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Black Futures
“A literary experience unlike any I’ve had in recent memory . . . a blueprint for this moment and the next, for where Black folks have been and where they might be going.”— The New York Times Book Review (Editors’ Choice)
What does it mean to be Black and alive right now?
Kimberly Drew and Jenna Wortham have brought together this collection of work—images, photos, essays, memes, dialogues, recipes, tweets, poetry, and more—to tell the story of the radical, imaginative, provocative, and gorgeous world that Black creators are bringing forth today. The book presents a succession of startling and beautiful pieces that generate an entrancing Readers will go from conversations with activists and academics to memes and Instagram posts, from powerful essays to dazzling paintings and insightful infographics.
In answering the question of what it means to be Black and alive, Black Futures opens a prismatic vision of possibility for every reader.
What does it mean to be Black and alive right now?
Kimberly Drew and Jenna Wortham have brought together this collection of work—images, photos, essays, memes, dialogues, recipes, tweets, poetry, and more—to tell the story of the radical, imaginative, provocative, and gorgeous world that Black creators are bringing forth today. The book presents a succession of startling and beautiful pieces that generate an entrancing Readers will go from conversations with activists and academics to memes and Instagram posts, from powerful essays to dazzling paintings and insightful infographics.
In answering the question of what it means to be Black and alive, Black Futures opens a prismatic vision of possibility for every reader.
544 pages, Hardcover
First published December 1, 2020
273 people are currently reading
7834 people want to read
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Displaying 1 - 30 of 222 reviews
January 25, 2021
A fascinating, expansive, thought-provoking assemblage of artifacts that will lead us to a black future. This is a really well curated anthology and a must-read.
November 18, 2020
Reading this book was a unique experience in many ways. It’s a blend of multiple narratives in the form of photographs of black people, of paintings of black people, posters, interviews, conversations, essays, Facebook screen shots,and more by Black people, some artists, some activists and some everyday people expressing their hopes, and dreams, all reflecting on what it means to be Black. It has entries on music, art, history, politics, sexuality, daily life . In an opening letter, the editors say “ The Black Futures Project started a few years ago as a Direct Message exchange on Twitter and has evolved into a shared desire to achieve a moment. In developing “Black Futures”, we sought to answer the question: What does it mean to be Black and alive right now .” While I can never really fully understand what it means, but I can say that I was enlightened, moved and hopeful that I could see things about being Black that I hadn’t before. So for me, a white woman in her senior years, I felt it was a beginning, a good beginning, difficult at times, enjoyable at other times.
Everyone needs to experience this collection for themselves, but I want to mention a few pieces that particularly struck me. The 13th Amendment to the Constitution passed in 1865, abolishing slavery is here. I had never read it . Everyone should . Black Survival Guide -“How to Live Through a Police Riot” was chilling . An exhibition of “This Hair is Mine” is full of such beautiful photographs. In an essay, “How Black Barbershops Save Lives”, I learned: “ Over the years, I came to understand that barbershops were more than places to get a shape-up, a shave or trim. I learned that barbershops were the only spaces created in American life where Black men can speak and receive feedback about who they are, who they want to be, and what they believe to be true about the world around them.” There’s so much more here, some entertaining, some difficult to read like the last scene of “Fairview”, a Pulitzer Prize winning play by Jackie Sibblies Drury. My recommendation is that this collection needs to be read and reread.
I received an advanced copy of this book from One World through NetGalley. I downloaded the book and read it on my iPad using Adobe Blue Fire Reader. I would recommend this if you want a digital copy or better yet, the hard copy book to see the beauty .
Everyone needs to experience this collection for themselves, but I want to mention a few pieces that particularly struck me. The 13th Amendment to the Constitution passed in 1865, abolishing slavery is here. I had never read it . Everyone should . Black Survival Guide -“How to Live Through a Police Riot” was chilling . An exhibition of “This Hair is Mine” is full of such beautiful photographs. In an essay, “How Black Barbershops Save Lives”, I learned: “ Over the years, I came to understand that barbershops were more than places to get a shape-up, a shave or trim. I learned that barbershops were the only spaces created in American life where Black men can speak and receive feedback about who they are, who they want to be, and what they believe to be true about the world around them.” There’s so much more here, some entertaining, some difficult to read like the last scene of “Fairview”, a Pulitzer Prize winning play by Jackie Sibblies Drury. My recommendation is that this collection needs to be read and reread.
I received an advanced copy of this book from One World through NetGalley. I downloaded the book and read it on my iPad using Adobe Blue Fire Reader. I would recommend this if you want a digital copy or better yet, the hard copy book to see the beauty .
December 13, 2020
This book is incredible. It’s a bound example of all the complexities, joys, contradictions, power, diversity, creativity, and struggle in the Black community. We are not a monolith but we are a community. This book is magic. It exists without the sinister shadow of the white gaze.
December 15, 2020
This is a collection of essays, photographs, poems, plays, news stories, transcribed conversations/interviews, illustrations, playlists, etc. about, and contributed by, Black people. It covers an enormous range of topics including politics, film, archives, art, agriculture, biography, bath scrubs, music, dance, recipes, zines, nameplate jewelry, penal reform, ocean ecology and barbershops. Predictably, the result is a mixed bag, but it was generally interesting.
I received an ebook ARC of this book which I downloaded to a Kindle Fire so that I could see all of the illustrations in color. I also borrowed the audiobook from the library (it comes with a pdf, presumably of the illustrations, which I did not download). I assumed that I was prepared to experience this book. Some of the illustrations were not really legible. The text was read on the audiobook, so that was one case where the audiobook was better, but that wasn’t usually the case. The book isn’t meant to be read in a linear manner, but to be explored more or less randomly. That obviously can’t be done with an audiobook so I wound up relying primarily on the ebook. However, I think that it would probably be best to read a physical copy of the book.
