"Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."—Brent Hayes Edwards, author of Epistrophies: Jazz and the Literary Imagination
In Stolen Life—the second volume in his landmark trilogy consent not to be a single being—Fred Moten undertakes an expansive exploration of blackness as it relates to black life and the collective refusal of social death. The essays resist categorization, moving from Moten's opening meditation on Kant, Olaudah Equiano, and the conditions of black thought through discussions of academic freedom, writing and pedagogy, non-neurotypicality, and uncritical notions of freedom. Moten also models black study as a form of social life through an engagement with Fanon, Hartman, and Spillers and plumbs the distinction between blackness and black people in readings of Du Bois and Nahum Chandler. The force and creativity of Moten's criticism resonate throughout, reminding us not only of his importance as a thinker, but of the continued necessity of interrogating blackness as a form of sociality. “作为一个三部曲,同意不是一个单一的存在是一个巨大的成就: 一个辉煌的理论干预,可以最好地描述为黑色作为一个分析范畴的强大案例。“ー布伦特 · 海斯 · 爱德华兹,《颓废主义: 爵士乐与偷窃生活中的文学想象》一书的作者ーー弗雷德 · 莫滕在他具有里程碑意义的三部曲中的第二部《同意不再是一个单独的存在》中,对黑人生活以及对社会死亡的集体拒绝进行了广泛的探索。这些文章抵制分类,从莫滕对康德、奥劳达 · 埃卡诺和黑人思想条件的开放式思考,通过对学术自由、写作和教育学、非神经典型性以及对自由的非批判性概念的讨论。莫滕还将黑人研究作为一种社会生活形式,通过与法农、哈特曼和斯皮尔斯的接触,在读杜波依斯和那鸿 · 钱德勒的著作中探索黑人和黑人之间的区别。摩顿的批评的力量和创造性贯穿始终,不仅提醒我们他作为一个思想家的重要性,而且提醒我们审问黑暗作为一种社会形式的持续必要性。
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