Hope Against Hope: Queer Negativity, Black Feminist Theorizing, and Reproduction

without Futurity
Author(s): JAMES BLISS
Source: Mosaic: An Interdisciplinary Critical Journal , March 2015, Vol. 48, No. 1, a
special issue: QUEER/AFFECT (March 2015), pp. 83-98
Published by: University of Manitoba

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The Black subject in Lee Edelman's queer negativity is explored here as both absent from and productive of its

most radical critiques of futurity. The essay attempts to read a different queer negativity within the tradition of

Black feminist theorizing.

Hope Against Hope: Queer Negativity,

Black Feminist Theorizing, and
Reproduction without Futurity

JAMES BLISS

There must be some way to integrate death into living ,

neither ignoring it nor giving in to it.

-Audre Lorde , The Cancer Journals

interventions called queer

The interventions
negativity
negativity
has opened
polemical
a has thrust called opened of queer the a
debate on hope and hopelessness that has left little room for middle ground, much
less an altogether different terrain. This essay tries to find a different place(lessness)
from which to theorize queer negativity and, or as, Black feminist theorizing. That is,
to find in the interventions called queer negativity - the critique of reproductive futu-
rity, of the family, of the politics of hope - their préfigurations and alter-articulations
within Black feminist theory. This is not to say that queer negativity simply repro-
duces Black feminism in whiteface, but that Black feminist theorizing anticipates or,
rather, haunts the political imaginary articulated in queer negativity. Returning to
Black feminist theorizing opens onto yet another political imaginary, one different

Mosaic 48/1 0027-1 276-07/0830 16$02.00©Mosaic

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84 Mosaic 48/1 (March 2015)

from both the queer pessimists and their queer futurist critics. Black feminist theo-
rizing offers a way of short-circuiting the dialectic of hope and hopelessness and
allows for different theorizations of reproduction, futurity, and their coalescence at
the site of the family.
I want to begin, then, with some reflections on the project of queer negativity. In
the hands of literary theorist Lee Edelman, the antirelational position developed
across the oeuvre of Leo Bersani has shifted from a critique of the sanitization of sex-
uality into a position against the reproduction of society - futurity - itself. Edelman's
2004 monograph, No Future : Queer Theory and the Death Drive , offers an iconoclas-
tic revision and re-envisioning of the antirelational project. Edelman's text positions
itself against "reproductive futurity," or "the dominant ideology of the social [. . . that]
represents futurity in the image of the innocent child" (Dean, "Antisocial" 827). This
image of the Child is central to Edelman's work, insofar as the force of its presence
polices queerness and queer politics. For Edelman, the Child "remains the perpetual
horizon of every acknowledged politics, [and] the fantasmatic beneficiary of every
political intervention" (3). Thus, Edelman offers a vision of a queer ethics that is
against the future and against the Child that symbolizes the future.
Indeed, the force of Edelman's polemic obtains in his insistence that queers
embrace the very disorder imputed to them by the dominant society. In a much-cited
passage, Edelman argues that resistance must affirm "what the Law and the Pope and
the whole of the Symbolic order for which they stand hear anyway in each and every
expression or manifestation of queer sexuality: fuck the social order and the Child in
whose name we're collectively terrorized; fuck Annie; Fuck the waif from Les Mis ; fuck
the poor, innocent kid on the Net; fuck Laws both with capital Is and with small; fuck
the whole network of Symbolic relations and the future that serves as its prop" (29).
For Edelman, this is precisely to argue that "what is queerest about us [. . .] is this will-
ingness [. . .] to insist that the future stop here" (31). In other words, the queer "is the
figure currently capable of unraveling the libidinal economy of signification through
which a particular dominant socius reproduces itself" (Keeling 567-68). It is in the
rejection of the future - indeed, an embrace of this rejection - that Edelman discov-
ers the possibility of fundamentally undoing the dominant social order.
Critiques of Edelman have run the gamut from accusations that his arguments
amount to little more than a dissembled optimism, that he ignores the polymorphous
perversity of really-existing children, that he misapprehends Lacan entirely, and that
his polemic is overwritten by an intransigent, smirking whiteness that limits the
applicability of his conclusions.1 Fair enough. For my part, I am interested in how the
latter critique has been marshaled by some Utopian (or, to borrow from losé Muñoz,

