The book explores the relationship between melancholy and genius in Black culture, focusing on the role of the Black mother as both a lost object and a found subject in the production of Black masculinist genius. Durham uses psychoanalysis and affect theory to analyze figures like Frederick Douglass, Ralph Ellison, Marvin Gaye, Octavia Butler, and Kendrick Lamar, showing how their cultural practices and aesthetics reveal the lost mother through performance.
The phrase 'Stay Black and Die,' which Durham's mother often told him as a child, became a central motif in his exploration of melancholy and genius. It resonated with other cultural and literary references, such as Frantz Fanon's 'See Paris and Die' and the biblical 'Curse God and Die,' leading Durham to investigate the connections between these phrases and the themes of loss, motherhood, and genius in Black culture.
Frederick Douglass was chosen because of his psychoanalytic engagement with his relationship to his mother, which Durham argues predates the formal emergence of psychoanalysis. Douglass's autobiographies reveal a deep connection to his matrilineage, which Durham sees as a catalyst for his intellectual and cultural genius.
Durham examines how women in Ralph Ellison's life, such as his piano teacher Miss Hazel Harrison, influenced his genius. Ellison's work, particularly 'Invisible Man,' is read as allegorical of these relationships, with women providing the sound, noise, and maternal figures that shape his artistic and intellectual development.
Durham interprets Marvin Gaye's falsetto as a performance of masculinity that engages with gender trouble. Gaye's use of falsetto, which interpolates Black female vocality, reflects his ambivalence around gender and his struggles with masculinity, particularly in the context of his traumatic relationship with his father.
Octavia Butler's 'Bloodchild' is significant because it explores themes of gender, melancholy, and genius through the story of a pregnant boy. Durham uses the story to critique the strictness of gender categories and to show how Butler's imaginative act engages with gender trouble before the rise of gender theory in the 1980s and 1990s.
Durham connects Kendrick Lamar's work, particularly 'To Pimp a Butterfly,' to the themes of melancholy and genius by examining how Lamar's music and lyrics reflect his relationship with his mother and his struggles with identity. Durham also explores the psychoanalytic elements in Lamar's music videos, such as the mirror phase, to show how Lamar engages with the blues idiom and psychoanalytic thought.
In Stay Black and Die: On Melancholy and Genius)* *(Duke UP, 2023), I. Augustus Durham examines melancholy and genius in black culture, letters, and media from the nineteenth century to the contemporary moment. Drawing on psychoanalysis, affect theory, and black studies, Durham explores the black mother as both a lost object and a found subject often obscured when constituting a cultural legacy of genius across history. He analyzes the works of Frederick Douglass, Ralph Ellison, Marvin Gaye, Octavia E. Butler, and Kendrick Lamar to show how black cultural practices and aesthetics abstract and reveal the lost mother through performance. Whether attributing Douglass’s intellect to his matrilineage, reading Gaye’s falsetto singing voice as a move to interpolate black female vocality, or examining the women in Ellison’s life who encouraged his aesthetic interests, Durham demonstrates that melancholy becomes the catalyst for genius and genius in turn is a signifier of the maternal. Using psychoanalysis to develop a theory of racial melancholy while “playing” with affect theory to investigate racial aesthetics, Durham theorizes the role of the feminine, especially the black maternal, in the production of black masculinist genius.
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