Not Your Mother’s Mammy examines how black artists, mostly women of the diaspora, many of them former domestics, reconstruct the black female subjectivities of domestics in black media. In doing so, they undermine and defamiliarize the reductive, one-dimensional images of black domestics as perpetual victims lacking voice and agency. In line with international movements like #MeToo and #timesup, the women in these stories demand to be heard.
Not Your Mother’s Mammy examines how black artists, mostly women of the diaspora, many of them former domestics, reconstruct the black female subjectivities of domestics in black media. In doing so, they undermine and defamiliarize the reductive, one-dimensional images of black domestics as perpetual victims lacking voice and agency. In line with international movements like #MeToo and #timesup, the women in these stories demand to be heard.
TRACEY L. WALTERS is an associate professor of literature in the Department of Africana Studies at Stony Brook University in New York, where she also holds an affiliate appointment with the Department of English and the Department of Women’s and Gender Studies.
Inhaltsangabe
List of Illustrations Introduction 1. Overview: The History of Black Women’s Domestic Labor from the Twentieth Century to the Present Part 1: Quiet Subversion: The Radical Acts of Working-Class Women in the Domestic Sphere 2. Let’s Hear It from the Maid: Alice Childress’s Like One of the Family 3. Dirty Work: The Representation of Undocumented Caribbean Domestic Laborers in Nandi Keyi’s The True Nanny Diaries and Victoria Brown’s Minding Ben 4. Forbidden Kinship: Homoerotic Desire between the Maid and Mistress in Zanele Muholi’s “Massa” and Mina(h) Part 2: We Wear the Mask: Servitude, an Art of Performance and Deception 5. A Sartorial Expression of Frenchness in Ousmane Sembène’s Black Girl: A Francophone Revision of Jean Genet’s The Maids 6. Maid in Hollywood: The Art of Performance in Theresa Harris’s By the Way, Meet Vera Stark 7. The Art of Dressing Up in Mary Sibande’s Long Live the Dead Queen Part 3: Representing for Laure: African American / Caribbean Women’s Reimaginings of Édouard Manet’s Olympia 8. From the Margin to the Center: The Maid in Édouard Manet’s Olympia and the Politics of Recognition in the Artwork of Mickalene Thomas and Renee Cox 9. Kara Walker’s “Marvelous Sugar Baby ‘Sphinx’”: A Satirical Rendition of the Mammy Conclusion Acknowledgments Notes Works Cited Index
List of Illustrations Introduction 1. Overview: The History of Black Women’s Domestic Labor from the Twentieth Century to the Present Part 1: Quiet Subversion: The Radical Acts of Working-Class Women in the Domestic Sphere 2. Let’s Hear It from the Maid: Alice Childress’s Like One of the Family 3. Dirty Work: The Representation of Undocumented Caribbean Domestic Laborers in Nandi Keyi’s The True Nanny Diaries and Victoria Brown’s Minding Ben 4. Forbidden Kinship: Homoerotic Desire between the Maid and Mistress in Zanele Muholi’s “Massa” and Mina(h) Part 2: We Wear the Mask: Servitude, an Art of Performance and Deception 5. A Sartorial Expression of Frenchness in Ousmane Sembène’s Black Girl: A Francophone Revision of Jean Genet’s The Maids 6. Maid in Hollywood: The Art of Performance in Theresa Harris’s By the Way, Meet Vera Stark 7. The Art of Dressing Up in Mary Sibande’s Long Live the Dead Queen Part 3: Representing for Laure: African American / Caribbean Women’s Reimaginings of Édouard Manet’s Olympia 8. From the Margin to the Center: The Maid in Édouard Manet’s Olympia and the Politics of Recognition in the Artwork of Mickalene Thomas and Renee Cox 9. Kara Walker’s “Marvelous Sugar Baby ‘Sphinx’”: A Satirical Rendition of the Mammy Conclusion Acknowledgments Notes Works Cited Index
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