Through Their Eyes

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No potential conflict of interest was reported by the author.

Notes

1 Reproduced by permission. Walidah Imarisha, “Introduction,” in Octavia's Brood: Science Fiction Stories from Social Justice Movements, ed. adrienne maree brown and Walidah Imarisha (Edinburgh: AK Press, 2015), 5.

2 Ibid., 4.

3 Ibid., 280.

4 Saidiya Hartman, “Venus in Two Acts,” Small Axe: A Journal of Criticism 12, no. 2 (2008): 1–14, 2.

5 Imarisha et al., Octavia’s Brood, 3.

6 Saidiya Hartman, Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth Century America (New York: Oxford University Press, 1997).

7 Hartman, “Venus in Two Acts,” 2.

8 Saidiya Hartman, Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth Century America (New York: Oxford University Press, 1997).

9 Robin Blaetz, Women’s Experimental Cinema: Critical Frameworks (Durham, NC: Duke University Press, 2007).

10 Riley Snorton, Black on Both Sides: A Racial History of Trans Identity (Minneapolis: University of Minnesota Press, 2017), 74.

11 Kaila Adia Story, “Fear of a Black Femme: The Existential Conundrum of Embodying a Black Femme Identity While Being a Professor of Black, Queer, and Feminist Studies,” Journal of Lesbian Studies 21, no. 4 (2016): 407–19.

12 Reproduced by permission from Kara Keeling, The Witch’s Flight: The Cinematic, The Black Femme, and the Image of Common Sense (Durham, NC: Duke University Press, 2008), 1.

13 Ibid., 144.

14 Alexis Pauline Gumbs, preface, in Undrowned: Black Feminist Lessons from Marine Mammals (Stirling: AK Press, 2020), 6.

15 Ibid., 10.

16 Ibid., 6.

17 Ibid.

18 Ibid.

19 Menon 2022, Getting Curious with Jonathan VanNess, Episode 3. Directed by Jennifer Lane (Los Angeles, CA: World of Wonder Productions Inc., 2022).

20 Reproduced with permission from Alexis Pauline Gumbs, “Evidence,” in Imarisha et al., Octavia's Brood, 33.

21 Ibid.

22 Ibid, 33.

23 Ibid.

24 Ibid.

25 Ibid., 34.

26 Ibid., 38.

27 Hartman, “Venus in Two Acts”, 10.

28 Ibid., 12.

29 Alexis Pauline Gumbs, “Evidence,” in Imarisha et al., Octavia's Brood, 39.

30 Ibid., 39, 40.

31 Ibid., 40.

32 Ibid., 41.

33 Ibid.

34 Akwaeke Emezi, PET (New York: Penguin Random House, 2019), 2.

35 Emezi, “Remembering was important,” 3.

36 Ibid., 125.

37 Ibid., 128.

38 Ibid., 129.

39 Ibid., 130.

40 Ibid.

41 Ibid., 131.

42 Ibid., 132.

43 Ibid., 140.

44 Ibid., 140–41.

45 Alison Flood, “Akwaeke Emezi Shuns Women’s Prize over Request for Details of Sex as Defined ‘by Law,’” The Guardian, October 5, 2020, www.theguardian.com/books/2020/oct/05/akwaeke-emezi-shuns-womens-prize-request-for-details-of-sex-as-defined-by-law.

46 Anastasia Tsioulcas, “Chimamanda Ngozi Adichie Directs Fiery Essay at Former Student—and Cancel Culture,” NPR, June 17, 2021, www.npr.org/2021/06/17/1007350665/chimamanda-ngozi-adichie-directs-fiery-essay-at-former-student-and-cancel-cultur.

47 Tomi Onyebuchi, National Book Festival 2022, “Come Into My World: Vivid Places and People in Fiction with Tochi Onyebuchi and Leslye Penelope” 2022.

48 Imarisha et al., Octavia's Brood, 4.

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Chamara Moore

Chamara Moore is an Assistant Professor in the English Department at Queens College CUNY. They hold a doctorate of English from the University of Notre Dame. Their multidisciplinary work reads various constructions of Blackness, womanhood, and other ways of being through the Speculative in all its forms, primarily by way of a Black feminist cultural lens. Their work appears or is forthcoming in Meridians, Post45 Contemporaries, Studies in the Fantastic, ImageText, Transition Magazine, and more.