I received a free copy of this book from the publisher.
I received an ebook ARC of this book which I downloaded to a Kindle Fire so that I could see all of the illustrations in color. I also borrowed the audiobook from the library (it comes with a pdf, presumably of the illustrations, which I did not download). I assumed that I was prepared to experience this book. Some of the illustrations were not really legible. The text was read on the audiobook, so that was one case where the audiobook was better, but that wasn’t usually the case. The book isn’t meant to be read in a linear manner, but to be explored more or less randomly. That obviously can’t be done with an audiobook so I wound up relying primarily on the ebook. However, I think that it would probably be best to read a physical copy of the book.
I received a free copy of this book from the publisher.
June 22, 2022
It took me a while to get through Black Futures, and I took breaks while reading other books. There is a lot to take in with the book's unique structure. There are essays with photos, interviews, social media posts, and more that touch on a wide range of black experiences.
It's an enlightening, valuable book that does a good job giving the reader many things to think about while exploring the question, "what does it mean to be black and alive right now."
I received a copy from the publisher
It's an enlightening, valuable book that does a good job giving the reader many things to think about while exploring the question, "what does it mean to be black and alive right now."
I received a copy from the publisher
November 24, 2020
Black Futures uses cultural references and mixed media to talk about the Black experience.
Black is not one dimensional nor monolithic. Black transcends time and space –
Therefore editors Jenna Wortham and Kimberly Drew decided against a linear approach to the book. Instead Black Futures is arranged to be consumed more organically. Within each section we are given a table of contents and also a guide to related entries so the topic may be explored in more depth.
Black Futures begs the question “What does it mean to be Black and alive right now?”
Although the book opens with Black Lives Matter and social activism it goes on to examine the Black collective. How are those on the fringes included and embraced in Black society and how can we uplift them?
In a Google Hangout with Shawne Michealain Holloway, Tiona McClodden talks about being identified as a member of the BDSM community and what this meant for her. She felt vulnerable in that moment, yet free, because she was finally being seen.
This idea of being seen is emphasized by the editors through pictures and artwork and even Twitter exchanges. The authors stress the need for personal archival and give explicit directions on how to document your life so that future generations will know your lived experience.
Cultural inheritance is not just about what we have learned from the past, but how that legacy is passed on to our children. In the section entitled ‘Black to the Land’ Leah Penniman talks about the history of hiding rice and other seeds within African traditional hair styles and how today cooperatives like Soul Fire Farm train Black families sustainable farming practices.
My favorite part of the book was the section on Black Joy which delves into self-care and love. Highlighted here was rejuvenation through worship, relaxation and play and healthy food practices.
Black Futures is a collection of Black excellence. It is at once a testament to our past struggles and a beacon of hope for the future.
Black is not one dimensional nor monolithic. Black transcends time and space –
Therefore editors Jenna Wortham and Kimberly Drew decided against a linear approach to the book. Instead Black Futures is arranged to be consumed more organically. Within each section we are given a table of contents and also a guide to related entries so the topic may be explored in more depth.
Black Futures begs the question “What does it mean to be Black and alive right now?”
Although the book opens with Black Lives Matter and social activism it goes on to examine the Black collective. How are those on the fringes included and embraced in Black society and how can we uplift them?
In a Google Hangout with Shawne Michealain Holloway, Tiona McClodden talks about being identified as a member of the BDSM community and what this meant for her. She felt vulnerable in that moment, yet free, because she was finally being seen.
”I was really concerned about how people saw the mask. And that mask, in particular sense, was not a mask to hide. It was a mask to reveal.”
This idea of being seen is emphasized by the editors through pictures and artwork and even Twitter exchanges. The authors stress the need for personal archival and give explicit directions on how to document your life so that future generations will know your lived experience.
Cultural inheritance is not just about what we have learned from the past, but how that legacy is passed on to our children. In the section entitled ‘Black to the Land’ Leah Penniman talks about the history of hiding rice and other seeds within African traditional hair styles and how today cooperatives like Soul Fire Farm train Black families sustainable farming practices.
My favorite part of the book was the section on Black Joy which delves into self-care and love. Highlighted here was rejuvenation through worship, relaxation and play and healthy food practices.
Black Futures is a collection of Black excellence. It is at once a testament to our past struggles and a beacon of hope for the future.
December 15, 2020
In utter awe of the blood work of these contributions. The journey of emotions this book guides one through can only be described as a spiritual awakening. I am incensed and inspired by this book, which serves as a reminder of the ways Blackness has been stolen, shamed, dirtied, and appropriated by the dominant culture. It is a book about Black power and resistance and the punishments afflicted on Black and Brown bodies who dare to love and embrace the very essence of their being. It is a roaring revolution tamed only by the binding of its pages.
Brimming with tips for self-care, conversations of art, love and loss, of activism and identity, and of the profound ways Black joy is suspended by the system of white supremacy, its lies and violences — Black Futures is more than a compendium of Blackness, it prevails as a talisman for the past, present and future generations to come.
Brimming with tips for self-care, conversations of art, love and loss, of activism and identity, and of the profound ways Black joy is suspended by the system of white supremacy, its lies and violences — Black Futures is more than a compendium of Blackness, it prevails as a talisman for the past, present and future generations to come.
December 1, 2020
A collection of stories, essays, photographs, poems, thoughts and questions inquiring the significance and importance, the meaning of Black identity both currently as well as in the past. This tackles such a wide variety of topics relevant especially to our country. The history of voter suppression, especially notable in certain parts of the country. The history of Black jazz musicians, Black politics and Black politicians. Black communities, Artists, Photographers. Sub-cultures within the Black community such as LGBTQ men and women. Black communities particularly hard hit by the lack of basic life changing things most people take for granted, including water that is safe to drink. It shares some of the progress, as well, progress we thought we had made through the years. Some of the ‘firsts,’ the different views in terms of art represented from the Obama’s official portraits to art such as Courtney Alexander’s Ain’t Je-Mammy (Queen Mother/Empress), art which speak to their beliefs and traditions they honor.
