Abstract:An examination of the significance of dance performances in the demonstrations of the Puerto Rican summer of 2019, this essay argues that these performances belong to a history of irreverent, extravagant mourning gestures that periodically irrupt in Puerto Rican culture as decolonial practices by dislocating the socially prescribed binding between performance and affect. Using the theories of Saidiya Hartman, José Esteban Muñoz, and Juana María Rodríguez, and connecting to the work of Rocío Zambrana on strategies that address the island's colonial legacy, the essay explores the mournfully irreverent dance performances of the Afro-Boricua bomba dancer Clara Isabel Díaz, the patería combativa (combative queer voguing) of Aldrin Manuel Cañals, and the reggaetón perreo of queer feminist activists Perra Mística and Kaya Té as gestures of loss and mourning that both demand redress and enact what Puerto Rican artists, activists, and critics have begun to call "decolonial joy."

Preface: Erna Brodber's Social Ethics of Black Memory

Abstract:Recent texts in Latinx literature have ghosts that demonstrate new knowledge about history, culture, and subjectivity. In Song of the Water Saints and Soledad, the first novels of authors Nelly Rosario and Angie Cruz, respectively, the figure of the ghost is a trope that imaginatively reconnects communities of women that are fractured by the corruptive influence of the United States and other Western nations in the Latin Caribbean. The ghost of Graciela in Song of the Water Saints and the "living ghost" of Olivia in Soledad allow readers to see how matrilineal bonds in families can be restored. These ties are cut by the prolonged and detrimental exploitation of the Dominican Republic by the United States and more generally the West. With a focus on women, the use of ghosts in these novels attends to the material, historical, and cultural practices between people and the geographies they inhabit.

Preface: The Misrecognition of Charles W. Mills and the Dialogue of Intellectual Traditions

This book argues that W. H. Auden wrote his poetry to help people become more aware of what happens when they read. In itself that is an innocent enough, maybe even banal claim. But if patiently pursued, it leads into perilous territory, the uncharted marches, badlands, deserts waiting calmly beyond the horizon of Auden's verse. It is natural to assume that reading is a practical affair, a matter of figuring out what must have been an author's original intention. And it follows from this assumption that reading is a most intimate encounter, the irresistible possession of a rapt subject by a mastering voice. But for Auden that is not it at all. He saw reading as an activity that takes place in a cultural arena, where murderously opposed interests compete for status and power. Contrary to widespread belief, reading is not the referee of this mayhem but its chief goal and prize. The rivals of the arena try to seize control of reading, to claim its activity of meaningmaking as their own. Auden knew that to hold power over someone is not to impose a specific (and easily forgotten) truth, but to induce that person to construct reality in a predictable way. Insofar as reading designates the entire shaping process through which a too fluent world is forged into solid truth, the stakes are quite high. Poetry fascinated Auden because it offered a chance to arrest and anatomize the subtle disciplines of the cultural arena. As social beings, we are ordinarily, and quite rightly, preoccupied with the accurate transmission of sense. But poetry offers a respite from this concern. It stages an imaginative saturnalia and pokes fun at a violence that would otherwise be imperceptible. Violence may seem too strong a term, but it is not, at least for a poet. To Auden, words are inscribed, which means they retain the varied accents and nuances they have accumulated during

https://read.dukeupress.edu/small-axe/article-pdf/26/1 (67)/vii/1530119/0260007a.pdf

Preface

Preface: The Last West Indian

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Preface: Erna Brodber's Social Ethics of Black Memory

Preface: The Misrecognition of Charles W. Mills and the Dialogue of Intellectual Traditions

Preface

Preface: The Last West Indian