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 James Bliss 85

anti-antiutopian) queer theorists whose critiques rely on the figure of the "other"
child.2 In a 2007 GLQ roundtable, Judith Halberstam described Edelman's project as
"utterly compelling [. . .] for certain subjects in certain social locations. For others,
that place of pure critique might constitute epistemological self-destruction" (Dinshaw
et al. 194). To which Edelman challenged, especially for Halberstam's "unidentified
'others/" "why not endorse, to the contrary, 'epistemological self-destruction' for all?
Why not accept that queerness, taken seriously, demands nothing less?" (195) In their
endorsement of Muñoz's Cruising Utopia , Halberstam restates this position, that "for
some queers, particularly for queers of color, hope is not something one can afford to
lose and for them giving up on futurity is not an option."3 Indeed, Muñoz himself offers
that "the future is only the stuff of some kids. Racialized kids, queer kids, are not the
sovereign princes of futurity" (95). For Halberstam and Muñoz, Edelman's stubborn
refusal of futurity is structured by the privilege of having a guaranteed future, foreclos-
ing the possibility that his project can speak to the concerns of non-white queers.
More interesting, perhaps, is to consider how Edelman's avoidance of race weak-
ens his critique of the Child and futurity. Neither Edelman nor his Utopian critics
seem willing or able to imagine a mode of reproduction that is not reproductive
futurism; that is, Black reproduction. On this score, we can consider Hortense
Spillers's seminal essay, "Mama's Baby, Papa's Maybe: An American Grammar Book."
In her gloss of the Moynihan Report, Spillers seems to anticipate Edelman's well-
known passage, quoted above: "According to Daniel Patrick Moynihan's celebrated
'Report' of the late sixties, the 'Negro Family' has no father to speak of - his name, his
law, his symbolic function mark the impressive missing agencies in the essential life
of the black community" (204). On Spillers's reading, the father, the L/law, and the
"whole network of symbolic relations" that Edelman rejects in the name of the queer
are foreclosed a priori for the Black. Spillers marks how "the Black family" is refused
entry into the symbolic order except negatively as a site of pure dysfunction. This
incoherence that accrues around Black filiation is also what Orlando Patterson has
labeled "natal alienation."

One of the "constituent elements" of slavery described in his Slavery and Social
Death , Patterson offers natal alienation as "what is critical in the slave's forced alien-
ation, the loss of ties of birth in both ascending and descending generations" (7). I
want to rest on this point for a moment because it is a point that queer negativity is
unwilling to theorize and that queer anti-antiutopianism theorizes only to the extent
that it can still enable an orientation toward the future. What does reproductive futu-
rity mean for the natally alienated? What is the status of the Child or of the family for
those "alienated from all Tights' or claims of birth"? What does reproduction mean for

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 86 Mosaic 48/1 (March 2015)

a "genealogical isolate"? Patterson offers a formulation much like those of Edelman and
Spillers in describing the natally alienated: for the enslaved, seeking out, creating, or
maintaining synchronic and diachronic bonds "meant struggling with and penetrating
the iron curtain of the master, his community, his laws, his policemen or patrollers, and
his heritage" (5). Rather than argue, following the anti-antiutopians, that "others" can-
not "afford" to give up on hope for the future, we might argue instead that Edelman
does not account for those modes of reproduction that are not future-oriented, the chil-
dren who do not register as such, and the "families" that are not granted the security of
nuclear bonds. And we might find in this reproduction without futurity not a crisis sce-
nario demanding redoubled attention to either the family (Moynihan et al.) or the
future (the anti-antiutopians), but an opportunity to develop a politics of position that
inhabits the incoherence of Black reproduction. Reproduction without futurity, then,
names nothing more (and nothing less) than the queer capacity of Blackness to repro-
duce without being productive and to orient lives extimate - simultaneously internal
and external - to sociality as Edelman might understand it.
Toward this end, what is most useful in Edelmans account is his reading of
queerness as a structural position. No matter what sorts of liberal or conservative pol-
itics individual queers might affirm, for Edelman, "the structural position of queer-
ness [. . .] and the need to fill it remain" (27). But this structural position that Edelman
attempts to theorize from is not the un-raced (read: white) queerness he imagines it
to be. That is, while the experience , the archive , and the politics of Edelmans queer are
white (and soundly and appropriately critiqued for this reason), the position of
Edelmans queer is Black. This dissonance is less the fatal flaw of Edelmans thesis, as
the Utopians might have it, than its enabling condition. Gay minstrelsy is nothing
new, but in Edelmans hands it comes the closest to reckoning with Blackness as a
(queer) structural position and to reckoning with the sort of epistemological violence
necessary to undo a social order.

andand
I want politics in Edelmans
politics now to in formulation of queerness.
approach Edelmans Following
the question the resonances
formulation of howtoof queerness. to account Following for the gap the between resonances position to
the work of Spillers and Patterson tracked above, this gap internal to queerness might
be understood as nothing less than the historicity of slavery. The historicity of slavery,
as I understand it here, is not to be confused with the historiography of slavery.
Indeed, it arises at the edges of historiography, borne of the question Spillers describes
as generative of "Mama's Baby, Papa's Maybe": "I was trying to ask the question again,
ask it anew, as if it had not been asked before, because the language of the historian
was not telling me what I needed to know. Which is, what is it like in the interstitial

