In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. In the Break is an extended riff on OC The Burton Greene Affair, OCO exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses...
In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and expl...
The fourth collection of poetry from the literary and cultural critic Fred Moten, B Jenkins is named after the poet's mother, who passed away in 2000. It is both an elegy and an inquiry into many of the themes that Moten has explored throughout his career: language, music, performance, improvisation, and the black radical aesthetic and political tradition. In Moten's verse, the arts, scholarship, and activism intertwine. Cadences echo from his mother's Arkansas home through African American history and avant-garde jazz riffs. Formal innovations suggest the ways that words, sounds, and...
The fourth collection of poetry from the literary and cultural critic Fred Moten, B Jenkins is named after the poet's mother, who passed away i...
The fourth collection of poetry from the literary and cultural critic Fred Moten, B Jenkins is named after the poet's mother, who passed away in 2000. It is both an elegy and an inquiry into many of the themes that Moten has explored throughout his career: language, music, performance, improvisation, and the black radical aesthetic and political tradition. In Moten's verse, the arts, scholarship, and activism intertwine. Cadences echo from his mother's Arkansas home through African American history and avant-garde jazz riffs. Formal innovations suggest the ways that words, sounds, and...
The fourth collection of poetry from the literary and cultural critic Fred Moten, B Jenkins is named after the poet's mother, who passed away i...
In Black and Blur--the first volume in his sublime and compelling trilogy consent not to be a single being--Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life. In these interrelated essays, Moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms. Black and Blur is marked by unlikely juxtapositions: Althusser informs analyses of rappers Pras and Ol' Dirty Bastard; Shakespeare...
In Black and Blur--the first volume in his sublime and compelling trilogy consent not to be a single being--Fred Moten engages in a capa...
In Black and Blur--the first volume in his sublime and compelling trilogy consent not to be a single being--Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life. In these interrelated essays, Moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms. Black and Blur is marked by unlikely juxtapositions: Althusser informs analyses of rappers Pras and Ol' Dirty Bastard; Shakespeare...
In Black and Blur--the first volume in his sublime and compelling trilogy consent not to be a single being--Fred Moten engages in a capa...
Winner of the Guggenheim Fellowship (2016) The Little Edges is a collection of poems that extends poet Fred Moten's experiments in what he calls "shaped prose"--a way of arranging prose in rhythmic blocks, or sometimes shards, in the interest of audio-visual patterning. Shaped prose is a form that works the "little edges" of lyric and discourse, and radiates out into the space between them. As occasional pieces, many of the poems in the book are the result of a request or commission to comment upon a work of art, or to memorialize a particular moment or person. In Moten's poems,...
Winner of the Guggenheim Fellowship (2016) The Little Edges is a collection of poems that extends poet Fred Moten's experiments in what he ...
In Stolen Life-the second volume in his landmark trilogy consent not to be a single being-Fred Moten engages with the work of thinkers ranging from Kant to Saidiya Hartman, undertaking an expansive exploration of blackness as it relates to black life and the collective refusal of social death.
In Stolen Life-the second volume in his landmark trilogy consent not to be a single being-Fred Moten engages with the work of thinkers ranging from Ka...
In Stolen Life-the second volume in his landmark trilogy consent not to be a single being-Fred Moten engages with the work of thinkers ranging from Kant to Saidiya Hartman, undertaking an expansive exploration of blackness as it relates to black life and the collective refusal of social death.
In Stolen Life-the second volume in his landmark trilogy consent not to be a single being-Fred Moten engages with the work of thinkers ranging from Ka...
In the concluding volume to his landmark trilogy consent not to be a single being Fred Moten uses the work of Emmanuel Levinas, Hannah Arendt, and Franz Fanon to explore the relationship between blackness and phenomenology, theorizing blackness as a way of being in the world that evades regulation.
In the concluding volume to his landmark trilogy consent not to be a single being Fred Moten uses the work of Emmanuel Levinas, Hannah Arendt, and Fra...
In the concluding volume to his landmark trilogy consent not to be a single being Fred Moten uses the work of Emmanuel Levinas, Hannah Arendt, and Franz Fanon to explore the relationship between blackness and phenomenology, theorizing blackness as a way of being in the world that evades regulation.
In the concluding volume to his landmark trilogy consent not to be a single being Fred Moten uses the work of Emmanuel Levinas, Hannah Arendt, and Fra...
