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"Jennifer C. Nash's How We Write Now offers a conceptual framework for thinking about contemporary Black feminist writing's commitment to sitting with and at the scene of loss through beautiful writing. Nash argues that Black feminism is characterized by this beautiful voice-an intimate invitation to its reader, a poetic language, an investment in the aliveness of words. Further, this voice allows Black feminists to treat loss as an aesthetic question, how to sit intimately with the regularity and massiveness of the loss that is paradigmatic of Black life. In identifying this voice now, Nash also points to a proliferation in Black feminist texts of writing about mothers and motherhood, as well as the loss that binds them together. Written out of living with the loss of Nash's own mother to progressive Alzheimer's, How We Write Now performs the forms of Black feminist writing it describes and canonizes, allowing its reader to live alongside slow loss with urgency and intimacy"--

AbstractThis article develops the idea of slow loss as a relationship to time, space, and feeling that Black feminist theory has described in distinctive ways, helping readers to consider both Black female subjectivity and the stakes of Black feminist theory anew. This article travels with the central and undertheorized place of slow loss in the Black feminist theoretical archive at least in part because of a desire to emphasize Black feminist theory's long-standing investment in understanding and describing the subject position of Black woman.

Dominance feminism and afropessimist theory, despite their critical appearances three decades apart, are undergirded by similar rhetorical strategies, political commitments and argumentative moves. This is the case even as afropessimism's citational trajectory rarely invokes dominance feminism, and often positions itself as a critique of feminism's imagined conception of gender as white, one that is thought to be most emphatically announced in the work of scholars like MacKinnon who invest in a gender binary, and in women's oppressed location in this binary. In this article, I insist on reading dominance feminism and afropessimism together. In so doing, I aspire to challenge afropessimism's prevailing conception of gender, revealing that while it is often critical of feminist conceptions of gender – particularly conceptualisations of gender that are thought to insist on the shared experiences and positions of women – it actually relies on similar argumentative moves, and even rhetorical seductions, as dominance feminism.