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“In a Speculative Light: The Arts of James Baldwin and Beauford Delaney,” Knoxville, Tennessee, 19–21 February 2020
D. Quentin Miller

This article is a review of a symposium entitled, “In a Speculative Light: The Arts of James Baldwin and Beauford Delaney,” held at the University of Tennessee on 19–21 February 2020.

James Baldwin Review
Fugitive community in Kunzru’s short stories
Peter Ely

‘escapes’ dominant political frameworks through the elusive ‘art of the fugue’ ( 2016 : 72). This is viewed alongside the work of Fred Moten and Stefano Harney, who have sought to locate a subversive ‘undercommons’ from an analogous paradigm of ‘fugitivity’ where community emerges only in its refusal of restrictive institutions, locating itself only in the ‘dislocation’ of a ‘radical

in Hari Kunzru
Towards a definition of (meta)cultural blackness in the fantasies of Clive Barker
Tony M. Vinci

worldview of whiteness, it deconstructs Gentle's, though, in this case, it begins a transformative process that not only has the power to dismantle the prevalent ideologies of the present moment but reinscribes a new, unruptured history that constructs, in turn, a new, multivalent present. Barker performs here what Fred Moten defines as the work of speculative fiction: the exploration

in Clive Barker
The elusive fictions of Hari Kunzru
Kristian Shaw
Sara Upstone

Decadence’ (2005) and ‘The Interns’ (2007), to demonstrate how his work aligns with broader trends evident in the contemporary British novel to represent new forms of cultural interdependence and belonging. Developing this line of thought, Ely interrogates Fred Moten and Stefano Harvey’s emergent paradigm of the ‘undercommons’ to suggest Kunzru’s short fiction resonates with the fugitive framework

in Hari Kunzru
The echoes of racism, non-being and haunting in White Tears
David Hering

persistence of sound waves as captured by Marconi’s theoretical microphone, a persistence not merely the result of a passive echo, but of what Fred Moten and Stefano Harvey consider to be the ‘transferability’ of black performance, a process actively undertaken in order to ‘constitute the “proof” that blackness is not or is lost or is loss’ ( 2013 : 49). This active echo within the

in Hari Kunzru
Abstract only
Ruth Evans

discovered his own culture but because ‘it was becoming impossible for him to breathe’. 54 But the world of imagination is political. The cultural critic Fred Moten imagines revolt at the level of a radical Black aesthetic, one that offers ‘resistance to power and objection to subjection’ through an ‘ongoing performance’ of ‘encounter … rupture, collision’. 55 A practice

in Medieval literary voices
Kélina Gotman

do alethurgical thinking – I hope what this means will become clearer as I go – and to reflect, by this, on the ways in which Foucault’s philosophy is aligned with an articulation of Black radical thought that favours the rupture, the break, and, as in jazz, improvisation. 5 Fred Moten has called this a ‘syncopated’ aesthetic, ‘asymmetrical’ and ‘off’, when talking about

in Foucault’s theatres