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 James Bliss 87

spaces where you fall between everyone who has a name, a category, a sponsor, an
agenda, spokespersons, people looking out for them - but you don't have anybody?"
(Spillers et al. 308). This interstitial space is something other than, and in excess of,
the historical facts of slavery, whatever we might imagine them to be. It names the
ineffable and overbearing historical force of slavery absent, as itself, in Edelman's
analysis, and it might be approached in outline through a reading of the recent career
of Black feminist theorizing.
Now, I want to avoid an understanding of Black feminism as simply an academic
(inter)discipline or party program, but as a necessarily heterogeneous and heteroglot
assemblage of interventions resistant to systemization. What concerns me in bringing
together a diffuse group of authors and texts is not a shared set of avowed theoretical
positions or methodological or epistemological assumptions. The thread that connects
Black feminist critical theorists within this study is their capacity to open up new fields
of thought at "the nexus of violence and sexuality" (Sexton, Amalgamation 9). What I
refer to as Black feminist theorizing is, perhaps, a shared insistence that "there is not a
subject that you can speak about in the modern world where you will not have to talk
about African women and new world African women" (Spillers et al. 308).
Practitioners in all fields of the contemporary humanities and social sciences
engage with Black feminisms, articulate a host of Black feminist positions, and have
produced a vast and robust body of scholarship. Still, ours is what Nikol Alexander-
Floyd has called a "post-Black feminist era." An era during which the debates pro-
duced by, and in some sense productive of, Black feminist literary theorizing have
been "folded into the cultural imperatives and interpretive strategies of a new millen-
nium in which black women and their literature are no longer in vogue in the acad-
emy or anywhere else" ("Short" 33, emph. duCille's). Indeed, the combined forces of
citational absence, practices of hiring and promotion, and restricted access to modes
of publication and distribution, and thereby to larger structures of intelligibility
within the academy, have helped prevent Black feminist theorizing from being recog-
nized as theory.4 Further, institutional antipathy and other formal and informal barri-
ers toward wider-spread training have prevented a broader group of scholars from
engaging with Black feminist theorizing.5
Historically, Black feminism's structural critiques of the apparatus within which
academic work (or "knowledge production") takes place have been recodified as
instantiations of the resistance to theory - where "theory" is itself reduced to a hand-
ful of post-structuralist projects (McDowell 169). Here we return, again, unhappily,
to a debate over "theory" and "practice" that, in Deborah McDowell's reading, "is
often racialized and gendered, especially in discussions of black feminist thinking,

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88 Mosaic 48/1 (March 2015)

which, with precious few exceptions, gets constructed as 'practice' or 'politics,' the neg-
ative obverse of 'theory'" (157-58). Little changes when the theoretical terrain moves
from the linguistic turn to the affective turn, except that affect theorists inherit a gen-
eration of slipshod attempts by Euro-American theorists to exorcise their racial
demons by way of scattered engagements with Black women's literatures.6 Beyond this
living legacy, I would note that many of the earliest champions of sustaining critical
attention to the emotional, the erotic, the sensual, and the body were Black feminist
critics.7 But, again, Black feminist theorizing, for a variety of reasons, has not been
seen as a set of potentially orienting theoretical interventions.
My interest here is not to deride affect theory so much as to offer a different ori-
entation for thinking both sexuality and affect deriving from Black feminist theorizing.
Central here is a problematization of the relation between Blackness and "gender" and
"sexuality" and, indeed, a re-imagining of the relation between Blackness and "race"
itself. That is, rather than imagine Blackness as a sociological or identity category dis-
tinct from gender and sexuality, it might be approached as "a production of bodily (not
biological) difference at the nexus of violence and sexuality" (Amalgamation 9). That
is, Blackness names the relations of force of "New World" chattel slavery, not a form of
social or cultural particularity. In this context, Blackness functions as a (non-)site
within which "gender and sexuality lose their coherence as normative categories"
(Jackson 359). To rest on this point, we might follow Joan Scott's insight that "gender"
names "not the assignment of roles to physically different bodies, but the attribution
of meaning to something that always eludes definition" - for example, the Lacanian
formulation of "sexuation" (6). And we may follow Tim Dean's formulation of "sexu-
ality," when understood in terms of orientation and/as identity, as "[conforming] to the
processes of normalization that regulate desire into social categories for disciplinary
purposes" ("Lacan" 247). On this reading, both gender and sexuality refer not to pre-
existing realities but to social and political tactics for ordering bodies and desires that
always already exceed categorization. It is in this sense that categories "lose their coher-
ence." Blackness disrupts the capacity for these categories to form a body. What is a
fraught and incomplete process for all others is a structural prohibition for Blacks. It
is in this sense that we can read Roderick Ferguson's observation that Blacks might be
"heterosexual [or homosexual] but never heteronormative [or homonormative]n (87,
emph. Ferguson's). This is all to say that Blackness is ontologically prior to and produc-
tive of the back-slashed pairing "gender/sexuality." This is not to reproduce an argu-
ment about the political priority of "race" over and against gender and sexuality, but to
argue that to attempt an analytic of Blackness must always also be to attempt to
account for the categories made possible as the shadow of Blackness. This has long
been precisely the project of a radical Black feminism.

