WORKS CITED
Works cited for the text in this section of the site.
Full reading lists are available in the timeline.
Carson, A.D. Owning My Masters: The Rhetorics of Rhymes & Revolutions. Web. Accessed 05 December 2016.
http://phd.aydeethegreat.com.
—. COLD. Mayhaven Publishing, Inc., 2011. Print.
Ellison, Ralph. Invisible Man. New York: Vintage Books, 1992. Print.
Harney, Stefano and Fred Moten. The Undercommons: Fugitive Planning & Black Study. New York: Minor Compositions, 2013.
Print.
Hong, Cathy Park. “Delusions of Whiteness in the Avant-Garde.” Lana Turner, Issue 7, 03 November 2014. Web. Accessed 05
October 2015. http://www.lanaturnerjournal.com/print-issue-7-contents/delusions-of-whiteness-in-the-avant-garde.
Neal, Mark Anthony. “Left of Black with James Peterson.” 30 March 2015. YouTube. Web. Accessed 05 October 2015.
https://www.youtube.com/watch?v=ZwYQES8Gyko
Saucier, P. Khalil and Tryon Woods. “Hip Hop Studies in Black.” Journal of Popular Music Studies, Volume 26, Issue 2-3, 2014.
pp. 268-294.
Sexton, Jared. “Ante-Anti-Blackness: Afterthoughts.” Lateral, 2011. Web.
http://lateral.culturalstudiesassociation.org/issue1/content/sexton.html
Spillers, Hortense J. “The Crisis of the Negro Intellectual: A Post-Date.” boundary 2 Vol. 21, No. 3, pp. 65 – 116. Duke UP, 1994.
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Weheliye, Alexander. Phonograpies: Grooves in Soic Afro Modernity. Duke UP, 2005. Print.
So there you have it.
His invisibility placed us here.
In fact, it showed us and helped us accept
where we are,
studying this lesson
through his life.
He tried to do it in everyone’s way but his own.
That was his problem.
That and being called one thing,
then another,
while no one really wished to hear what he called himself.
Rebellion was inevitable;
invisible, a return.
The end was in the beginning,
beneath the surface,
under ground,
under thought,
but understood.
Under common circumstances
we would say this was about history—
about H.E.R.—
but this is more undercommons
than even Common Sense might say:
Black and fugitive, study and planning,
an act, too.
This is about
us,
about being without
sub-stance,
a disembodied voice
with no choice but to tell you
what you’ve been looking through—
him, on the lower frequencies,
speaking for you?