Feminist Theory

This article contends that black feminist conceptions of ‘pussy power’ have prematurely foreclosed an examination of both pussy and its powers, thereby missing the erotic potential inherent in a ‘pussy power’ that is distinctly black – what I term black pussy power. Taking Pam Grier’s Blaxploitation performances in Coffy (1973) and Foxy Brown (1974) as my primary case studies, I use black pussy power as a conceptual framework through which to read Grier’s performances of black eroticism, which enable her to resist racialised gendered sexual subjection and tap into modes of erotic agency otherwise denied to her. Moving away from delimited understandings of pussy as female genitalia or an objectified entity of female sexuality, I mobilise black queer feminist theorisations of the ‘arbitrary relation between black sex and gender’ to theorise the polymorphous potential of black pussy to signify beyond the narrow gender and sexual grammars currently available to us. ¹ At the same time, black pussy’s discursive connection to black feminine sexuality animates the insurgent potential of black pussy power to secure nominal black freedoms in the face of state-sanctioned infringements on black erotic life.

This article takes up Hortense Spillers’ conception of ‘ungendered’ flesh and Saidiya Hartman’s notion of the ‘position of the unthought’ occupied by the figure of the Black-qua-Slave in order to explore their resonance for considering the interrelations between anti-black racial antagonism, ontological positioning and hegemonic renderings of gender formation and sexual taxonomies. Examining the performance and reception of the recent Broadway revival of Hedwig and the Angry Inch starring Taye Diggs as a case study, it asks what role race, and specifically (anti-)blackness, plays in the representation, recognition and intelligibility of proper, (non-)normative gendered corporealities within the dominant imaginary and collective unconscious.

This article asks how interracial sex and/or sexual attraction might be an integral part of cross-racial feminist work. Focusing on the work of black lesbian feminist poet Audre Lorde, I argue that for some black women sex and intimate relationships with white women during the Women’s Movement were an important part of their survival and their feminist and anti-racist praxis. Drawing on recent black feminist scholarship, I read Lorde’s work against the grain of the anti-pornography feminist movement contemporaneous with her career and suggest that sex with white women was often a productive, enriching and necessary experience for her as she worked to build cross-racial political alliances.

This article examines the critical work of Octavia Butler’s speculative fiction novel Dawn, which follows Lilith Ayapo, a black American woman who is rescued by an alien species after a nuclear war destroys nearly all life on Earth. Lilith awakens 250 years later and learns that the aliens have tasked her with reviving other humans and repopulating the planet. In reframing Reagan-era debates about security and survival, Butler captured the spirit of ‘pessimistic futurism’, a unique way of thinking and writing black female sexuality, reproduction and survival. Suturing concepts central to both Afro-pessimism and Afrofuturism, pessimistic futurism carefully considers how black female subjectivity and labour create the coming world. By linking human survival to Lilith’s own ability to adapt to the new and dangerous world, Butler offers scholars of black studies a vital interpretive framework for thinking about the points of contact between pessimism and futurism. Specifically, Butler presents a form of futurism brought back to Earth, grounded in the sensibility of the black female experience.

It is commonly assumed that only women, and in particular women who have recently given birth, are able to breastfeed. However, through induced lactation, adoptive mothers, fathers and trans people have begun breastfeeding with greater frequency. Although breastfeeding is often regarded as a paradigmatic example of sexual difference, it actually exposes the instability of binary categories of sex. Luce Irigaray insists that sexual difference demands a new poetics, a language that is dynamic and fluid, capable of expressing difference while always keeping open the possibility of transformation and change. This article extends Irigaray’s work in order to theorise breastfeeding from a perspective that is both feminist and queer.

In this article, we explore the relation between bodies and selves evident in the narratives surrounding aesthetic surgery. In much feminist work on aesthetic surgery, such narratives have been discussed in terms of the normalising consequences of the objectifying, homogenising, cosmetic gaze. These discussions stress the ways in which we model our bodies, under the gaze of others, in order to conform to social norms. Such an objectified body is contrasted with the subjective body; the body-for-the-self. In this article, however, we wish to make sense of the narratives surrounding such surgery by invoking the expressive body, which fits on neither side of this binary. We wish to explore how the modification of the body’s anatomical features (physiology) is taken to be a modification of its expressive possibilities, and therefore a modification of possibilities for inter-subjective relations with others. It is such expressive possibilities that, we suggest, underlie decisions to undergo surgical procedures. The possibility of modification of the expressive possibilities of the body, by the modification of its anatomical features, rests on the social imaginaries attached to anatomical features. In the context of such imaginaries, individual decisions to undergo or promote surgery can be both intelligible and potentially empowering. However, the social consequences of such acts are an increasing normalisation of the ‘body under the knife’ and an intolerance of bodily difference. This, we suggest, can only be changed by a re-visioning of bodily imaginaries so that expressive possibilities can be experienced across bodies with a range of physiological features.