In Black to the Land Leah Penniman addresses the strength and foresight of ancestral grandmothers who braided seeds into their hair before they were forced to board ships that would take them to another land, where they would be sold. Along with physical items, they brought knowledge, beliefs, and their culture, as well as the expertise as agriculturalists. They brought their customs, their memories, traditions and knowledge, the stories inherited from their grandmothers, who in turn learned from their grandmothers. Loved reading this, loved the story, the pride, the conviction to continue this legacy through establishing an intergenerational, healing village.
There are so many, many stories in here that are all worth reading. This includes some incredibly lovely writing, and very heartfelt and moving personal stories, some photography that shows the joy of day-to-day life, and stories that share the importance of recognizing the belief that each and every one of us has value. There are even a few recipes included, as well as the rejuvenating quality of music, which made me smile. Memories from childhood that made me cry.
These stories share the spirit that brings about change, the communal sense of remembrance and reminiscence, the dreams of the prospects for the future, and a powerful witness to how bewildering these days seem.
Published: 01 Dec 2020
Many thanks for the ARC provided by Random House Publishing Group – Random House / One World
#BlackFutures #NetGalley
December 20, 2020
A visual love letter
At the onset of the Black Futures project, Kimberly Drew and Jenna Wortham set out to answer the question, "What does it mean to be Black and alive right now?". The response is answered in this gorgeous hardcover book -- a collection of visual art, poetry, social media posts, interviews, music, theatre, community organizing and recipes from Black creators and thought leaders. Each piece is wildly different yet work in tandem to stitch together a powerful representation of Black resilience and creation and map out a vision for Black liberation, healing and justice.
This book is everything I didn't know that I needed.
I was familiar with Jenna Wortham through her role as the host of the podcast Still Processing. As such, when I saw the cover and title of the new book that she had co-authored, I immediately purchased it. At most, I was expecting an aesthetically pleasing coffee-table book about Blackness. In no way was I prepared for the magic that Black Futures had to offer.
Flipping through Black Futures I was taken on a similar emotional journey to when I first watched Beyonce's, Black is King . This book is a beautiful and powerful experience. I had visceral reactions to each and every carefully curated poem, lyric and photograph. I found myself deeply engaged in topics that I wouldn't regularly seek out such as the state of our oceans and the need for climate justice. I felt inspired by the examples of incredible and innovative community organizing that I had never heard of. My heart filled while absorbing the many depictions of community, unity, and belonging and I fell in love on every page.
The book featured creators from around the world inclusive of different gender expression, ability, sexual orientation and economic positioning. The inclusive representation of this book didn't feel tokenistic, but like a genuine commitment to and appreciation of historically under represented voices.
I could not recommend this book more -- for Black people and everybody else who wants to celebrate our community and envision a liberating path forward. PHENOMENAL
At the onset of the Black Futures project, Kimberly Drew and Jenna Wortham set out to answer the question, "What does it mean to be Black and alive right now?". The response is answered in this gorgeous hardcover book -- a collection of visual art, poetry, social media posts, interviews, music, theatre, community organizing and recipes from Black creators and thought leaders. Each piece is wildly different yet work in tandem to stitch together a powerful representation of Black resilience and creation and map out a vision for Black liberation, healing and justice.
This book is everything I didn't know that I needed.
I was familiar with Jenna Wortham through her role as the host of the podcast Still Processing. As such, when I saw the cover and title of the new book that she had co-authored, I immediately purchased it. At most, I was expecting an aesthetically pleasing coffee-table book about Blackness. In no way was I prepared for the magic that Black Futures had to offer.
Flipping through Black Futures I was taken on a similar emotional journey to when I first watched Beyonce's, Black is King . This book is a beautiful and powerful experience. I had visceral reactions to each and every carefully curated poem, lyric and photograph. I found myself deeply engaged in topics that I wouldn't regularly seek out such as the state of our oceans and the need for climate justice. I felt inspired by the examples of incredible and innovative community organizing that I had never heard of. My heart filled while absorbing the many depictions of community, unity, and belonging and I fell in love on every page.
The book featured creators from around the world inclusive of different gender expression, ability, sexual orientation and economic positioning. The inclusive representation of this book didn't feel tokenistic, but like a genuine commitment to and appreciation of historically under represented voices.
I could not recommend this book more -- for Black people and everybody else who wants to celebrate our community and envision a liberating path forward. PHENOMENAL
October 25, 2020
Since I received Black Futures as a NetGalley offering in exchange for my unbiased, honest review, I am not supposed to directly quote from the unpublished book. But I must, very briefly. Very early in the book, Alisha Wormsley has a statement: “There are Black People in the Future.” My immediate thought was, I really, really hope so. If not, what a sad, dull, empty world.
I have no idea how to rate this book. It’s not a novel. It is a collection of art, essays, poetry, even tweets and recipes by numerous contributors. It is a collage of Black history, politics, music, sexuality, spirituality, music, and family. Women and men, gay, straight, bisexual, transgender, biracial, Afro-Indigenous, disabled – all expressing in various art forms what it means to be Black.
It is fun, heartbreaking, serious, celebratory, lighthearted, and everything in between. Did every piece speak to me, a 66-year-old white woman who was raised in the predominantly lily-white Upper Midwest? Of course not. It may not speak all to every person of color either. And I expect that’s okay. Each of us has our own experiences, hopes, dreams, and world views. This book can expand those awarenesses.
