#Kevin Quashie

[notchainedtotrauma]

The girlfriend is this other someone who makes it possible for a Black female subject to bring more of herself into consideration, to imagine herself in a wild safety. A woman is encouraged by her girlfriend to be herself radically, even as the heft of doing so might be too much for their connection to bear.

from Black Women, Identity, and Cultural Theory by Kevin Quashie

[burntsoft]

Poem nude photograph by Lucille Clifton

17th FTW - Kevin Quashie (2024)

[biglisbonnews]

Quiet: A Syllabus “For most of my life, I took quiet to mean a kind of shortcoming.” https://www.theparisreview.org/blog/2023/02/06/quiet-a-syllabus/

[7vyntheefaerie]

Power Makes Us Sick Issue #3 -- There is no final stage of healing.

thinking of our bodies apart from currency to approach disability and healing from holistic outlook on care. removing western ideology from medicine's throne. working toward free clinics, herbalism's decriminalization, and medicine as a site of healing oppression's traumas. community medicinal knowledge as liberatory weapon.

following Kevin Quashie's theorizing of the commune (In Black Aliveness, Or A Poetics of Being, i include this zine to think through the logistical requirements of the commune in a time where health care has been majorly financialized beyond its routine brutality to black queer maGes physical, emotional, spiritual, mental wellbeing.

in the near future, i will define commune and discuss speculative readings that theorize communal care.

[mantisblues]

if u haven't read kevin quashie you need to do it now

[artbookdap]

FYI, painting lovers: we're going to keep posting about this book because we love it too. ⁠ ⁠ 'The World We Make' is the first comprehensive monograph on acclaimed painter @asherald —whose distinctive style of simplified realist portraiture features African American subjects rendered against colorful monochrome backdrops or in everyday settings. Sherald rose to fame after being chosen by former first lady @michelleobama to paint her official portrait for the @smithsoniannpg in Washington, DC, in 2018, becoming the first African American woman to receive this honor.⁠ ⁠ In addition to reproductions of Sherald’s recent works, the book—published to accompany her solo exhibition at @hauserwirth London in fall 2022—includes illustrations of earlier paintings, as well as an intimate glimpse into Sherald’s process and practice through a series of in-studio photographs. Newly commissioned texts include an art historical analysis of the artist’s work by Jenni Sorkin; a meditation on the politics and aesthetics of Sherald's portraiture by cultural scholar Kevin Quashie; and a conversation between Sherald and acclaimed author Ta-Nehisi Coates.⁠ ⁠ Read more about the book via linkinbio.⁠ ⁠ @asherald #amysherald #amysheraldtheworldwemake #theworldwemake @jennisorkin #blackhistory #blackhistorymonth #michelleobamaportrait https://www.instagram.com/p/CpDZRAUOVdN/?igshid=NGJjMDIxMWI=

[aspaceforblackrage]

My fave Kevin Quashie is so deserving. Brilliant. Kind. Generous. Beautiful. Thoughtful. H\t @dr_edwards https://www.instagram.com/p/Cl66r-rydU2/?igshid=NGJjMDIxMWI=

[adesireforhealing]

Love demands a descent into the interior, leaves us filled with vulnerability and ambition and rage that rivals anything the social world can produce; it fosters connection without forgoing the particularity of the inner life. Love is the practice and the prize.

from The Sovereignty Of Quiet by Kevin Quashie

[ahistoryofanxietyandanxietyand]

Neither is quiet about resistance. It is surrender, a giving into, a falling into self. The outer world cannot be avoided or ignored, but one does not only have to yield to its vagaries. One can be quiet.

from The Sovereignty Of Quiet by Kevin Quashie

[notchainedtotrauma]

A girlfriend, an othermother, play sister, god sister, cousin, or sisterfriend-all terms of the nonfilial, visceral bonds of sisterhood between adult Black women.

from Black Women, Identity, and Cultural Theory by Kevin Quashie

[wanderingandactingout]

This is the politics of representation, where black subjectivity exists for its social and political meaningfulness rather than as a marker of the human individuality of the person who is black. As an identity, blackness is always supposed to tell us something about race and racism, or about America, or violence and struggle and triumph or poverty and hopefulness. The determination to see blackness only through a social public lens, as if there were no inner life, is racist-it comes from the language of racial superiority and it is a practice intended to dehumanize black people. But it has also been adopted by black culture, especially in terms of nationalism, but also more generally: it creeps into the conciousness of the black subject, especially the artist, as the imperative to represent.

from The Sovereignty Of Quiet: Beyond Resistance in Black Culture by Kevin Quashie

[fatehbaz]

“[R]ecognition slips easily into a surveillance maneuver”: “What if misrecognition -- or ‘ghosting’ [...] -- facilitates resistance?” [...]

Opacity, multiplicity, and refraction unsettle many [...]. Here I must reveal myself as someone who loves deviance and mischief. [...] The word furtive delights me. A quick [online] search for synonyms yields other poetically inspiring words: secretive, surreptitious, clandestine, covert, conspiratorial, oblique, and shifty. [...] We must fold these small acts of love and creativity and play (and laughter and irreverence and whimsy) into other resistant projects against white supremacy [...].

To cite Kevin Quashie in his beautifully titled The Sovereignty of Quiet, “The outer world cannot be avoided or ignored, but one does not have to yield to its vagaries. One can be quiet.” One can also be loud [...].

