一面。我的研究始于两个看似不同的项目:一个关于当代黑人女权主义理论的声音,另一个关于我母亲的个人写作。最终,我意识到这两个项目都围绕着丧失这一主题,并决定将它们结合起来。Christina Sharpe的《In the Wake》对我的研究产生了重要影响,它启发了我思考当代黑人女权主义写作的独特声音和方式。我所关注的‘美丽的写作’旨在培养作者与读者、作者与研究对象之间的亲近感,它亲密、细致入微,并关注日常生活的细节。这种写作方式在Black Lives Matter运动期间得到了发展,它成为记录丧失及其对黑人生命影响的一种重要方式。在Black Lives Matter运动中,许多黑人女性通过亲密的方式来表达丧失,这与以往关注数据和量化的方式形成了对比。这种亲密的声音也受到了出版市场的关注,但这种关系也存在复杂性。我的研究还探讨了黑人母性与丧失的关系,以及母亲形象在当代黑人女权主义写作中如何塑造对丧失的理解。许多作品都通过母亲(广义上)的视角来探讨丧失,这既包括对亲生母亲的思念,也包括对故土、母语等更广泛意义上的‘母亲’的丧失。Elizabeth Alexander的‘停留在骨头上’的概念,强调了对丧失细节的细致关注,这是一种保持与丧失亲近的方式。但这种关注也可能掩盖一些细节。杰斯敏·沃德的写作探讨了见证和旁观的区别,旁观会将黑人的死亡变成一种奇观,而见证则是对丧失的关注和尊重。纳塔莎·特雷西的回忆录《纪念大道》探讨了档案的伦理问题,她试图在官方档案(警方记录和新闻剪报)和个人记忆档案之间找到平衡,以对母亲的生平进行公正的描述。在Black Lives Matter运动期间,书信形式的文本大量涌现,这种形式的亲密性在于它并非直接写给读者,而是让读者成为偷听者,从而更深刻地感受到丧失的冲击。当代黑人女权主义写作具有视觉性,例如萨伊迪娅·哈特曼的《白人的怪异生活》就通过图像和文本的结合,邀请读者与历史人物建立联系。书中结尾的鸟群图像象征着集体,它既抽象又具有代表性,体现了集体行动的美丽和速度。这本书的结尾提出了一个问题:黑人女权主义如何创造工具来思考黑人父权以及这种人物的温柔能力。我希望读者能够关注黑人日常生活的空间,思考丧失对档案的意义,并探讨黑人女权主义写作的市场化现象。我目前正在从事两项写作项目:一本关于黑人女权主义者如何运用数字的学术著作,以及一本面向更广泛读者的关于黑人丧失的个人随笔集。 Kendall Deneen: 本期节目讨论了Jennifer C. Nash的新书《How We Write Now: Living with Black Feminist Theory》,该书探讨了当代黑人女权主义者如何运用优美的写作来表达和处理丧失,特别是日常生活中那些容易被忽视的丧失。书中关注的丧失形式是日常的、缓慢的或持续存在的,这些形式可能根本不被认为是黑人丧失。Nash教授解释了她对“美丽的写作”的定义,以及为什么当代黑人女权主义者会选择这种写作方式。她还探讨了黑人母性与丧失的关系,以及母亲形象在当代黑人女权主义写作中如何塑造对丧失的理解。我们还讨论了“停留在骨头上”的概念,以及见证和旁观的区别。此外,我们还探讨了档案的伦理问题,以及当代黑人女权主义写作中书信形式和视觉元素的使用。最后,我们探讨了黑人父权形象以及温柔在黑人女权主义理论中的作用。 supporting_evidences Jennifer C. Nash: 'The particular forms of Black loss that this book is interested in are quotidian, slow, or ongoing, and may go unrecognized as Black loss altogether...' Jennifer C. Nash: '...I was writing what seemed to be two different books. I was writing a book that was about the voice of contemporary Black feminist theory, and I was writing a book about my mother...' Jennifer C. Nash: '...And I always joke with students that I'm like, in the way it came out and then Black Studies was forever changed...' Jennifer C. Nash: '...For the first part, how to define beautiful writing, I'm really interested in writing that cultivates a voice that seeks proximity between author and reader and between author and the objects that that author studies...' Jennifer C. Nash: '...So my previous book, Birthing Black Mothers, was really interested in thinking about the relationship between Black motherhood and loss...' Jennifer C. Nash: '...And one of the things that Alexander says that's always really stuck with me from that interview is that in the process of writing the book, Light of the World, she felt like she was staying close to her husband...' Jennifer C. Nash: '...So I think one way to think about that difference, and I'm to think with a slightly different archive, there was an interview Imani Perry conducted with Tamir Rice's mother...' Jennifer C. Nash: '...So I was wondering, yeah, I guess if you could talk about that a little bit, or if you want to talk about sort of the ethics of the archives using a different sort of example...' Jennifer C. Nash: '...So that chapter was really interested in a proliferation of texts during Black Lives Matter that took the form of the letter...' Jennifer C. Nash: '...So I think the best example is Saidiya Hartman's White Weird Lives...' Jennifer C. Nash: '...It's a beautiful image of birds flying in formation...' Jennifer C. Nash: '...Can you, um, yeah, just talk about this a little bit about the Black paternal? Sure...' Jennifer C. Nash: '...Yeah, I mean, I guess that's such a lovely question. I think part of the book is animated by a desire to call attention, renewed attention to the space of the Black ordinary...'

