“I’m very skeptical about the ability of people in positions of power and privilege—including intellectuals—to name truths about the world.”
“This is a book that explores how African history—political history, cultural history, literary history—weighs and therefore haunts some of the stories that we tell ourselves about latinidad.”
In this latest episode of the Writing Latinos podcast, we discuss how some Afro-Latinas argue that the US census needs to accept that Latinos are not a race.
“Keep your cosmetic change, if you’re making no attempt to deal with the underlying practices that perpetuate harm.”
Armageddon Time is undercut by the very forces it hopes to expose: white complicity, forged through the exploitation of Black life.
Shola von Reinhold’s novel is central to any reckoning with the politics of the archive, not to mention contemporary literature itself.
In the 1740s, Bordeaux developed some of the first modern theories of racial difference, even as the city profited from the slave trade.
“Are there ways in which Black North Americans connected to places and things that were outside of the world we thought they were in?”
“At the end of the day, the America project was about an encounter with abundance that was responded to with greed and brutality.”
If we accept AIs crafting rap, we repeat the same exploitation that currently separates Black and brown artists from the fruits of their labor.
A new play centers on a Black woman who stops “accommodating white people” and, instead, asks them “about their love affair with my death.”
Novelist Jesmyn Ward is known for historical grandiosity, but her long-overlooked book “Sing, Unburied, Sing” turns away from realism into the realm of generic strangeness.
“Nostalgia is not what Shakespeare represents for me; I don’t want to make Shakespeare great again. He doesn’t need that, and neither do we.”
“There is nothing supreme about being white.”