Coda

This coda briefly addresses the election of Donald Trump and the implications of an increasingly visible white nationalist movement on the arguments of the book. The coda also analyzes elements of the Black Lives Matter movement to argue that while much of the optimism of the post era has been mitigated, several of its major theoretical strains—the emphasis on individual agency over racial identity, the turn towards racial identity as performance—remain critical to understanding current activism. It also explains the influence of theoretical frameworks such as intersectionality and Afropessimism on current movements. The coda also looks briefly towards growing and ongoing trends in African American literature, like Afrofuturism.

“Katrina is the Mother We Will Remember Until the Next Mother”

This chapter analyzes representations of Hurricane Katrina in African American literature to argue that the storm served to illustrate the entrenchment of structural racism and the importance of a specifically racialized tradition in African American literature. Adopting the theoretical framework of “slow violence,” the chapter analyzes two novels which depict both the storm and its aftermath: Jesmyn Ward’s Salvage the Bones (2011) and Kiese Laymon’sLong Division (2013). In the context of the early twenty-first century, these representations of Katrina do not displace the social advancements of African Americans but instead force recognition of the incompleteness not only of specific political battles but also of ongoing race, gender, and class-based narratives, thereby questioning the optimism of a rhetoric of post-Blackness. In particular, the novels establish continuity between Civil Rights Era traumas and struggles and Hurricane Katrina to push against a rhetoric focused on the transcendence of the past.

On the Blackness of Post-Blackness

This chapter argues that Colson Whitehead’s novel Sag Harbormirrors post-Black art’s emphasis on simultaneously rejecting and embracing the racial categorization of African American art. In doing so, Whitehead’s novel represents a qualified liberation for African American artists that optimistically imagines a freedom from racial categorizations that is still rooted in them. This chapter analyzes Whitehead’s novel in the context of the competing definitions of post-Blackness offered by Touré in Who’s Afraid of Post-Blackness? as well as in the original formulation by Thelma Golden. Employing a framework of “racial individualism,” the chapter argues that a loosening sense of linked fate has led to the privileging of individual agency over Black identity. In doing so, post-Blackness serves to discursively liberate African American artists from any prescriptive ideal of what constitutes black art without implying either a desire or intent to not address issues of race.

“New and Better Stories”

This chapter analyzes Colson Whitehead’s Apex Hides the Hurt (2006) and Paul Beatty’s Slumberland (2008) as attempts to craft the “new and better stories” of the African American experience that Charles Johnson’s 2008 essay “The End of the Black American Narrative” calls for. Johnson’s “The End of the Black American Narrative” posits Obama’s election as a turning point in African American literature, reflecting a new era of representation for African American authors. Through an analysis of Johnson’s essay in concert with Whitehead’s and Beatty’s novels, this chapter argues that these works illuminate a brief moment of optimism for the transcendence not of race itself but of the structural role that race has played and continues to play in American governance. With their shared representation of racial identity as a form of branding, Whitehead and Beatty point towards new conceptualizations of Blackness that embrace contingency and fluidity.

A Non-American Black Guide to American Blackness

This chapter’s focus on Black immigrant authors addresses the tension between the continued racialization of American culture and shifting demographics that undermine the applicability of previous definitions of Blackness. Novels such as Chimamanda Ngozi Adichie’s Americanah make explicit the connection between the prominence of such immigration and the rise of a figure such as Barack Obama. As Adichie’s novel makes clear, Obama’s background—the son of an African student and a white mother—underlines the shifting definitions of racial identity in twenty-first century America. While her protagonist’s presence in the United States is testament to the symbolic resonance that America still holds as a land of opportunity, her ultimate disillusionment with the United States, and the role that race plays in her return to Nigeria, underscores the incompleteness of the project of racial progress. The chapter engages with Afropolitanism as a post era discourse related to the African immigrant experience.