Deep Dive

Key Insights

What is the central focus of Jennifer C. Nash's book 'How We Write Now: Living with Black Feminist Theory'?

The book examines how contemporary Black feminist writers use beautiful writing to stay close to and live with Black loss, exploring how loss is both paradigmatic of Black life and an aesthetic question. It highlights how Black feminist prose becomes a mode of living, feeling, and dreaming, offering readers companionship in navigating their own lives with loss.

How does Jennifer C. Nash define 'beautiful writing' in the context of Black feminist theory?

Nash defines beautiful writing as prose that cultivates intimacy between the author and reader, focusing on detail, intricacy, and the ordinary. It is literary, poetic, and seeks to move the reader, often whispering in their ear and withholding nothing. This writing style shifts from the social science orientation of earlier Black feminism to a more literary and affective voice.

Why do contemporary Black feminists use beautiful writing, according to Nash?

Contemporary Black feminists use beautiful writing to record loss in an intimate way, moving away from earlier strategies focused on quantifiability and data. This intimate voice emerged during the Black Lives Matter movement as a way to capture how loss undoes and reassembles Black life. It has also been celebrated by the market, though this commodification raises ethical concerns.

What role does Black maternal subjectivity play in Black feminist writing about loss?

Black maternal subjectivity is central to how Black feminists think about loss, often framing it through the lens of motherhood. Writers like Christina Sharpe and Elizabeth Alexander explore loss through their relationships with their mothers or their roles as mothers. This focus extends to broader metaphors of losing motherlands, mother tongues, and other fundamental aspects of identity.

How does Natasha Trethewey navigate the ethics of archives in her memoir 'Memorial Drive'?

Trethewey navigates multiple imperfect archives, including official police records and personal memories, to piece together the story of her mother's murder. She grapples with the clinical nature of official records and the imperfections of memory, seeking to honor her mother's life by moving between these archives and assembling a narrative that feels true to her loss.

What is the significance of the epistolary form in Black feminist writing during the Black Lives Matter movement?

The epistolary form, used by writers like Ta-Nehisi Coates and Imani Perry, creates intimacy by addressing letters to specific individuals, allowing readers to eavesdrop on private conversations. This form makes discussions of anti-Blackness and anticipated grief feel more personal and provocative, positioning readers as witnesses to intimate exchanges about loss and violence.

How does Saidiya Hartman's 'Wayward Lives, Beautiful Experiments' use visual elements to engage with loss?

Hartman's book includes uncaptioned images of Black women and girls, creating a visual album that invites readers to forge connections with the past. The lack of captions allows readers to project their own stories onto the images, fostering a sense of intimacy and claiming historical figures as their own. This visual-discursive approach makes the past tangible and emotionally resonant.

What does Jennifer C. Nash suggest about the Black paternal in Black feminist theory?

Nash highlights the absence of the Black paternal in Black feminist archives and calls for tools to think about this figure, particularly in terms of tenderness. She contrasts the extensive theorization of Black motherhood with the lack of attention to Black fatherhood, suggesting that tenderness could be a way to explore the Black paternal beyond traditional narratives of absence or patriarchy.

What does Nash hope readers will take away from 'How We Write Now'?

Nash hopes readers will pay renewed attention to the Black ordinary, think critically about the theorization of loss in Black feminist work, and engage with the commodification of Black feminist grief. She also emphasizes how loss can forge unexpected communities and connections, offering comfort and shared experiences to those navigating similar losses.

Chapters
This chapter explores how contemporary Black feminist writers utilize their writing to confront and coexist with loss, particularly the everyday and often overlooked forms of Black loss. It examines how these writers create intimate connections between the author, reader, and subject matter, employing literary and poetic voices to depict loss not just as a social issue, but also an aesthetic one. The chapter highlights the shift from a social-science approach to a more literary expression within Black feminism.
  • Black feminist writers use beautiful, intimate writing to stay close to loss.
  • This writing style creates proximity between author and reader.
  • Black Lives Matter significantly impacted the expression of loss in Black feminist writing.
  • Intimate voice became a dominant form of expressing loss in Black feminist writing.

Shownotes Transcript

In How We Write Now: Living with Black Feminist Theory)* *(Duke UP, 2024), Jennifer C. Nash examines how Black feminists use beautiful writing to allow writers and readers to stay close to the field’s central object and preoccupation: loss. She demonstrates how contemporary Black feminist writers and theorists such as Jesmyn Ward, Elizabeth Alexander, Christina Sharpe, and Natasha Trethewey mobilize their prose to ask readers to feel, undo, and reassemble themselves. These intimate invitations are more than a set of tools for decoding the social world; Black feminist prose becomes a mode of living and feeling, dreaming and being, and a distinctly affective project that treats loss as not only paradigmatic of Black life but also an aesthetic question. Through her own beautiful writing, Nash shows how Black feminism offers itself as a companion to readers to chart their own lives with and in loss, from devastating personal losses to organizing around the movement for Black lives. Charting her own losses, Nash reminds us that even as Black feminist writers get as close to loss as possible, it remains a slippery object that troubles memory and eludes capture.

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