I believe that there is something for everyone is this montage that will spark some recognition and connection. Perhaps it will be something as common as the references to hair – the barbershops and hair salons, hairstyles – braids, curls, and twists with beads and combs. Or maybe it will be social and civil rights concerns raised by the likes of Colin Kaepernick, or the former Black Panther leader Rodney Barnette, or even the reminder of the Obama Presidency, which is called to mind by the portraits of Barack and Michelle Obama, which can be found in this book as well. Trans rights, women’s rights, how to prepare your home and your family for after a riot – it’s all in this book.
I must say that I found the e-book format difficult for this material. I’d have preferred a print copy with large pages. I could not enlarge the tweets enough to see them without distortion. I found the online references to be incomplete in many cases. For anyone who wishes to do further investigating, however, there are ample sources listed.
Some of my favorite pieces include “A Call to Action” by Latoya Ruby Frazier about the Flint, Michigan, water crisis, "What I Know About the Ocena" by Ayana Elizabeth Johnson, writings about trans and disabled visibility, and the example of the 96-year-old Afro-Indigenous woman who was so thrilled to attend an event where she met others who look just like her! That gave me goosebumps! And of course, there are so many beautiful photographs and works of art!
Sadie Barnette, daughter of Rodney Barnette, discusses what it means to say, “Black Futures.” She speaks not merely in terms of what needs to be fought against and changed – homelessness, etc. She also talks about protecting “blackness.” Protecting “our brilliance.”
Never once did I read the words, “Black lives matter,” yet the essence of those words permeates these pages and beyond. Beyond politics – living, loving, breathing, being, becoming.
My thanks to NetGalley, One World, and the author.
4 stars
I have no idea how to rate this book. It’s not a novel. It is a collection of art, essays, poetry, even tweets and recipes by numerous contributors. It is a collage of Black history, politics, music, sexuality, spirituality, music, and family. Women and men, gay, straight, bisexual, transgender, biracial, Afro-Indigenous, disabled – all expressing in various art forms what it means to be Black.
It is fun, heartbreaking, serious, celebratory, lighthearted, and everything in between. Did every piece speak to me, a 66-year-old white woman who was raised in the predominantly lily-white Upper Midwest? Of course not. It may not speak all to every person of color either. And I expect that’s okay. Each of us has our own experiences, hopes, dreams, and world views. This book can expand those awarenesses.
I believe that there is something for everyone is this montage that will spark some recognition and connection. Perhaps it will be something as common as the references to hair – the barbershops and hair salons, hairstyles – braids, curls, and twists with beads and combs. Or maybe it will be social and civil rights concerns raised by the likes of Colin Kaepernick, or the former Black Panther leader Rodney Barnette, or even the reminder of the Obama Presidency, which is called to mind by the portraits of Barack and Michelle Obama, which can be found in this book as well. Trans rights, women’s rights, how to prepare your home and your family for after a riot – it’s all in this book.
I must say that I found the e-book format difficult for this material. I’d have preferred a print copy with large pages. I could not enlarge the tweets enough to see them without distortion. I found the online references to be incomplete in many cases. For anyone who wishes to do further investigating, however, there are ample sources listed.
Some of my favorite pieces include “A Call to Action” by Latoya Ruby Frazier about the Flint, Michigan, water crisis, "What I Know About the Ocena" by Ayana Elizabeth Johnson, writings about trans and disabled visibility, and the example of the 96-year-old Afro-Indigenous woman who was so thrilled to attend an event where she met others who look just like her! That gave me goosebumps! And of course, there are so many beautiful photographs and works of art!
Sadie Barnette, daughter of Rodney Barnette, discusses what it means to say, “Black Futures.” She speaks not merely in terms of what needs to be fought against and changed – homelessness, etc. She also talks about protecting “blackness.” Protecting “our brilliance.”
Never once did I read the words, “Black lives matter,” yet the essence of those words permeates these pages and beyond. Beyond politics – living, loving, breathing, being, becoming.
My thanks to NetGalley, One World, and the author.
4 stars
December 4, 2020
Thanks to NetGalley and Random House Publishing Group- Random House for an egalley in exchange for an honest review.
A very informative collection of interviews, artwork and social media, it did take me a while to get used to the writing style and layout of the book because I was reading on my Kindle app.
#BlackFutures #NetGalley
Goodreads Review 04/12/20
Publication Date 01/12/20
A very informative collection of interviews, artwork and social media, it did take me a while to get used to the writing style and layout of the book because I was reading on my Kindle app.
#BlackFutures #NetGalley
Goodreads Review 04/12/20
Publication Date 01/12/20
December 6, 2020
What a beautiful way to preserve Black culture. This book is filled with poems, conversations, interviews, visual art, online ephemera, and essays. The art and photography in this book is gorgeous. Yeah, this is definitely a book to check out. 4.5/5
October 27, 2020
It is a profoundly important time for a book like this, which seeks to complicate the notion of a Black Diaspora in America and also beautify Blackness in America. Maybe that sounds strange, but we all know how attractive and downright appealing Black Pain and Trauma are; here there is the distinct absence of that pain or at least the decentering of that pain in favor of the value of Black art, creativity, wit, perseverance, joy, rest and pleasure. The essays are wide-ranging and thought-provoking, they touch everything from house parties to video games to Black-Native American identity to a beautiful manifesto on the importance of BlackPlanet (!) to a masterful look at the portraits of First Lady Michelle Obama and President Barack Obama. I found it hard to actually see the artwork in the digital galley that poured over, but I can tell that it will be a stunning work worth possessing when I can read it in physical form. I also love the attention to detail -- apparently a font was created just for the book, Black futura. Perfect.