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 James Bliss 89

This distinction raises two important issues. First, how do we give an account of
Black suffering without recourse to some common humanity into which Black sub-
jects ought (to want) to be incorporated? Theorizing social relations in their totality,
beginning from the position of the Black woman, requires theorizing enslavement in
all of its political-economic and libidinal-economic registers. It requires taking a step
back, as theorists, to re-think what we think we mean when we say "slavery" and reck-
oning with antiblackness as a structuring force in the contemporary world. The work
of theorizing sexuality, gender, race, capital, and the unconscious in the modern
world, what Eugene Genovese has called "the world the slaves made," might best be
engaged from this theoretical vantage in Black feminism. As noted above, Blackness
arises in the historical context of chattel slavery, and it is this moment which also pro-
duces the concept of the Human as a universal and universalizable category. Indeed,
Blackness names, negatively, the capacity for categorization. Both the universal and the
particular, as qualities or capacities of the Human subject, are founded upon the
exclusion of Blackness from the Human project. The historical appearance of the
Black qua slave is the ontological condition of possibility for the appearance of the
(unequally) free Human subject. In a very precise sense, then, "antiblackness" is a syn-
onym for Humanity. "Antiblackness" names the energy , or the activity, of Humanity as
a social structure. It does not simply name various forms of violence experienced by
Blacks, but the violence that positions sentient beings outside the realm of the Human.8
In this context, in which "slavery's critical agency in Western self-conceptualization
[. . .] is nothing short of foundational" (Spillers 17) and "the quintessential 'slave' is not
a male, but a female," we must necessarily rethink how Black feminism interacts with
other claims toward understanding social relations in their totality (215, emph.
Spillers's). Put differently, it is not simply that Edelman's analysis privileges a white gay
male rather than some other subject, that it is therefore too "particular" or that it
"excludes" other possible subject positions or identity categories. I want to propose here
not a difference of degree but of kind. The structural position of the Black woman is not
(yet another) particular position, but what Slavoj Żiźek calls a universal singularity "a
kind of direct short circuit between the singular and the universal, bypassing the partic-
ular" (17). The Black woman, as an abstraction that Black women in the world intersect
in myriad ways, is a "structural position of non-communicability in the face of all other
positions" (Wilderson 58). This is to say that, following the Combahee River Collective,
"if Black women were free, it would mean that everyone else would have to be free since
our freedom would necessitate the destruction of all the systems of oppression" (15).
Second, how does theorizing from the vantage of Black female subjectivity allow
us to think the Utopian without being beholden to the dictates of hope; without being

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90 Mosaic 48/1 (March 2015)

mired in futurity? The insistence on the Utopian as no-place is an argument against a

particular type of incorporation or affiliation. It is also an argument about the per-
sistence of slavery as a structuring force in the contemporary world. While many
analyses of slavery view it as a bounded historical event, an event that survives as an
inheritance or legacy or source of accumulated disadvantages, I want to resist this
approach. In this essay, I attempt to think of slavery following Jared Sexton's provo-
cation: "But what if slavery does not die, as it were, because it is immortal, but rather
because it is non-mortal, because it has never lived, at least not in the psychic life of
power? What if the source of slavery's longevity is not its resilience in the face of
opposition, but the obscurity of its existence? Not the accumulation of its political
capital, but the illegibility of its grammar?" ("Curtain" 16, emph. Sexton's).
My resistance to futurity here, and what guides me in articulating a vision of the
Utopian as a hope against hope through Black feminist theorizing, follows from
rejecting the tacit assumption that the world, as it is, is a fundamentally acceptable
place. The desire to "rewrite after all a radically different text for female empower-
ment" ( Black 229), or the desire named by Audre Lorde in the epigraph to this essay
"to integrate death into living, neither ignoring it nor giving in to it" (13), is a desire
for rupture. Regardless of something else beginning, this must end. Following Saidiya
Hartman, this means "more than the desire for inclusion within the limited set of pos-
sibilities that the national project provides" because the social structure's "inexorable
investment in certain notions of the subject and subjection" poisons such emancipa-
tory politics. By holding on to a faith in this world, emancipatory politics is saddled
with a "language of freedom [that] no longer becomes that which rescues the slave
from his or her former condition, but the site of the re-elaboration of that conditiony
rather than its transformation" (185, emph. mine). Likewise, Sharon Holland has
recently offered that "the place of slavery in queer studies work has yet to be reckoned
with [. . .] because the boundary-breaking futurity in which queer studies finds its
subject would balk if such a subject were held to a transhistorical vision of time" - a
Black temporality, a reproduction without futurity that offers "a radically different
text for female empowerment" (62, emph. Holland's).
In arguing that any text avails itself to Black feminist critique, I am following the
lead of Black feminist theorizing, of course, but also Black queer theorizing. In her
ground-breaking work of scholarly synthesis, The Erotic Life of Racism , Holland
describes this project as occupying the "interstitial and charged space between critical
race theory and queer theory" (8) and attempts an analytic that can function as "the
bridge between theories of race and theories of sexuality in all of their diverse com-
plexity" (32). This thinking race, gender, and sexuality as a type of knot composed of

