Abstract:Paying tribute to Michiyo Fukaya, a mixed-race Asian American lesbian poet and feminist activist who died by suicide in 1987, this essay experiments with a reading practice that merges queer and feminist thought with poetics and autotheory. Throughout, the author interweaves details of Fukaya's life with their own, wading through Fukaya's writings to force attention onto the topics of sexual violence, anger, mental health, and U.S. imperialism. Fukaya—a contemporary of those who grace the pages of This Bridge Called My Back: Writings By Radical Women of Color and All The Women Are White, All The Blacks Are Men, But Some of Us Are Brave: Black Women's Studies—is largely absent in discussions of third world feminism, women of color feminism, and 1980s feminisms writ large. Attending to this absence, the essay models how one might touch and be touched by their dead, suggesting a turn inwards towards the feminist past as a prerequisite to survival.
{"title":"\"So, I turn inside\": Overcome by the Unbearable, Seeing Myself in Michiyo Fukaya","authors":"A. Storti","doi":"10.1353/fem.2022.0014","DOIUrl":"https://doi.org/10.1353/fem.2022.0014","url":null,"abstract":"Abstract:Paying tribute to Michiyo Fukaya, a mixed-race Asian American lesbian poet and feminist activist who died by suicide in 1987, this essay experiments with a reading practice that merges queer and feminist thought with poetics and autotheory. Throughout, the author interweaves details of Fukaya's life with their own, wading through Fukaya's writings to force attention onto the topics of sexual violence, anger, mental health, and U.S. imperialism. Fukaya—a contemporary of those who grace the pages of This Bridge Called My Back: Writings By Radical Women of Color and All The Women Are White, All The Blacks Are Men, But Some of Us Are Brave: Black Women's Studies—is largely absent in discussions of third world feminism, women of color feminism, and 1980s feminisms writ large. Attending to this absence, the essay models how one might touch and be touched by their dead, suggesting a turn inwards towards the feminist past as a prerequisite to survival.","PeriodicalId":35884,"journal":{"name":"Feminist Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49588745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:We analyze This Bridge Called My Back and Some of Us Are Brave as anthologies, and emphasize the fact of the anthology as a key vehicle for producing "women of color" (WOC) as a legible and coherent category. Indeed, even as both anthologies refuse the notion of WOC as a coherent category, they now circulate in women's studies as texts that, in and of themselves, stand in for "women of color." Offering intellectual conversation in the form of a book, treating the anthology as the performance of "bridging" that can, as Toni Cade Bambara noted, "coax us into the habit of listening to each other and learning each other's ways of seeing and being" (vii), these anthologies have puzzlingly circulated as literal commodities of difference, standing in for difference rather than interrogating it (and for Some of Us, frequently only as an idea of its title itself). We argue that the circulation of these texts as WOC texts is particular of the current moment in the genesis of the field's ongoing institutionalization, retaining defensive postures even while institutionalization has disappeared the work that came in between then--these two anthologies-- and now, in the critical moment where Blackness is coming to stand in for all difference, and intersectionality as the institutional cure for women's studies and the intellectual property of Black feminism.
