Books — Xavier Livermon

REVIEWS

“Black Sexual Economies is the first anthology of its kind to mine the deeply rooted vestiges of late capitalism as they relate to black sexuality. Through analyses of slavery, pornography, popular culture, and music, among other topics, each essay in this carefully curated volume enlivens anew our attention to the stakes of theorizing black sexuality—the fact that we can never think about black sexuality without always thinking about the political economic conditions of its making. Indeed, Black Sexual Economies is a welcomed breath of fresh air to the now well-established field of black sexuality studies."

— E. Patrick Johnson, editor of No Tea, No Shade: New Writings in Black Queer Studies

“To represent, to affirm, to understand, and to live black sexualities can be immeasurably difficult. The very foundations of politics, social life—and, as this volume argues, capitalist economies—in the modern world often hinge on pathologizing black people’s sexuality in order to exploit and to destroy black bodies and black lives. Black feminist innovator Adrienne Davis curates here essays that batter down and deftly navigate the thicket of lies that try to render 'black sexuality' unspeakable and unknowable, and point the way forward."

— Darieck Scott, author of Extravagant Abjection: Blackness, Power, and Sexuality in the African American Literary Imagination

“Kwaito Bodies is a much-needed corrective to the history of popular culture in South Africa. With the deft insight of a seasoned ethnographer and through legible prose that suffers nothing by way of sophisticated analytics, Xavier Livermon renders a complicated narrative about how the musical form kwaito holds promise for a whole generation of sexual dissidents in post-apartheid South Africa. This book is a game-changer for African sexuality studies.”

— E. Patrick Johnson, author of, Honeypot: Black Southern Women Who Love Women

“Xavier Livermon celebrates the often maligned affect of South African youth by noticing their creative play and their insistence on finding pleasure in the fraught everyday of post-apartheid urban life. His nuanced recognition of kwaito bodies lends insight into the social disjunctures and political failures of the post-apartheid state as well as into the struggles and creative improvisations of black bodies within Afrodiasporic space. Written with appreciation and curiosity, this book leaves the reader with a sense of possibility and hope and a reminder of why we need to party.”

— Louise Meintjes, author of, Dust of the Zulu: Ngoma Aesthetics after Apartheid