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 James Bliss 9 1

indistinct strands has implications for theory as well as for politics. For Kara Keeling,
this requires a critical disposition that "understands that the politics thought proper
to each are inseparable from those of the other," that thinks "black politics as queer
politics and vice versa" (567). This is no small order, but it is a persistent theme in
Black feminist and queer theorizing, articulated as early as the Combahee River
Collective's Statement. Recent work by Cathy Cohen on this score has been instructive
as well, in her challenge to practitioners of both queer and critical ethnic studies to
think "queer" beyond the real or presumed sexual/gender identity, performance, or
practices of particular subjects in an effort to see more clearly how the social logics
that structure queer positionality are already at work in the construction of racial
Blackness (128).
Finally, I follow the insight of Ann duCille, who has argued against the presump-
tion that the object of Black feminist theorizing must always be work by or about Black
women. To wit, "it's time to light out for other territories, because nothing - least of all
the fictions of white male authors - should be beyond our reach or 'shellacked'
against our critical gaze" ("Short" 44). This essay is also an attempt to shift what it
might mean to do intersectional analysis, to inhabit the danger zone described by
duCille when she observes that "one of the dangers of standing at an intersection
[. . .] is the likelihood of being run over by oncoming traffic" ("Occult" 593). In this
way, we court the danger of looking and speaking in several directions at once, with-
out the confidence that one can tell one intersection from another, requiring the will
to gamble with (at least) the coherence of subjectivity. My aim here is to argue that
embracing the (living) tradition of Black feminist theorizing yields a theoretically
sophisticated and politically insurgent conceptualization of hope and hopelessness
that is not overdetermined by the tyranny of positive affect.

women'sher
In women's vampire
readingnovels, Alexis
vampire Paulinenovels,
of Lorde's Gumbspoem
offersAlexis
that "Preface"
Lorde's poem,
Paulineas well
Gumbsas and its connection offers that Lorde's to contemporary poem, as well Black as
the project of a number of other Black women writers of speculative fiction and fan-
tasy, "draws on both horror and utopia" in a way that "hinges on the stakes of repro-
duction and the possibilities of productive relationality on different terms"
("Speculative" 141). That is, these Black women writers attempt to imagine different
modes of kinship across generations in the face of a world that does not recognize the
filial claims of Blacks, generally, and the maternal claims of Black women, particularly.
On Gumbs's reading, the vision of a different future of Black queer kinship across
generations is the Utopian, and the threat posed to the status quo in a world that is
antiblack, anti- woman, and anti- queer is the horror. For Gumbs, this simultaneity of

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92 Mosaic 48/1 (March 2015)