摘要:本文将《这是我的背》和《我们中的一些人是勇敢的》作为选集进行分析，强调选集是将“有色人种女性”(women of color, WOC)作为一个清晰、连贯的范畴的重要载体。事实上，尽管这两本选集都拒绝将WOC作为一个连贯的类别，但它们现在在女性研究中作为文本流传，它们本身就代表着“有色人种女性”。以书的形式提供智力对话，将选集视为“桥梁”的表演，正如托尼·凯德·班巴拉(Toni Cade Bambara)所指出的那样，可以“哄我们养成相互倾听和学习彼此看待和存在方式的习惯”(vii)，这些选集令人困惑地作为差异的字面商品传播，代表差异而不是质疑它(对我们中的一些人来说，经常只是作为其标题本身的想法)。我们认为这些文本的循环WOC文本特殊的当前时刻的起源领域正在进行的制度化,保持防守姿势尽管制度化已经消失了之间的工作,然后,这两个选集——现在,在关键时刻,黑暗即将站在所有不同,和交集机构治疗女性研究和知识产权的黑人女权主义。
{"title":"Then and Now: Women of Color Originalism and the Anthological Impulse in Women's and Gender Studies","authors":"Samantha Pinto, J. Nash","doi":"10.1353/fem.2022.0001","DOIUrl":"https://doi.org/10.1353/fem.2022.0001","url":null,"abstract":"Abstract:We analyze This Bridge Called My Back and Some of Us Are Brave as anthologies, and emphasize the fact of the anthology as a key vehicle for producing \"women of color\" (WOC) as a legible and coherent category. Indeed, even as both anthologies refuse the notion of WOC as a coherent category, they now circulate in women's studies as texts that, in and of themselves, stand in for \"women of color.\" Offering intellectual conversation in the form of a book, treating the anthology as the performance of \"bridging\" that can, as Toni Cade Bambara noted, \"coax us into the habit of listening to each other and learning each other's ways of seeing and being\" (vii), these anthologies have puzzlingly circulated as literal commodities of difference, standing in for difference rather than interrogating it (and for Some of Us, frequently only as an idea of its title itself). We argue that the circulation of these texts as WOC texts is particular of the current moment in the genesis of the field's ongoing institutionalization, retaining defensive postures even while institutionalization has disappeared the work that came in between then--these two anthologies-- and now, in the critical moment where Blackness is coming to stand in for all difference, and intersectionality as the institutional cure for women's studies and the intellectual property of Black feminism.","PeriodicalId":35884,"journal":{"name":"Feminist Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41339153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay is both a personal meditation upon This Bridge Called My Back's significance in my life and a theoretical proposition for a new way of reading the text. Following the work of Marissa K. López, I propose a speculative reading of This Bridge as an event. I argue that This Bridge is not a stable representation of the past; instead, every reading of This Bridge is an encounter with an unstable object in the process of becoming. Pursuing a speculative reading of entries by Cherríe Moraga, Toni Cade Bambara, hattie gossett, Gloria Anzaldúa, and Kate Rushin reveals the ways in which This Bridge continues to theorize about the nature of collectivity. I turn to Wai Chee Dimock's work to elaborate the interactions between reader and text that render This Bridge an everchanging object. If This Bridge is read as an event, I insist that the time of This Bridge is always now.
{"title":"\"I Am Always Met at the River\": Revisiting This Bridge Called My Back","authors":"P. Jones-Torregrosa","doi":"10.1353/fem.2022.0002","DOIUrl":"https://doi.org/10.1353/fem.2022.0002","url":null,"abstract":"Abstract:This essay is both a personal meditation upon This Bridge Called My Back's significance in my life and a theoretical proposition for a new way of reading the text. Following the work of Marissa K. López, I propose a speculative reading of This Bridge as an event. I argue that This Bridge is not a stable representation of the past; instead, every reading of This Bridge is an encounter with an unstable object in the process of becoming. Pursuing a speculative reading of entries by Cherríe Moraga, Toni Cade Bambara, hattie gossett, Gloria Anzaldúa, and Kate Rushin reveals the ways in which This Bridge continues to theorize about the nature of collectivity. I turn to Wai Chee Dimock's work to elaborate the interactions between reader and text that render This Bridge an everchanging object. If This Bridge is read as an event, I insist that the time of This Bridge is always now.","PeriodicalId":35884,"journal":{"name":"Feminist Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46748855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Immortalized in This Bridge Called My Back, Pat Parker's speech at the 1980 "BASTA! Women's Conference on Imperialism and Third World War" issued a clear call to feminist revolution. "Revolution: It's Not Neat, or Pretty, or Quick" was unabashed in its critique of feminist assimilation into US empire, sounding a bellwether for radical movements to come. Accompanying Parker's fiery nature, however, was also a quieter more reflective Parker, and one who oriented her gaze inward and glanced backward in order to propose a complex philosophy of intergenerational revolution. This essay juxtaposes these different facets of Parker's work through a reading of her two poems "Where Will You Be?" and "Legacy" to ask how a more nuanced reading of Parker's work might open up revolutionary possibilities that have been foreclosed through several decades of neoliberal backlash waged upon leftist social movements of the late twentieth century. I close with reflections about the implications of contemporary re-engagements with Parker's work, particularly in a time marked, on the one hand, by an overt intensification of unabashed forms of fascist heteropatriarchal white supremacy, and on the other, a resurgence of a current Black and queer of color feminist radicality, the intensity of which has not been seen since Parker's time.