February 16, 2021
A visually stunning archive of Black past, present, and future experience. The hybrid of prose alongside art alongside academic discourse alongside tweets and zines is expansive, but somehow not overwhelming to take in. It's not the type of antho that's comprehensive, but it's inclusive and feels more like a time capsule/assessment/thought catalog of the moment we're in. The sections it's organized into are immersive, and each entry is brief, allowing and inspiring the reader to do further research on their own into topics they want more from. This is a well-curated artifact of brilliant and creative Black minds that insists on existence and demands visibility. I'm grateful a publisher took this project on and allowed it to take up this 500+-page, full color space.
January 1, 2021
This is a long review, and please pardon any lack of cohesiveness. I wrote down whatever responsive thoughts I had, while immersed in this highly affecting tome.
I approached this book with a kind of open reverence. I let the words and images settle on my consciousness for maximum absorption. As a white woman reading and interacting with the book, I was struck by the realization that our lives are still so segregated, even in this supposedly enlightened and awakened 21st century. Morgan Parker, in particular, delivers a devastating indictment of white empathy. And yes, my family made a conscious effort to see the Alvin Ailey dance troupe and support black artists, but what have I done to speak out against institutional racism? What have I done to help dismantle over 400 years of solidified structures which only serve to be self-perpetuating?
Growth (positive change) is dynamic, not static, and it requires movement. Nothing happens without action. The message is loud and clear: Do better. It's not just a social media cliché.
I was also struck by Lazard Johnson's assertion that we have separate disability activists, largely because social justice organizations don't give disability enough room under their umbrella, and they rarely take the initiative to include disability activists in leadership roles.
The contributors of this book cover many topics which can be interpreted and considered in multiple ways, such as: data mining (especially what we leave out, so we won't have to confront it), intimacy, expression, even the use of memes as effective tools against hate. (Memes can also be used as the dissemination of negative tropes, so it's a double edged instrument to beware.) There's so much to glean from so many sources: the idea that the culture you carry around in your head cannot be stolen from you, that cities only work for everyone when everyone is given space to participate and no group is marginalized. There is no improvement without agency. This is a theme reflected throughout the entire collection.
There is a incisive discussion about artistic expression. Art which depicts racial stereotypes or racial violence, without context, examination or interpretation, is just trauma porn. It becomes a kind of paradox: empty, meaningless, yet also an act of re-victimization.
One huge challenge is how to de-colonize our culture. This must be an active process (and perhaps a painful one) and the force of change cannot be simply imposed. To succeed, it must arise both from within and without.
A few images were so powerful that I spent a long time staring at them, imprinting them upon my memory. One of them you will see very early on and will immediately recognize. Another is further on near the end of the book, but it was just as jolting. Not to give too much away, but the gist is that auto-correct software (just like the standardized test) incorporates bias. Imagine that every time you typed your name, the software told you that you were wrong. The very identifier of who you are is determined by some standard (beyond your ability to amend) to be *incorrect*. How would this make you feel? This is just one of a myriad of microaggressions against the core being of too many souls.
If you read and engage with the work of these immensely talented, thoughtful artists and writers, consider the idea of capturing your impressions and reactions in real time. It's a meaningful exercise. Also, please read the short introduction. It's important and will be a helpful guide.
I approached this book with a kind of open reverence. I let the words and images settle on my consciousness for maximum absorption. As a white woman reading and interacting with the book, I was struck by the realization that our lives are still so segregated, even in this supposedly enlightened and awakened 21st century. Morgan Parker, in particular, delivers a devastating indictment of white empathy. And yes, my family made a conscious effort to see the Alvin Ailey dance troupe and support black artists, but what have I done to speak out against institutional racism? What have I done to help dismantle over 400 years of solidified structures which only serve to be self-perpetuating?
Growth (positive change) is dynamic, not static, and it requires movement. Nothing happens without action. The message is loud and clear: Do better. It's not just a social media cliché.
I was also struck by Lazard Johnson's assertion that we have separate disability activists, largely because social justice organizations don't give disability enough room under their umbrella, and they rarely take the initiative to include disability activists in leadership roles.
The contributors of this book cover many topics which can be interpreted and considered in multiple ways, such as: data mining (especially what we leave out, so we won't have to confront it), intimacy, expression, even the use of memes as effective tools against hate. (Memes can also be used as the dissemination of negative tropes, so it's a double edged instrument to beware.) There's so much to glean from so many sources: the idea that the culture you carry around in your head cannot be stolen from you, that cities only work for everyone when everyone is given space to participate and no group is marginalized. There is no improvement without agency. This is a theme reflected throughout the entire collection.
There is a incisive discussion about artistic expression. Art which depicts racial stereotypes or racial violence, without context, examination or interpretation, is just trauma porn. It becomes a kind of paradox: empty, meaningless, yet also an act of re-victimization.
One huge challenge is how to de-colonize our culture. This must be an active process (and perhaps a painful one) and the force of change cannot be simply imposed. To succeed, it must arise both from within and without.
A few images were so powerful that I spent a long time staring at them, imprinting them upon my memory. One of them you will see very early on and will immediately recognize. Another is further on near the end of the book, but it was just as jolting. Not to give too much away, but the gist is that auto-correct software (just like the standardized test) incorporates bias. Imagine that every time you typed your name, the software told you that you were wrong. The very identifier of who you are is determined by some standard (beyond your ability to amend) to be *incorrect*. How would this make you feel? This is just one of a myriad of microaggressions against the core being of too many souls.
If you read and engage with the work of these immensely talented, thoughtful artists and writers, consider the idea of capturing your impressions and reactions in real time. It's a meaningful exercise. Also, please read the short introduction. It's important and will be a helpful guide.
February 17, 2021
Wow, Black Futures, was a daunting read to me. This book has intimidated me to such an extent that I barely spoke about it while I was reading it. I just knew that I had to patiently keep an open mind and wait until I finish it in order to (i) digest it, and (ii) formulate an opinion about it; and, while I am writing this review, I am doing both of that.