horror and utopia is distinctive of a "queer Black feminist futurity" insofar as - and
here she follows Muñoz - "for queer young people of color to even survive, to even
imagine that they would exist within the future is quite a queer proposition in the face
of state and hate violence used to erase them from the planet as themselves" (133).
While Gumbs certainly distances herself from the project of Edelman's No
Future, described as his "hell and Hitchcock polemic," her embrace of the horror of
Black female subjectivity is of a piece with Edelman's articulation of the death drive
and queer negativity. Just as Edelman insists that queers "should listen to, and even
perhaps be instructed by, the readings of queer sexualities produced by the forces of
reaction" (16), Gumbs offers that, perhaps, "conservatives have been telling us the
truth all along. Black women are queers raising up an underworld that threatens the
light of a capitalist day. Black lesbians will destroy the American family. Our kind are
dangerous because we show that there is something better beyond the tick of capital
where life breaks down into differentially billable hours" ("Speculative" 132). Gumbs 's
affinity for the project of queer futurity alongside her Black feminist revision of
Edelman's embrace of horror offers an instructive disjuncture that strikes at the heart
of Utopian affect. It captures the ambivalence of realizing that nothing is better than
the present; that is, nothing is preferable to this present. It also brings to light the dis-
sonance that arises when an analysis attempts to reconcile position with politics, the
structural with the performative, and the historical force of slavery with futurity.
To my mind, the apparent dismissal of queer negativity in Gumbs's text is indica-
tive of the difficulties of merging utopia and horror, of imagining the Utopian from
the position of social death. This dismissal of pessimism in the realm of political
thought has been well-documented in Joshua Dienstag's study of pessimism as a
mode of political theorizing. He writes that while pessimists "are often admired for
their style, or respected for the critiques they offer, their apparent lack of a 'positive
project' is made to appear as a badge of second-rank philosophical status. They inter-
est us; but, it is believed, they cannot possibly orient us" (3). Gumbs describes her
project in "Speculative Poetics" as "looking at the two rhetorically impossible claims
'Black maternity' and 'queer intergenerationality' together" in Black feminist specula-
tive fiction (131). But the latter claim is not rhetorically impossible in a political and
critical context that offers a queer futurist position that projects the liberal gay notion
that "it gets better" onto an unseen and unseeable future in the name of "queer of
color youth" who "cannot afford" despair. Rather, we arrive at the structural limit that
precludes Black maternity and Black intergenerationality from cohering, what I have
earlier called antiblackness, and the limit that interests but does not orient both queer
negativity and queer futurity.

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 James Bliss 93

In this section, I want to track the question of affect as it appears in Toni

Morrison's essay "A Slow Walk of Trees" and the resonances between her dialectic of
pessimism and optimism and present disputes over the political and affective orien-
tations of Black studies. I want to suggest, following Joy James, that what is charac-
terized as hopeless, pessimistic, nihilistic, or cynical offers instead a hope against hope ,
the possibility of politics not simply as hope for a different or better world, but as the
ardent refusal of this world.

Originally published in the New York Times Magazine on the occasion of the
American bicentennial, Toni Morrison's essay "A Slow Walk of Trees (as Grandmother
Would Say), Hopeless (as Grandfather Would Say)" offers a series of portraits begin-
ning from her grandfather, John Solomon Willis, and grandmother, Ardelia Willis,
and moving on generationally to her mother and father, her brother and herself, and
into the young Black people of the late 70s. But it is her account of her grandparents,
with living memories of life before the Emancipation Proclamation, who structure
Morrison's text. Their portraits indulge in an interplay of optimism and pessimism
that I find particularly instructive, especially in relation to ongoing debates over the
viability of afro-pessimism. In Morrison's account, her grandfather was an "unrecon-
structed black pessimist" who, "when at age five [. . .] heard from the old folks that
The Emancipation Proclamation was coming,' [. . .] crawled under the bed." And this
neatly characterizes certain caricatures of contemporary so-called affo -pessimists -
theorists who share with Morrison's grandfather a similar "habitual response to the
promises of white people: horror and an instinctive yearning for safety" (3). On the
other hand, Morrison's grandmother "was of a quite different frame of mind and
believed that all things could be improved by faith in Jesus and an effort of the will" (4).
We are reminded of certain contemporary caricatures of so-called black optimists -
theorists whose abiding faith in the power of the performative to evade the grasp of
captivity approaches the ecclesiastical.
It is significant, then, that Morrison should render her account through the
lenses of the matrimonial, the reproductive, and the intergenerational that seem to
foreclose an analysis that exceeds the limits of the oedipal family. And, I think, it isn't
some fidelity to the heterosexual reproductive couple that guides Morrison's analysis
but, on the contrary, it is a fidelity to imagining pessimism as that which can interest
us but never orient us that leads Morrison to construct her family history within the
proscribed terms of the nuclear family. And it is in this family affair that the
(grand)father as pessimist is the one whose interpretation is undermined by his own
inner desire to believe something better of the world. For Morrison, the truth of her
grandfather lay less in his bleak pronouncements on the nature of things and more in

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94 Mosaic 48/1 (March 2015)