In 1980, as Audre Lorde warned us: “The need for unity is often misnamed as a need for homogeneity.”[...] My [...] project continues my exploration of colonialism’s damages, and especially the ambivalent ones. I [...] chart a study of the aesthetics and poetics of the so-called boonies or hills in the extended Caribbean, by which I mean to include great swaths of the eastern United States. [...] [A] boonies imaginary is also an anagram of what race has come to mean in the Americas. In various trans-American imaginaries, the boonies are raced as nonproductive land inhabited by people who are not fully part of the Western episteme. I contend that to imagine the hills or the boonies is to imagine portals into other ways of inhabiting this planet.

Caribbean(ist) people are familiar with el monte, the hills, or les mornes.

El monte is always just around the corner, encroaching, sprouting persistently like fungi amid the rubble of hurricane disasters or abandoned plantation and industrial sites. In the United States, the hills have been virtually ghosted from most US imaginaries, remaining tellingly in the space of horror films and folklore.

The hills, like much of our hemisphere, are sites of damage containing the residual energy of violence, or what Anne McClintock calls the “places of irresolution.” I forage through these spaces of psychic disturbance with curiosity. I turn over rocks and push thorny vines to the side to find wet dirt, small creatures, and, perhaps, delightful hidden treasures such as mushrooms. I open my hands so that these and other surprises “jump into [them] with all the pleasures of the unasked for and the unexpected” [...].

Remaining open to these gifts of the nonhuman natural world might provide a key into how we must be if we are to live in a more radically equitable planet. A planet that decenters the human. What can we make possible when we make room for the unexpected in the midst of ruin. [...]

[L]et us be foragers nurturing “landscapes -- with their multiple residents and visitors -- rather than a single species.” How much ruddier might we be against the multiheaded hydra of white supremacy as “a world of mutually-flourishing companions” instead of “a single species” forcibly homogenized and easily destroyed?

---

Text by: Dixa Ramirez D’Oleo. “Mushrooms and Mischief: On Questions of Blackness.” Small Axe. July 2019. [Some paragraph breaks/contractions added by me.]

[newestcool]

Rianne van Rompaey for The Row s/s 2022 rtw Creative Director Kevin Tekinel & Charles Levai Photographer Jamie Hawkesworth Fashion editor/Stylist Brian Molloy Makeup Artist Lucia Pica Hair Stylist Anthony Turner Manicurist Ama Quashie IG

[northwindow]

october: the silent treatment

a syllabus on silence, speech, sound, and listening

"not speaking and speaking" by paul goodman (p. 3)

the opening chapter of theorist and poet paul goodman's book speaking and language: defence of poetry, which explores the diverse usefulness of both silence and speech. contains goodman's classification of the nine kinds of silence, read here by christopher ricks for WBUR's stylus.

a book of silence by sara maitland

book by british novelist sara matiland about the effects of silence and solitude. maitland combines a memoir of her experiences intentionally living in silence with examples of religious hermitage, solo exploration, and other immersive experiences of silence from throughout recorded history; creating an overarching thesis on the psychological and spiritual effects of silence.

"the transformation of silence into language and action" by audre lorde

essay by audre lorde serving as a call to action for other women to speak and listen to each other about their lived experiences in the face of oppressive systems. written after a breast cancer diagnosis which caused lorde to reevaluate her relationship to unspoken truths in her own life and community.

"the aesthetics of silence" by susan sontag

an essay by susan sontag on the modern artist's tendency to make art that is not intelligible by its audience, or to retire from art altogether. in her critique of the silence-seeking artist, sontag acknowledges how silence can be a social gesture: "discovering that one has nothing to say, one seeks a way to say that."

"composition as process: iii. communication" by john cage (p. 41)

lecture by john cage, the experimental composer famous for 4'33" (a performance containing 4 minutes and 33 seconds of apparent silence). written almost entirely in questions, this section of the essay "composition as process" explores the difference between music and noise and asks whether silence is even possible.

"sound advice" by bella bathurst

essay by scottish writer and photographer bella bathurst about our sensitivity to noise. she engages with the experiences of musicians, experts in acoustics, and those with hearing loss.

encountering silence, hosted by cassidy hall, kevin johnson, and carl mccolman

a podcast featuring interviews with a range of writers and scholars contemplating silence, often but not exclusively from a religious standpoint. guests include marie howe on silence and the depth of poetry, kaya oakes on silence, the body, and woman mystics, pádraig ó tauma on silence, poetry, and conflict resolution, and kevin quashie on the aesthetics and poesis of silence.

[trumantomlinson]

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[someones-reading-list]

Spring 2019: University of Texas at Austin

E376M - Helena Woodard

Goal: focussing primarily on early Black Atlantic writings--especially in the US and England, coterminously with the triangular, Transatlantic Slave Trade route, the course shows how race disrupts the rhetoric of Enlightenment humanism, which represents literature as a tool for moral instruction.

Reading list:

Jonathan Swift: Gulliver’s Travels

Aphra Behn: Oroonoko

Phyllis Wheatley: Complete Writings

Olaudah Equiano: Interesting Narrative of Olaudah Equiano, or Gustavus Vassa

Moira Ferguson: The History of Mary Prince

Suggested readings: 

Joanna Brooks: American Lazarus

Paul Gilroy: The Black Atlantic: Modernity and Double Consciousness

Toni Morrison: Playing in the Dark

Abdul janMohamed: The Death-Bound Subject: Richard Wright’s Archaeology of Death

Stephanie Smallwood: Saltwater Slavery: A Middle Passage from African to American Diaspora

Kevin Quashie: The Sovereignty of Quiet: Beyond Resistance in Black Culture

Anissa Janine Wardi: Water and African American Memory: An Ecocritical Perspective

Nourbese Philip: Zong!

Ancillary materials:

“The Old African Blasphemer”: episode from The Fight Against Slavery (1975)

Thomas Jefferson: Notes on the State of Virginia