The critically acclaimed author of In the Wake, "Christina Sharpe is a brilliant thinker who attends unflinchingly to the brutality of our current arrangements . . . and yet always finds a way to beauty and possibility" (Saidiya Hartman).

A singular achievement, Ordinary Notes explores profound questions about loss and the shapes of Black life that emerge in the wake. In a series of 248 notes that gather meaning as we read them, Christina Sharpe skillfully weaves artifacts from the past—public ones alongside others that are poignantly personal—with present realities and possible futures, intricately constructing an immersive portrait of everyday Black existence. The themes and tones that echo through these pages, sometimes about language, beauty, memory; sometimes about history, art, photography, and literature—always attend, with exquisite care, to the ordinary-extraordinary dimensions of Black life.

At the heart of Ordinary Notes is the indelible presence of the author’s mother, Ida Wright Sharpe. “I learned to see in my mother’s house,” writes Sharpe. “I learned how not to see in my mother’s house . . . My mother gifted me a love of beauty, a love of words.” Using these gifts and other ways of seeing, Sharpe steadily summons a chorus of voices and experiences to the page. She practices an aesthetic of "beauty as a method,” collects entries from a community of thinkers toward a “Dictionary of Untranslatable Blackness,” and rigorously examines sites of memory and memorial. And in the process, she forges a brilliant new literary form, as multivalent as the ways of Black being it traces.

In How We Write Now Jennifer C. Nash examines how Black feminists use beautiful writing to allow writers and readers to stay close to the field’s central object and preoccupation: loss. She demonstrates how contemporary Black feminist writers and theorists such as Jesmyn Ward, Elizabeth Alexander, Christina Sharpe, and Natasha Trethewey mobilize their prose to ask readers to feel, undo, and reassemble themselves. These intimate invitations are more than a set of tools for decoding the social world; Black feminist prose becomes a mode of living and feeling, dreaming and being, and a distinctly affective project that treats loss as not only paradigmatic of Black life but also an aesthetic question. Through her own beautiful writing, Nash shows how Black feminism offers itself as a companion to readers to chart their own lives with and in loss, from devastating personal losses to organizing around the movement for Black lives. Charting her own losses, Nash reminds us that even as Black feminist writers get as close to loss as possible, it remains a slippery object that troubles memory and eludes capture.

In Black Life Matter, Biko Mandela Gray offers a philosophical eulogy for Aiyana Stanley-Jones, Tamir Rice, Alton Sterling, and Sandra Bland that attests to their irreducible significance in the face of unremitting police brutality. Gray employs a theoretical method he calls “sitting with”—a philosophical practice of care that seeks to defend the dead and the living. He shows that the police that killed Stanley-Jones and Rice reduced them to their bodies in ways that turn black lives into tools that the state uses to justify its violence and existence. He outlines how Bland’s arrest and death reveal the affective resonances of blackness, and he contends that Sterling’s physical movement and speech before he was killed point to black flesh as unruly living matter that exceeds the constraints of the black body. These four black lives, Gray demonstrates, were more than the brutal violence enacted against them; they speak to a mode of life that cannot be fully captured by the brutal logics of antiblackness.

Review

About the Author

What’s done in the dark…Murderer is a title she never expected to wear. Friend? Sure. Boss? Hell yes. But murderer? Never. If only she hadn’t threatened exactly that, just before someone winds up dead, and her fingerprints are all over the murder weapon.Always comes to light…All he wanted was to live a quiet life, without all the danger and darkness of his past. Those plans are blown when he’s accused of a crime he has nothing to do with, leaving him with a hard decision… remain in the shadows, or do what he can to help a friend?When other crimes start stacking up – the handiwork of an anonymous suspect with an unknown vendetta, they’ll discover something that flips their worlds upside down…A murder accusation may be the least of their worries.

Join us for our monthly book club. Our August pick is Zyla and Kia by Kristina Forest.

Book club will happen Wednesday, September 25 at 7:00 PM in the Kindred Stories Reading Garden. RSVP required. See ya'll there!

About the Book

A fresh love story about the will they, won't they—and why can't they—of first love. 

While on a school trip to the Poconos Mountains (in the middle of a storm) high school seniors, Zyla Matthews and Kai Johnson, run away together leaving their friends and family confused. As far as everyone knows, Zyla and Kai have been broken up for months. And honestly? Their break up hadn't surprised anyone. Zyla and Kai met while working together at an amusement park the previous summer, and they couldn't have been more different.
 
Zyla was a cynic about love. She'd witnessed the dissolution of her parents' marriage early in life, and it left an indelible impression. Her only aim was graduating and going to fashion school abroad. Until she met Kai.
 
Kai was a serial dater and a hopeless romantic. He'd put a temporary pause on his dating life before senior year to focus on school and getting into his dream HBCU. Until he met Zyla.
 
Alternating between the past and present, we see the love story unfold from Zyla's and Kai's perspectives: how they first became the unlikeliest of friends over the summer, how they fell in love during the school year, and why they ultimately broke up... Or did they?
 
Romantic, heart-stirring, and a little mysterious, Zyla & Kai will keep readers guessing until the last chapter.