his musical performance, in his skill with the violin. Reflecting on the persistence of
antiblack violence into her present, Morrison muses that, "If he were here now, my
grandfather, he would shake his head, close his eyes, and pull out his violin - too
polite to say, 'I told you so.' And his wife would pay attention to the music but not to
the sadness in her husband's eyes, for she would see what she expected to see - not the
occasional historical repetition, but, like the slow walk of certain species of trees from
the flatlands up into the mountains, she would see the signs of irrevocable and per-
manent change" (5). And, to Morrison's mind, it could well be that her grandfather,
in his connection to performance, agreed with his wife because, "after all, he did hold
on to his violin" (14).
In an earlier account of the affective structure of Black radicalism, Cornel West
offers a formulation consonant with Morrison's reading of her grandfather's per-
formance. For West, "black radicalism hopes against hope if only to hold out the
dream of freedom in a never-never land [. . .] in order to survive in the deplorable
present" (10-11). This is Black radicalism as "survival and sustenance," set in antici-
patory opposition to his later, famous formulation of "Black nihilism" (10) in Race
Matters. But what is crowded out in this mode of optimism, just as what is crowded
out by queer futurity generally, is the possibility of there being something beautiful or
generative or sustaining in the pessimistic and the negative. That is, we might under-
mine the logic that holds an "unreconstructed Black pessimism" and the violin as con-
tradictory, we might close the gap between pessimism and possibility. And, further,
embracing horror, embracing pessimism, might also create space for thinking beyond
the nuclear family, for thinking a Black feminism that follows neither the father nor
the mother, but that embraces the sorts of queer kinship networks that have always
shaped Black life in the New World.9 Returning to Gumbs, "Blackness is already exter-
nal to patriarchy, a haunting presence that the (white) patriarchal structures charac-
terize as antithetical and destructive of the norms they were built to perpetuate."
Instead of the reproductive futurity Edelman finds at the site of the Child, we have "a
Black, and therefore deviant, future" ("Speculative" 142). Here we might have some-
thing different than the optimists' injunction to think something better of the world
in the name of young people who, we are told, "can't afford" pessimism.
At this point, we might make two interventions into this question of affordabil-
ity. First, the figure of "young queer people of color" is insufficient for thinking the
distinctions between Black queers and non-Black queers of colour. The move toward
big-tent coalition politics undermines, in both theory and practice, the singularity of
antiblackness - not anti- Black racism but, as articulated above, the negative possibil-
ity for the Human in both its universal and particular registers. Second, the queer

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 James Bliss 95

futurist argument is subtended by a "politics of scarcity at the level of subjectivity

that mischaracterizes the entire question of futurity (Desideri and Harney 169). The
argument that young Black queers cannot "afford" pessimism "understand [s] current
forms of being as inadequate, rather than over abundant" (170). This is to say that
Edelman's line of thought makes it possible to recognize the overwhelming overpres-
ence of futures for those racialized and queer kids that Muñoz claims "are not the sov
ereign princes of futurity." What does it mean that the argument that futurity is a
scarce resource relies so heavily on figures of Black queers who have been murdered?
Muñoz's argument, for instance, summons three murdered Black lesbians to demon-
strate that young queers of colour (we note the slippage from Black to "of color" in
the argument) cannot abandon futurity- as-hope and hope-as-futurity. That is, focus-
ing on the spectacle of state and state-sanctioned Black queer death obscures the
structuring violences that accrue around Black queer survival.10
On this front, Gumbs's readings of the figure of Audre Lorde are instructive in
demonstrating the multiple ways that premature death is something other than the
foreclosure of futurity as such. In her reading of "Preface," Gumbs refers to the way
in which Lorde's words continually appear and re-appear in feminist writings, at
protests, and in other venues, constituting "a sacred repetition," one way that Lorde
"survives into the present" ("Speculative" 132). Elsewhere, Gumbs has written of
Lorde's multiple denied requests for medical leave while teaching at Hunter College,
noting that "Black feminists are a trouble more useful as dead invocation than as liv
troublemakers, raising concerns in faculty meetings. And those institutions continu
to make money and garner prestige off of their once affiliated now dead faculty mem-
bers" ("Shape"). Access to the future as "sacred repetition" exists alongside access to
the future as "dead invocation," complicating the implicit collapse of optimism onto
futurity at work in this politics of scarcity. Disentangling optimism from futurity is
essential here. There are many ways of accessing and inhabiting the future, and the
problem is not that young Black queers have no access to the future but that the future
is, itself, structured by an antiblackness that shapes access to fiiture(s) for all subjects
In her own reading of Edelman alongside Frantz Fanon, Keeling has observed that
"from within the logics of reproductive futurity and colonial reality, a black future
looks like no future at all" (578). How to recognize and how to embrace "a black
future" is the very task precluded by the project of queer futurity, which evade
antiblackness' structuring violence in favour of spectacular acts of violence.
To this end, and in closing, I want to turn briefly to James's recent formulation
of Affarealism, a concept in conversation with "afro-pessimism" that avows "a form
of realism" (pocorganize). For James, Afrarealism names a resistant mode of Black