{"title":"\"I Give You a World Incomplete\": Pat Parker's Revolution and the Unfinished Legacy of 1970s Feminist Radicalisms","authors":"T. L. Spira","doi":"10.1353/fem.2022.0005","DOIUrl":"https://doi.org/10.1353/fem.2022.0005","url":null,"abstract":"Abstract:Immortalized in This Bridge Called My Back, Pat Parker's speech at the 1980 \"BASTA! Women's Conference on Imperialism and Third World War\" issued a clear call to feminist revolution. \"Revolution: It's Not Neat, or Pretty, or Quick\" was unabashed in its critique of feminist assimilation into US empire, sounding a bellwether for radical movements to come. Accompanying Parker's fiery nature, however, was also a quieter more reflective Parker, and one who oriented her gaze inward and glanced backward in order to propose a complex philosophy of intergenerational revolution. This essay juxtaposes these different facets of Parker's work through a reading of her two poems \"Where Will You Be?\" and \"Legacy\" to ask how a more nuanced reading of Parker's work might open up revolutionary possibilities that have been foreclosed through several decades of neoliberal backlash waged upon leftist social movements of the late twentieth century. I close with reflections about the implications of contemporary re-engagements with Parker's work, particularly in a time marked, on the one hand, by an overt intensification of unabashed forms of fascist heteropatriarchal white supremacy, and on the other, a resurgence of a current Black and queer of color feminist radicality, the intensity of which has not been seen since Parker's time.","PeriodicalId":35884,"journal":{"name":"Feminist Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41250794","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay takes up a feminist-of-color disability poetics of the "bridge" and the "break." It is a textual performance of queer and ghostly intimacies, of being with and being for each other and our ancestors in the erotics and heartbreak of "brokenness" and in the mourning work of bridging generations, centuries, continents, and spacetime. Across this piece, bridging is an ongoing labor and practice of solidarity and moving between worlds, in spite and because of the multitudes of ways our bodies are "broken" by the world. The break is posed in multiple registers as a liminal space in which the pains and pleasures of modernity are bridged. We explore how the drama and trauma of the "post-colonial condition" is an inheritance we must never and must always break away from.
{"title":"Bridging/Broken in the Break","authors":"Tala Khanmalek, heidi andrea restrepo rhodes","doi":"10.1353/fem.2022.0004","DOIUrl":"https://doi.org/10.1353/fem.2022.0004","url":null,"abstract":"Abstract:This essay takes up a feminist-of-color disability poetics of the \"bridge\" and the \"break.\" It is a textual performance of queer and ghostly intimacies, of being with and being for each other and our ancestors in the erotics and heartbreak of \"brokenness\" and in the mourning work of bridging generations, centuries, continents, and spacetime. Across this piece, bridging is an ongoing labor and practice of solidarity and moving between worlds, in spite and because of the multitudes of ways our bodies are \"broken\" by the world. The break is posed in multiple registers as a liminal space in which the pains and pleasures of modernity are bridged. We explore how the drama and trauma of the \"post-colonial condition\" is an inheritance we must never and must always break away from.","PeriodicalId":35884,"journal":{"name":"Feminist Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47617849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This piece employs Black lesbian feminist Audre Lorde's method of bio-mythography to narrate not a Black sexual "coming out" but rather a "coming into" story. Waffling between memoir and myth, the author theorizes Black queer sexual subject formation as an embodied, contingent, and provisional process, structured by geopolitics, anti-Blackness, socioeconomic and parental status, among other structural and intimate forces.
