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The introduction traces the trajectory of gendered hyperembodiment through the cultural productions of the black Atlantic that are heavily dependent upon black women’s representational stasis. Using examples from Toni Morrison’s Beloved, Audre Lorde’s poem “Afterimages,” and John Edgar Wideman’s The Cattle Killing, it parses out the repetitions of the ocular that reinforce a “failure of seeing” dominating contemporary artistic productions.

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References

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