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96 Mosaic 48/1 (March 2015)

feminist theorizing attuned to "the beauty of survival" and a practice of politics that
is "terrifyingly beautiful because it is violently transcendent" (128). There must, in
James's formulation, be room to think about the "beauty and pleasure in confronting
the real" (pocorganize). And we might here read "the real" of Afrarealism in a
Lacanian idiom as that which both resists symbolization and is the condition of pos-
sibility for symbolization itself.11 Of course, this "real" is also Spillers's "interstice," the
Black woman fallen "into the great black hole of meaning" (156). In this account,
beauty is not the sole property of futurity; possibility is not the sole property of opti-
mism. This reading of beauty and possibility in Black feminist theorizing is related
but not identical to the project of queer negativity. It is related insofar as they both
articulate a politics from the position of Black subjectivity, but queer negativity does
so symptomatically while James does so in an open avowal. Just as we move beyond
the apparent contradiction of the pessimist with a violin, we might square the circle
of a reproduction without futurity - a Black future. If we extricate ourselves, our pol-
itics, our theorizing, from a dialectic of optimism as the slow walk of trees and pes-
simism as hopelessness, we might find that the horror of the Real is the beauty of a
Black feminist Utopian.

NOTES

1/ For the former criticisms, see Michael Snediker's Queer Optimism: Lyric Personhood and Other Felicitous
Persuasions (Minneapolis: U of Minnesota P, 2009. Print) and Tim Dean's "An Impossible Embrace:
Queerness, Futurity, and the Death Drive" in A Time for the Humanities: Futurity and the Limits of
Autonomy (New York: Fordham UP, 2008. 122-40. Print).
2/ Muñoz describes anti-antiutopianism as "not about a merely affirmative or positive investment in
utopia," adding that "gay and lesbian studies can too easily snap into the basically reactionary posture of
denouncing a critical imagination that does not short-sightedly deny anything but the here and now," and
describing antirelational and antiutopian orientations as "failures of imagination in queer critique." See
Muñoz's "Thinking Beyond Antirelationality and Antiutopianism in Queer Critique" ( PMLA 121.3 [2006]:
825-26. Print).
3/ From the book's back cover.

4/ Carole Boyce Davies notes on this score that "many scholars in the academy [still] participate in the
devaluing of Black women who are writers and theorists by not recognizing them or engaging their ideas"
(55). See Black Women , Writing and Identity: Migrations of the Subject (New York: Routledge, 1994. Print).
5/ See Nellie Y. McKay's "Naming the Problem That Led to the Question 'Who Shall Teach African
American Literature?'; Or, Are We Ready to Disband the Wheatly Court?" ( PMLA 113.3 [1998]: 359-69.
Print) and Nell Irvin Painter's "Black Studies, Black Professors, and Struggles for Perception" in A
Companion to African-American Studies (Ed. Lewis R. Gordon and Jane Anna Gordon. Maiden: Blackwell,
2006. 136-41. Print).
61 For a rich account of this, see McDowell or Elizabeth Abel's "Black Writing, White Reading: Race and
the Politics of Feminist Interpretation" ( Critical Inquiry 19.3 [1993]: 470-98. Print).
7/Barbara Christian's "Does Theory Play Well in the Classroom?" offers a prescient reading of this phe-
nomenon ( New Black Feminist Criticism: 1985-2000. Ed. Gloria Bowles, M. Giulia Fabi, and Arlene R.
Keizer. Urbana: U of Illinois P, 2007. 51-67. Print).

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 James Bliss 97

8/ These large claims regarding what Lewis Gordon has called "the antiblack world" gesture toward a dif-
ferent, though related, research agenda in Black studies and the historiography of the Atlantic world with
which my present study engages. For works that trace the racial emergence of the Human subject, see,
among others, Charles Mills's The Racial Contract (Ithaca: Cornell UP, 1997. Print) and Denise Ferreira da
Silva's Toward a Global Idea of Race (Minneapolis: U of Minnesota P, 2007. Print).
9/ Ferguson's Aberrations in Black offers an extended engagement with the career of "the Black family" in
both sociology and literature.
10/ The distinction here between spectacular and structuring violence is indebted to Steve Martinot and
Jared Sexton's "The Avant-Garde of White Supremacy" ( Social Identities 9.2 [2003]: 169-81. Print).
11/ For an articulation of the Lacanian Real along these lines, see Žižek in Judith Butler, Ernesto Laclau,
and Slavoj Žižek's Contingency, Hegemony, Universality: Contemporary Dialogues on the Left (New York:
Verso, 2000. Print), particularly his final essay, "Holding the Place" (308-29): "The Lacanian Real is [. . .]
not simply a technical term for the neutral limit of conceptualization. [. . .] The Real is neither pre-social
nor a social effect - the point is, rather, that the Social itself is constituted by the exclusion of some trau-
matic Real. What is 'outside the Social' is not some positive a priori symbolic form/norm, merely its nega-
tive founding gesture itself" (311, emph. Žižek's).

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JAMES BLISS is a doctoral student in Culture and Theory at the Univers

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