So here am I: It is such a shame, although it must not have been, but this book is the first one to remind me that I come from a very small Island - Mauritius, whose geographical location within the Indian Ocean is so aloof that probably anything that occurs here stays insignificant on the worldly scale.
I could not help but question myself: Did I abstain from the cultural evolution of Blacks in Western Culture over the ages; or is it the media to be blamed for the lack of emphasis on the the Blacks' Cultural Zeitgeist since the late 1960s ? While I firmly believe that the latter had a large contribution to the mass-ignorance, I would like to take some personal responsibility as well.
Most probably, it was my cognitive myopia. I did not research enough, or maybe I just limited my heart's content with post-Renaissance or post-Impressionism Art that were conveniently supplied to us at school (within the framework / the system). Now I most grateful to have picked this book because Black Futures is an explosion of Black Art & Creativity (poems, articles, photography, songs - you name it), leaving this book as a treasure.
It recently occurred to me that a major chunk of our academic content roots from the White. Surprisingly, I am now questioning the extent to which we have been decolonized. Have we, really ? While evaluating my country's status quo, I can only observe that we have been decolonized only on an operational level. I am vehement that we have a long way to cross until we reach cultural liberation, freedom of expression, and embrace diversity.
Black Futures is a breakthrough. I am super satisfied to have come across the works of so many talented artists who are off the mainstream charts, or simply just hidden to another side of the globe. I would never have understood the rationale behind the Black Lives Matter movement for instance, had I not read this book. I understand the urge behind their voices and can only agree in shock.
This book gives me hope for the real diversity, cultural enrichment and freedom that we have all been talking about for a while now.
So here am I: It is such a shame, although it must not have been, but this book is the first one to remind me that I come from a very small Island - Mauritius, whose geographical location within the Indian Ocean is so aloof that probably anything that occurs here stays insignificant on the worldly scale.
I could not help but question myself: Did I abstain from the cultural evolution of Blacks in Western Culture over the ages; or is it the media to be blamed for the lack of emphasis on the the Blacks' Cultural Zeitgeist since the late 1960s ? While I firmly believe that the latter had a large contribution to the mass-ignorance, I would like to take some personal responsibility as well.
Most probably, it was my cognitive myopia. I did not research enough, or maybe I just limited my heart's content with post-Renaissance or post-Impressionism Art that were conveniently supplied to us at school (within the framework / the system). Now I most grateful to have picked this book because Black Futures is an explosion of Black Art & Creativity (poems, articles, photography, songs - you name it), leaving this book as a treasure.
It recently occurred to me that a major chunk of our academic content roots from the White. Surprisingly, I am now questioning the extent to which we have been decolonized. Have we, really ? While evaluating my country's status quo, I can only observe that we have been decolonized only on an operational level. I am vehement that we have a long way to cross until we reach cultural liberation, freedom of expression, and embrace diversity.
Black Futures is a breakthrough. I am super satisfied to have come across the works of so many talented artists who are off the mainstream charts, or simply just hidden to another side of the globe. I would never have understood the rationale behind the Black Lives Matter movement for instance, had I not read this book. I understand the urge behind their voices and can only agree in shock.
This book gives me hope for the real diversity, cultural enrichment and freedom that we have all been talking about for a while now.
March 8, 2021
This felt like what it might be like to visit a decolonized museum. Lots to return to - can’t really be “finished” with this excellent anthology
February 12, 2021
This has to be one of the most unique books I’ve ever read.
This is a book featuring the voices and art of diverse Black people, filled with mixed media art, photography, poems, music, essays, and transcribed conversations— all connected to the Black experience.
As a white woman, I really have no place critiquing this book— it’s very much a book written and curated by Black folk for Black folk.
However, I did find it a very intriguing and eye-opening look into Black culture. I feel like I’ve gained a much deeper understanding.
I enjoyed my time reading it.
4 stars.
**ARC provided by Random House Publishing Group via NetGalley in exchange for an honest review.
This is a book featuring the voices and art of diverse Black people, filled with mixed media art, photography, poems, music, essays, and transcribed conversations— all connected to the Black experience.
As a white woman, I really have no place critiquing this book— it’s very much a book written and curated by Black folk for Black folk.
However, I did find it a very intriguing and eye-opening look into Black culture. I feel like I’ve gained a much deeper understanding.
I enjoyed my time reading it.
4 stars.
**ARC provided by Random House Publishing Group via NetGalley in exchange for an honest review.
October 21, 2021
An important and really thoughtfully curated collection. The physical book is lovely. As mentioned many times by other reviewers, it's worth spending time with, ready to make note or look up the pieces that resonate with you the most. It's like walking through a gallery installation: informative, inspiring, hopeful, reflective, infuriating.
March 8, 2021
This book is best enjoyed "alongside a device so you can search out names and terms that intrigue you," as recommended by the introduction. I fell into many Google searches that led "into a deep warren of rabbit holes and discoveries." This book is an indispensable non-linear archive of a selection of a Black creators, commentators, researchers, etc. today. The editors Kimberly Drew and Jenna Wortham included over 400 contributors from across the Black and African diaspora, including the USA, Barbados, Zimbabwe, Haiti, Nigeria, UK, Ethiopia and Eritrea, etc. The book is divided into sections with the headings Black Lives Matter, Black Futures, Power, Joy, Justice, Ownership, Memory, Outlook, Black is (Still) Beautiful, Legacy, but the works defy categorization, temporal or geographical organization.
