June 6 –

Rachel Ellis Neyra invites writerly disruption to the “officially subsidized” archive of assimilationist, or whitened, desire:

Exploited in the present and extorted of their futures, black, brown, and queer bodies are held in vogue yet under imminent threat of possible attack. We imagine not only how “not to be caught alone under duress,” how not to be without each other, but also how to feel fucking good with what flows between us. With vernacular materials, the stuff of children’s games and school houses, and policing – graphite, white chalk, water, glue, our hands, the subtle sound of etching on walls – we will make a momentarily shared language for “everything we love to survive dispossession.”

Black, brown, and queer bodies, then, become sites of abundant emotional addressability in the world as they signify affective excess: they are sometimes desirable and other times disruptive, always awaiting regulation.
Exploited in the present and extorted of futures, black, brown, and queer bodies are marked by the demand to sound out expectedly sensational comportment – held in vogue yet under imminent threat of possible attack.
An exchange must be made: what else might presence sound and feel like?

Queer Indeterminacy, Black (Im)permanence, Dispossession, Survival

Rachel Ellis Neyra is an Assistant Professor of English at Wesleyan University. A poet-theorist, she researches and writes about Latina/o, Caribbean, and African Diasporic Poetry and Music, Third Cinema, revolutionary discourses in the Americas, Critical Race, Literary, and Queer Theories, and Translation. She’s currently working on her book manuscript, The Cry Articulates: Contemporary Radical Latina/o and Black Poetics, which engages Latina/o and Black literature, music, cinema, and performance art that deviate from “the promise of freedom” and the American dream, but in their failures to move from the insurgent to the revolutionary, feel out for us different imaginings, embodiments, and moods of anti-integrationist pleasure and beauty.