This special issue of Radical History Review aims to revitalize African diaspora studies by shifting current emphases within the field. The contributors rethink current understandings of African and diaspora as a dispersal of Africans from the African continent via the Atlantic slave trade and offer reconceptualizations of dominant paradigms, such as home, origins, migrations, politics, blackness, African, Africa, African-descended, and Americanness.

The contributors draw on perspectives from political science, history, cultural studies, art history, anthropology, feminist...

Departing from conventional narratives of the United States and the Americas as fundamentally continental spaces, the contributors to Archipelagic American Studies theorize America as constituted by and accountable to an assemblage of interconnected islands, archipelagoes, shorelines, continents, seas, and oceans. They trace these planet-spanning archipelagic connections in essays on topics ranging from Indigenous sovereignty to the work of Edouard Glissant, from Philippine call centers to US militarization in the Caribbean, and from the Great Pacific Garbage Patch to enduring overlaps...

Departing from conventional narratives of the United States and the Americas as fundamentally continental spaces, the contributors to Archipelagic American Studies theorize America as constituted by and accountable to an assemblage of interconnected islands, archipelagoes, shorelines, continents, seas, and oceans. They trace these planet-spanning archipelagic connections in essays on topics ranging from Indigenous sovereignty to the work of Edouard Glissant, from Philippine call centers to US militarization in the Caribbean, and from the Great Pacific Garbage Patch to enduring overlaps...

In Skin Acts, Michelle Ann Stephens explores the work of four iconic twentieth-century black male performers--Bert Williams, Paul Robeson, Harry Belafonte, and Bob Marley--to reveal how racial and sexual difference is both marked by and experienced in the skin. She situates each figure within his cultural moment, examining his performance in the context of contemporary race relations and visual regimes. Drawing on Lacanian psychoanalysis and performance theory, Stephens contends that while black skin is subject to what Frantz Fanon called the epidermalizing and hardening effects of the...

In Skin Acts, Michelle Ann Stephens explores the work of four iconic twentieth-century black male performers--Bert Williams, Paul Robeson, Harry Belafonte, and Bob Marley--to reveal how racial and sexual difference is both marked by and experienced in the skin. She situates each figure within his cultural moment, examining his performance in the context of contemporary race relations and visual regimes. Drawing on Lacanian psychoanalysis and performance theory, Stephens contends that while black skin is subject to what Frantz Fanon called the epidermalizing and hardening effects of the...