The Fact Of Blackness

Black Skin, White Masks is a classic, devastating account of the dehumanising effects of colonisation experienced by black subjects living in a white world. First published in English in 1967, this book provides an unsurpassed study of the psychology of racism using scientific analysis and poetic grace.Franz Fanon identifies a devastating pathology at the heart of Western culture, a denial of difference, that persists to this day. A major influence on civil rights, anti-colonial, and black consciousness movements around the world, his writings speak to all who continue the struggle for political and cultural liberation.With an introduction by Paul Gilroy, author of There Ain't No Black in the Union Jack.

Creating a far-reaching and original dialogue between cultural theory, and visual practice, The Fact of Blackness is the first study published in the visual-culture arena to examine the contemporary legacy of the psychoanalyst, political philosopher, and writer Frantz Fanon in the work of leading multicultural arts practitioners and critical writers. The rich insights that emerge from this collection explain why Frantz Fanon's seminal texts of the 1950s and 60s, The Wretched of the Earth and Black Skin, White Masks, have reemerged at the forefront of postcolonial studies.

Creating a far-reaching and original dialogue between cultural theory, and visual practice, The Fact of Blackness is the first study published in the visual-culture arena to examine the contemporary legacy of the psychoanalyst, political philosopher, and writer Frantz Fanon in the work of leading multicultural arts practitioners and critical writers. The rich insights that emerge from this collection explain why Frantz Fanon's seminal texts of the 1950s and 60s, The Wretched of the Earth and Black Skin, White Masks, have reemerged at the forefront of postcolonial studies.

Debra Dickerson pulls no punches in this electrifying manifesto. Outspoken journalist and author of the critically acclaimed memoir An American Story, she challenges black Americans to stop obsessing about racism and start focusing on problems they can fix. The way out of the ghetto, she asserts, is to take a good, hard look in the mirror. Get angry, Dickerson says, but use that anger to fuel excellence and civic participation rather than crime or drug addiction. Drawing richly on black history and thought, as well as her own hard-won wisdom, she urges blacks to let go of the past and claim their full freedom. It’s only by shaping their own future, she argues, that blacks will finally abolish the myth of white superiority.

What is the meaning of blackness in Africa? This title tackles the question of race in West Africa through its post-colonial manifestations. Pierre examines key facets of contemporary Ghanaian society, from the pervasive significance of 'whiteness' to the practice of chemical skin-bleaching to the government's active promotion of Pan-African 'heritage tourism'.

This new anthology brings together the most diverse and recent voices in postcolonial theory to emerge since 9/11, alongside classic texts in established areas of postcolonial studies. Brings fresh insight and renewed political energy to established domains such as nation, history, literature, and gender Engages with contemporary concerns such as globalization, digital cultures, neo-colonialism, and language debates Includes wide geographical coverage – from Ireland and India to Israel and Palestine Provides uniquely broad coverage, offering a full sense of the tradition, including significant essays on science, technology and development, education and literacy, digital cultures, and transnationalism Edited by a distinguished postcolonial scholar, this insightful volume serves scholars and students across multiple disciplines from literary and cultural studies, to anthropology and digital studies

In this original and trenchant work, Christina Sharpe interrogates literary, visual, cinematic, and quotidian representations of Black life that comprise what she calls the "orthography of the wake." Activating multiple registers of "wake"—the path behind a ship, keeping watch with the dead, coming to consciousness—Sharpe illustrates how Black lives are swept up and animated by the afterlives of slavery, and she delineates what survives despite such insistent violence and negation. Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.