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The Global History of Black Girlhood boldly claims that Black girls are so important we should know their histories. Yet, how do we find the stories and materials we need to hear Black girls' voices and understand their lives? Corinne T. Field and LaKisha Michelle Simmons edit a collection of writings that explores the many ways scholars, artists, and activists think and write about Black girls' pasts. The contributors engage in interdisciplinary conversations that consider what it means to be a girl; the meaning of Blackness when seen from the perspectives of girls in different times and places; and the ways Black girls have imagined themselves as part of a global African diaspora. Thought-provoking and original, The Global History of Black Girlhood opens up new possibilities for understanding Black girls in the past while offering useful tools for present-day Black girls eager to explore the histories of those who came before them. Contributors: Janaé E. Bonsu, Ruth Nicole Brown, Tara Bynum, Casidy Campbell, Katherine Capshaw, Bev Palesa Ditsie, Sarah Duff, Cynthia Greenlee, Claudrena Harold, Anasa Hicks, Lindsey Jones, Phindile Kunene, Denise Oliver-Velez, Jennifer Palmer, Vanessa Plumly, Shani Roper, SA Smythe, Nastassja Swift, Dara Walker, Najya Williams, and Nazera Wright

In Saidya Hartman's \"Venus in Two Acts,\" she returns to the deaths of two young African girls who were both violently and brutally killed on the middle passage. Raped, strung up, whipped to death, dying alone This is the information Hartman pieces together from the ship's ledger and financial accounts, the captain's log book, and the court case that dismissed the charges of murder against Captain John Timber, the man who caused the deaths of the girls. The archive of black diaspora is, as Hartman rightly suggests, \"a death sentence, a tomb, a display of a violated body, an inventory of property, a medical treatise, an asterisk in the grand narrative of history.\" Here, McKittrick discusses the archives of black slavery

Searching for Sycoraxhighlights the unique position of Black women in horror as both characters and creators. Kinitra D. Brooks creates a racially gendered critical analysis of African diasporic women, challenging the horror genre's historic themes and interrogating forms of literature that have often been ignored by Black feminist theory. Brooks examines the works of women across the African diaspora, from Haiti, Trinidad, and Jamaica, to England and the United States, looking at new and canonized horror texts by Nalo Hopkinson, NK Jemisin, Gloria Naylor, and Chesya Burke. These Black women fiction writers take advantage of horror's ability to highlight U.S. white dominant cultural anxieties by using Africana folklore to revise horror's semiotics within their own imaginary. Ultimately, Brooks compares the legacy of Shakespeare's Sycorax (ofThe Tempest) to Black women writers themselves, who, deprived of mainstream access to self-articulation, nevertheless influence the trajectory of horror criticism by forcing the genre to de-centralize whiteness and maleness.

This research offers a critical content analysis of three middle grade novels that is substantiated by key concepts within Afro-pessimism, Black critical theory, and Black futurity. Through this framing, we examine significant historic and sociopolitical moments reflected in the novels when Black preteen protagonists are forced to confront racialized violence. Across the set of novels, we outline a distinct pattern of antiblackness—one that chronicles the incomplete nature of emancipation that continuously haunts Black lives in the United States (Hartman & Wilderson, 2003). Yet, at the same time, we consider how the novels connect the past, present, and future by reflecting how Black girls across time and location have imagined alternative ways forward.

This article examines the African American queer radical feminist activist, Ernestine Eckstein, a daughter of the South born in the urban cultural center of Memphis, Tennessee and raised in the Midwest in South Bend, Indiana. This work explores the numerous barriers Eckstein faced due to her multiple intersecting identities. Drawing on oral history, archival records, magazine articles, and newspaper articles, as well as secondary literature, this work contributes to and enhances our understanding of Black and queer histories. I investigate the radical tools of resistance Eckstein employed to challenge systems of oppression constructed by white supremacy including racism, sexism, and misogynoir. Spanning a short historical era, from the mid-to-late 20th century, I explore Eckstein's political awakening and crucial role in the fight against sexual and racial discrimination. Centering Eckstein's life and activism expands ideas and understandings of Black womanhood and highlights discrimination within African American and gay and lesbian communities. In this article I center Eckstein as a fighter for equality in her own narrative rather than at the margins of queer white history and heteronormative Black women's history.

In a gathering of griot traditions fusing storytelling, cultural history, and social and literary criticism,Put Your Hands on Your Hips and Act Like a Woman \"re-members\" and represents how women of the African diaspora have drawn on ancient traditions to record memory, history, and experience in performance. These women's songs and dances provide us with a wealth of polyphonic text that records their reflections on identity, imagination, and agency, providing a collective performed autobiography that complements the small body of pre-twentieth-century African and African American women's writing. Gale P. Jackson engages with a range of vibrant traditions to provide windows into multiple discourses as well as \"new\" and old paradigms for locating the history, philosophy, pedagogy, and theory embedded in a lineage of African diaspora performance and to articulate and address the postcolonial fragmentation of humanist thinking. In lyrically interdisciplinary movement, across herstories, geographies, and genres, cultural continuities, improvisation, and transformative action,Put Your Hands on Your Hips and Act Like a Woman offers a fresh perspective on familiar material and an expansion of our sources, reading, and vision of African diaspora, African American, and American literatures.

The third edition of Southern Women relays the historical narrative of both black and white women in the patriarchal South. Covering primarily the years between 1800 and 1865, it shows the strengths and varied experiences of these women-on plantations, small farms, in towns and cities, in the Deep South, the Upper South, and the mountain South. It offers fascinating information on family life, sexuality, and marriage; reproduction and childrearing; education and religion; women and work; and southern women and the Confederacy. Southern Women: Black and White in the Old South, Third Edition distills and incorporates recent scholarship by historians. It presents a well-written, more complicated, multi-layered picture of Southern women's lives than has ever been written about before-thanks to its treatment of current, relevant historiographical debates. The book also: Includes new scholarship published since the second edition appeared Pays more attention to women in the Deep South, especially the experiences of those living in Louisiana and Mississippi Is part of the highly successful American History Series The third edition of Southern Women: Black and White in the Old South will serve as a welcome supplementary text in college or community-college-level survey courses in U.S., Women's, African-American, or Southern history. It will also be useful as a reference for graduate seminars or colloquia.

The struggle of Black nuns to desegregate Catholic religious life in the 20th century U.S. is explored. To date, the fiercely contested admission of African-descended women and girls into historically white Catholic sisterhoods remains among the most under-researched topics in American religious history, with scholarly examinations of the longstanding practices of racial segregation and exclusion in female religious life are also rare. Black women and girls who entered white sisterhoods have routinely been subject to historical erasure, marginalization, and mythmaking. It is noted that African Americans sisters' experiences of rejection and virulent racism in white congregations are far from uncommon.

Innovator Award for Edited Collection from the Central States Communication Association (CSCA)Shonda Rhimes is one of the most powerful players in contemporary American network television. Beginning with her break-out hit series Grey's Anatomy, she has successfully debuted Private Practice, Scandal, How to Get Away with Murder, The Catch, For The People, and Station 19. Rhimes's work is attentive to identity politics, \"post-\" identity politics, power, and representation, addressing innumerable societal issues. Rhimes intentionally addresses these issues with diverse characters and story lines that center, for example, on interracial friendships and relationships, LGBTIQ relationships and parenting, the impact of disability on familial and work dynamics, and complex representations of womanhood. This volume serves as a means to theorize Rhimes's contributions and influence by inspiring provocative conversations about television as a deeply politicized institution and exploring how Rhimes fits into the implications of twenty-first century television.