Introduction. Visualizing the Body of the Black Atlantic
1. Audre Lorde, “Afterimages,” in Collected Poems (New York: Norton, 2000), 339.
2. Lorde, “Afterimages,” 339.
3. Lorde, “Afterimages,” 339.
4. Fred Moten, “Black Mo’nin,’” in Loss: The Politics of Mourning (Berkeley: Univer-
sity of California Press, 2003), 64.
5. Moten, “Black Mo’nin,’” 62–63.
6. Lorde, “Afterimages,” 339.
7. Lorde, “Afterimages,” 339–41.
8. Mamie Till- Mobley (1921–2003), after the murder of her son, Emmett Till,
insisted upon publishing postmortem photographs (most famously in Jet maga-
zine) and having an open- casket funeral for Till, stating, “I want the world to see
what they did to my boy.” This insistence upon the indexical evidence of her son’s
mutilated body contributed to the already- present outrage concerning the grue-
some, racially motivated murder. Till- Mobley’s inability to receive justice in the
space of the law is illustrated in the title of Gwendolyn Brooks’s poem “A Brownes-
ville Mother Loiters in Mississippi. Meanwhile, a Mississippi Mother Burns Bacon.”
9. “I, too, am the afterlife of slavery,” Saidiya Hartman writes in Lose Your Mother:
A Journey along the Atlantic Slave Route (New York: Farrar, Straus and Giroux, 2007),
6. This afterlife has a past and a past tense, a forward haunting and a resurrection.
Lorde, “Afterimages,” 339–41.
10. Katherine McKittrick, Demonic Grounds: Black Women and the Cartographies of
Struggle (Minneapolis: University of Minnesota Press, 2006), 33; Toni Morrison,
“The Site of Memory,” in Inventing the Truth, ed. William Zinsser (New York: Hough-
ton Mifflin, 1995), 91.
11. Katherine McKittrick, Demonic Grounds, 33.
12. Mary Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, the Ar-
chive (Cambridge, MA: Harvard University Press, 2002), 71.
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