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"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.
Contents
Acknowledgments vii
Preface ix
1. Knowledge of Freedom 1
2. Gestural Critique of Judgment 96
3. Uplift and Criminality 115
4. The New International of Decent Feelings 140
5. Rilya Wilson, Precious Doe, Buried Angel 152
6. Black Op 155
7. The Touring Machine (Flesh Thought Inside Out) 161
8. Seeing Things 183
9. Air Shaft, Rent Party 188
10. Notes on Passage 191
11. Here, There, and Everywhere 213
12. Anassignment Letters 227
13. The Animaternalizing Call 237
14. Erotics of Fugitivity 241
Notes 269
Works Cited 297
Index 309
