Nothing Matters: Black Death, Repetition, and an Ethics of Anguish

Winters,

doi:10.2979/amerreli.2.1.01

American Religion

2020

DOI: 10.2979/amerreli.2.1.01

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Nothing Matters: Black Death, Repetition, and an Ethics of Anguish

Winters Winters¹

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“…I am thinking about Jackson and Angelou as I read Joseph Winters's recent essay, "Nothing Matters: Black Death, Repetition, and the Ethics of Anguish." 5 I am thinking about the rituals of anti-Black violence, and the rituals that mourn and resist that violence. About repetition, rehearsal, and revolution.…”

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confidence: 99%

The wound and the opening

Farneth

2021

Cultural Dynamics

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Joseph Winters’s Hope Draped in Black insists on the ethical imperative of resisting closure. Drawing on examples from Black literary and artistic traditions, Winters describes an ethos of “melancholic hope” that dwells in loss while remaining vulnerable to others and an unknowable future: a wound and an opening. Winters is captivated by the repetitions and ruptures that frustrate easy assumptions about healing or progress. In these reflections on Winters’s work, I consider the ambivalent role of repetition in practices of mourning untimely and unjust death, and suggest the possibility of rituals that create and perform melancholic hope.

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confidence: 99%

The wound and the opening

Farneth

2021

Cultural Dynamics

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They Will Say

Crocker

2024

English Language Notes

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Bernard Rose’s 1992 film, Candyman, and Nia DaCosta’s 2021 remake of it use memorial rituals of naming and summoning that give life to Black memory and trauma. Through the use of Achille Mbembe’s work in Necropolitics, Christina Sharpe’s description of wake work in her book In the Wake: On Blackness and Being, and Émile Durkheim’s sacred-profane dichotomy, this article illustrates how, when both films are read together, they enact a ritual of mourning and proclamation with the utterance of Candyman that is adjacent to the #SayTheirNames hashtags of the Black Lives Matter movement. By reading these films as one ritualistic endeavor, this article looks at the uses of mirrors, naming, and summoning as sacred rites that implicate those within and outside the film to say the name of Candyman and revive not only the fictional dead but also the real memory of Black victims of brutality. Overall, the article aims to demonstrate how the 1992 and 2021 films encourage a ritual that insists on Black memory, breaks through the world of the living, and resuscitates the dead into the single configuration of Candyman.

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Black Religious Studies, Misogynoir, and the Matter of Breonna Taylor’s Death

Greene‐Hayes

2021

Religions

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This article reflects on the matter of state-sanctioned death in Black religious studies, with the murder of Breonna Taylor as its central focus. It examines how scholars of Black religion engage with the issues of state-sanctioned murder, antiblackness, and misogynoir, and it endeavors to underscore ways for Black male* scholars of Black religion to respond to the religious experiences and deaths of Black women and Black people of all gendered experiences. This article’s central claim is that if Black male* scholars of Black religion continue to underscore how Black religion has been a catalyst for Black liberation without attention to how cisheteropatriarchy functions as antiblackness, then we ultimately will be unable to speak the name of Breonna Taylor in earnest.

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Nothing Matters: Black Death, Repetition, and an Ethics of Anguish

Cited by 3 publications

References 0 publications

The wound and the opening

The wound and the opening

They Will Say

Black Religious Studies, Misogynoir, and the Matter of Breonna Taylor’s Death

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