This experience reminded me of being at documenta or another art fair, where as you read the labels and begin to comprehend the art, you get knocked on your ass by the enormity of the project. So many of the entries knocked me on my ass I couldn't list them all, but here's my attempt anyway: "Pluralism" by Deborah Roberts (go ahead and Google this artwork now), "June Jordan's Vision of a Black Future" (a 1965 blueprint for fifteen towers in Harlem) described by Doreen St. Félix, the conversation between Cyrée Jarelle Johnson and Carolyn Lazard on Disability and Futurity, the poem "regular black" by Danez Smith, the URGENT environmental message of "What I Know About the Ocean" by Ayana Elizabeth Johnson, the legacy of violence from COINTELPRO and ongoing violence of mass surveillance revealed in Sadie Barnette's artwork using the declassified files from the years-long FBI surveillance of her father Rodney Barnette...
Since I haven't been able to go to a museum in over a year due to the coronavirus pandemic, reading this book was probably the largest cultural experience I have had in 2021. I am really grateful for the publication date of Black Futures and my public library for making this possible. I am going to leave two last takeaways from this book.
1) From a conversation between Rawiya Kameir and Thebe Kgositsile (Earl Sweatshirt):
2) From "On the Illusion of Safe Space," by FAKA (Fela Gucci and Desire Marea):
This experience reminded me of being at documenta or another art fair, where as you read the labels and begin to comprehend the art, you get knocked on your ass by the enormity of the project. So many of the entries knocked me on my ass I couldn't list them all, but here's my attempt anyway: "Pluralism" by Deborah Roberts (go ahead and Google this artwork now), "June Jordan's Vision of a Black Future" (a 1965 blueprint for fifteen towers in Harlem) described by Doreen St. Félix, the conversation between Cyrée Jarelle Johnson and Carolyn Lazard on Disability and Futurity, the poem "regular black" by Danez Smith, the URGENT environmental message of "What I Know About the Ocean" by Ayana Elizabeth Johnson, the legacy of violence from COINTELPRO and ongoing violence of mass surveillance revealed in Sadie Barnette's artwork using the declassified files from the years-long FBI surveillance of her father Rodney Barnette...
Since I haven't been able to go to a museum in over a year due to the coronavirus pandemic, reading this book was probably the largest cultural experience I have had in 2021. I am really grateful for the publication date of Black Futures and my public library for making this possible. I am going to leave two last takeaways from this book.
1) From a conversation between Rawiya Kameir and Thebe Kgositsile (Earl Sweatshirt):
Kameir: How did the internet make you better?
Kgositsile: Get to see Black women's opinions. That's really, like, first and foremost. If you ever wanna, there it is. Just improve yourself with, just cut yourself on Black women's opinions, if you got the heart.
2) From "On the Illusion of Safe Space," by FAKA (Fela Gucci and Desire Marea):
It is time to demand more from the world. We need to demand the world itself.
December 1, 2020
"Black Futures' is definitely one of the most unique and powerful books I have ever read/viewed. This book is a collection of narratives and photographs that seek to answer the question, "What does it mean to be Black and alive right now?". It is a collection of Black voices celebrating their Blackness and of Black culture refusing to be cancelled. The contributors to this book are unapologetically proud of their Black bodies, history, music, art, and dance. This book includes perspectives from all walks of life, showing that being Black is not a "monolithic experience" but instead that each person has an individual perspective on what it means to be Black in the United States today. It provides links to an abundance of other works to further enrich the reader's experience-some are familiar names such as Ta-Nehisi Coates and Solange Knowles and others are less so.
"Black Futures" is not an easy read, but it certainly is an important one and I found it to be quite eye-opening and enjoyable. The world needs more books like this one. Many thanks to NetGalley, the publisher, and to the many authors of this book for the absolute privilege of reading an advanced digital copy of this book in exchange for my honest review.
"Black Futures" is not an easy read, but it certainly is an important one and I found it to be quite eye-opening and enjoyable. The world needs more books like this one. Many thanks to NetGalley, the publisher, and to the many authors of this book for the absolute privilege of reading an advanced digital copy of this book in exchange for my honest review.
April 25, 2021
There was so much interesting stuff in here, a lot of which I hadn't encountered before. It's well laid-out and tries to be inclusive beyond its medium. I think it largely succeeds. There are times I would have liked more art (especially images of the art that was being discussed) or more context. But the authors encourage you to read with a device, and there are definitely times I did some Googling when I wanted to know more. Mine's a library copy, so I read it through, but it would be a good book to dip in and out of over a matter of months, to think about and connect with over time.
January 6, 2021
First and foremost: I’m not an Own Voices reviewer for this book, nor was this book written for me. But it’s been widely acclaimed by people it was written for, and since its publication, it’s become a New York Times Editors’ Choice and Roxane Gay’s first-ever book club book (among a lot of other praise!).
Still, I’m really, really glad I read it. Black Futures is not the kind of book you sit down and read cover to cover; it’s more like a gorgeous, moving, inspirational (and at times heavy) coffee table book, although calling it that feels like a disservice. It’s so much more than a coffee table book. It’s a celebration, an amplification, a deep-dive, a time capsule of a culture. A gift to everyone who reads it, but especially to the Black community. I was blown away by the breadth and detail and research and love that went into creating it. This book is a triumph.
This isn’t the point AT ALL, but as a sort of bonus benefit, I also think that it’s a really powerful tool for white allies like me to glimpse and learn more about what it’s like to be Black in America, without asking Black people to do the labor of educating us. I plan to buy a copy and read it in even closer detail, piece by piece, over time, multiple times.
Thank you to One World for the digital review copy via NetGalley.
Still, I’m really, really glad I read it. Black Futures is not the kind of book you sit down and read cover to cover; it’s more like a gorgeous, moving, inspirational (and at times heavy) coffee table book, although calling it that feels like a disservice. It’s so much more than a coffee table book. It’s a celebration, an amplification, a deep-dive, a time capsule of a culture. A gift to everyone who reads it, but especially to the Black community. I was blown away by the breadth and detail and research and love that went into creating it. This book is a triumph.