{"title":"Two Erotic Lessons I Learned from My Mother (and Other Women Who Nourished Me)","authors":"Shoniqua Roach","doi":"10.1353/fem.2022.0016","DOIUrl":"https://doi.org/10.1353/fem.2022.0016","url":null,"abstract":"Abstract:This piece employs Black lesbian feminist Audre Lorde's method of bio-mythography to narrate not a Black sexual \"coming out\" but rather a \"coming into\" story. Waffling between memoir and myth, the author theorizes Black queer sexual subject formation as an embodied, contingent, and provisional process, structured by geopolitics, anti-Blackness, socioeconomic and parental status, among other structural and intimate forces.","PeriodicalId":35884,"journal":{"name":"Feminist Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44350710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A. P. Gumbs, A. Hull, Cheryl Clarke, Doris Davenport, Cheryl Boyce-Taylor, Asha French, Sharon Bridgforth, O. O. J. L. Jones, Alexis De Veaux, Sokari Ekine
{"title":"Introduction to Creative Writing Contributions","authors":"A. P. Gumbs, A. Hull, Cheryl Clarke, Doris Davenport, Cheryl Boyce-Taylor, Asha French, Sharon Bridgforth, O. O. J. L. Jones, Alexis De Veaux, Sokari Ekine","doi":"10.1353/fem.2022.0012","DOIUrl":"https://doi.org/10.1353/fem.2022.0012","url":null,"abstract":"","PeriodicalId":35884,"journal":{"name":"Feminist Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45475445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Using the collection This Bridge Called My Back: Writings by Radical Women of Color as a guide, this essay takes up the question of how to perform and teach antiracist feminist organizing in an era characterized by anti-Black police violence. It suggests that the text offers three key frameworks that can guide antiracist feminist organizing in this political moment: bridging, coalition, and home. The essay considers how these analytics are theorized in This Bridge Called My Back and how they are taken up by undergraduate gender studies students. It then considers the intergenerational legacy of This Bridge Called My Back by analyzing the inscription written inside of the author's own book, which was penned by an elder lesbian feminist of color-the author's own godmother. The essay ends by suggesting that This Bridge Called My Back will continue to be relevant as a historical document that narrates the successes and failures of previous generations of antiracist feminist organizing.
{"title":"Reflections on Antiracist Feminist Pedagogy and Organizing: This Bridge Called My Back, Forty Years Later","authors":"Kristie Soares, Anissa Lujan, Luz Macias, Mariana Galvez Seminario","doi":"10.1353/fem.2022.0011","DOIUrl":"https://doi.org/10.1353/fem.2022.0011","url":null,"abstract":"Abstract:Using the collection This Bridge Called My Back: Writings by Radical Women of Color as a guide, this essay takes up the question of how to perform and teach antiracist feminist organizing in an era characterized by anti-Black police violence. It suggests that the text offers three key frameworks that can guide antiracist feminist organizing in this political moment: bridging, coalition, and home. The essay considers how these analytics are theorized in This Bridge Called My Back and how they are taken up by undergraduate gender studies students. It then considers the intergenerational legacy of This Bridge Called My Back by analyzing the inscription written inside of the author's own book, which was penned by an elder lesbian feminist of color-the author's own godmother. The essay ends by suggesting that This Bridge Called My Back will continue to be relevant as a historical document that narrates the successes and failures of previous generations of antiracist feminist organizing.","PeriodicalId":35884,"journal":{"name":"Feminist Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46154133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This reflective essay explores the challenges of teaching This Bridge Called My Back at a large Canadian tri-campus research-intensive university over the course of two years. Holding space for students' sometimes fraught reception of the text, I show, beautifully and frustratingly revealed some of the stakes of Bridge's calls for transnational feminist relationality. Framing Bridge as a model for confronting ourselves, and as an invitation to learn and respond to difficult questions, I reflect on what it means to demonstrate practices of community-making and care as we resist the neoliberalization of the academy and its reproduction of colonial and capitalist relations.
{"title":"Pedagogies of Relationality through This Bridge Called My Back","authors":"N. Charles","doi":"10.1353/fem.2022.0010","DOIUrl":"https://doi.org/10.1353/fem.2022.0010","url":null,"abstract":"Abstract:This reflective essay explores the challenges of teaching This Bridge Called My Back at a large Canadian tri-campus research-intensive university over the course of two years. Holding space for students' sometimes fraught reception of the text, I show, beautifully and frustratingly revealed some of the stakes of Bridge's calls for transnational feminist relationality. Framing Bridge as a model for confronting ourselves, and as an invitation to learn and respond to difficult questions, I reflect on what it means to demonstrate practices of community-making and care as we resist the neoliberalization of the academy and its reproduction of colonial and capitalist relations.","PeriodicalId":35884,"journal":{"name":"Feminist Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44364186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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