This isn’t the point AT ALL, but as a sort of bonus benefit, I also think that it’s a really powerful tool for white allies like me to glimpse and learn more about what it’s like to be Black in America, without asking Black people to do the labor of educating us. I plan to buy a copy and read it in even closer detail, piece by piece, over time, multiple times.
Thank you to One World for the digital review copy via NetGalley.
May 17, 2021
This is really good.
Read
February 6, 2024technically i did not read all of this. but it was so interesting! and there were some really really good pieces. there were others that i was also not rlly into, but i think more so in the regard of personal taste. overall super into it and its concept.
will continue to peruse in the future!
will continue to peruse in the future!
February 18, 2021
Wow. This book is a deep and beautiful collection. Make sure you leave yourself lots of time to travel through it.
Want to read
July 9, 2020Note: I accessed a digital review copy of this book through Edelweiss.
January 30, 2021
A couple of books ago, Heavy: An American Memoir by Kiese Laymon, I highlighted a passage that said: "Mostly, I wondered what black writers weren’t writing when we spent so much creative energy begging white folk to change." This book is the answer to that question.
July 16, 2020
A superbly curated volume of art, essays, conversations, and primary source documents that now include things like social media posts and hashtags. This important work is more about the Black Now and welcomes the observer along with them to consider Black Futures. Be sure to have a device ready to look up artworks, figures, movements and organizations highlighted within.
March 22, 2021
Thank you to NetGalley, One World, and Random House for the eARC of Black Futures edited by Kimberly Drew and Jenna Wortham. I have been following both for a while on social media and I have a ton of respect for them and other Black creators for documenting our movement in culture in such a respectful and intersectional way. I love my people and if that statement makes my review biased then so be it.
I think that a lot of Black content is part of the #BlackLivesMatter genre with a constant police brutality theme and begging white people to understand that we are human beings. I appreciate that this book isn’t solely about that. Of course, being Black is equal parts celebrating revolutionary joy and love, but it’s also about confronting pain so that we can continue the fight that our ancestors started. There is no corner of the world that is a safe space for Diasporic Black people, especially those of us who are Black in America (this includes Afro Latinos, Black Caribbeans, and African Americans from immigrant African families) but we have such an enduring spirit that is revolutionary in its own way.
Immediately I knew what I’d be getting with this collection of essays, art, and photography because as I said, I have been following the editors for a long time. I know that they show out for us and I feel represented and empowered. Going back to some of the more painful topics as we investigate the #BlackLivesMatter movement and the memory of our murdered and brutalized, it stirred up deep emotions inside of me. This book is divided into several sections that work as their own theme such as: Black Lives Matter, Black Futures, Power, Joy, Justice, Ownership, Memory, Outlook, Black is (STILL) Beautiful, and Legacy. Each section has collected essays, photos, art, and conversations about those topics.
As a Black woman who is a big genre reader, I usually avoid non-fiction topics about Black people because I feel like not many people get the Black experience right. This collection is massive and touches on a wide range of Black experiences. We are a diverse people and that’s just looking at the United States alone, it doesn’t begin to explain the Black experience across the Diaspora and not Indigenous African people. Nevertheless, I think that this is a good starting point for those interested in Black American culture, history, and our future. Perhaps the most revolutionary sentence in this book for me is that “Black people exist in the future.” Afro-futurism not only puts Black people in that aesthetic but it’s also a way of saying that not only are Black people going to still be around, but we are going to be leaders in the future whether people like it or not.
I think that while it is important to look at our past and celebrate Black history, we also need to be steadfast with carving out our future and be loud about the fact that we expect liberation. This book is called Black Futures and I have never been more excited about what this future holds.
I think that a lot of Black content is part of the #BlackLivesMatter genre with a constant police brutality theme and begging white people to understand that we are human beings. I appreciate that this book isn’t solely about that. Of course, being Black is equal parts celebrating revolutionary joy and love, but it’s also about confronting pain so that we can continue the fight that our ancestors started. There is no corner of the world that is a safe space for Diasporic Black people, especially those of us who are Black in America (this includes Afro Latinos, Black Caribbeans, and African Americans from immigrant African families) but we have such an enduring spirit that is revolutionary in its own way.
Immediately I knew what I’d be getting with this collection of essays, art, and photography because as I said, I have been following the editors for a long time. I know that they show out for us and I feel represented and empowered. Going back to some of the more painful topics as we investigate the #BlackLivesMatter movement and the memory of our murdered and brutalized, it stirred up deep emotions inside of me. This book is divided into several sections that work as their own theme such as: Black Lives Matter, Black Futures, Power, Joy, Justice, Ownership, Memory, Outlook, Black is (STILL) Beautiful, and Legacy. Each section has collected essays, photos, art, and conversations about those topics.
As a Black woman who is a big genre reader, I usually avoid non-fiction topics about Black people because I feel like not many people get the Black experience right. This collection is massive and touches on a wide range of Black experiences. We are a diverse people and that’s just looking at the United States alone, it doesn’t begin to explain the Black experience across the Diaspora and not Indigenous African people. Nevertheless, I think that this is a good starting point for those interested in Black American culture, history, and our future. Perhaps the most revolutionary sentence in this book for me is that “Black people exist in the future.” Afro-futurism not only puts Black people in that aesthetic but it’s also a way of saying that not only are Black people going to still be around, but we are going to be leaders in the future whether people like it or not.
I think that while it is important to look at our past and celebrate Black history, we also need to be steadfast with carving out our future and be loud about the fact that we expect liberation. This book is called Black Futures and I have never been more excited about what this future holds.
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