Joshua Chambers-Letson

What if, instead of overcoming grief, we learned to live with it? Unfinished Grief invites readers to linger within loss and to understand mourning not as an endpoint, but as a mode of relation, continuance, and care. In this lyrical follow-up to his acclaimed After the Party, Joshua Chambers-Letson turns toward the art and theory of grief as a way of imagining queer survival. Drawing from queer of color critique, performance studies, Asian American studies, and Black studies, Chambers-Letson explores how love and loss are inseparable conditions of queer life. Engaging artists including Yoko Ono, Gertrude Stein, Bimbola Akinbola, Felix Gonzalez-Torres, Joshua Rains, and Kia LaBeija, he considers the lessons art and performance teach about living with what remains unfinished. Set against the backdrop of public and private catastrophe, from war and pandemics to the ravages of racial capitalism, Unfinished Grief insists that mourning and political struggle are entwined practices. Through sensuous, reflective prose and a deeply personal critical voice, Chambers-Letson reveals how grief can be both a sustaining and shattering site of vulnerability, creativity, and communal becoming. Intimate, meditative, and defiantly alive, Unfinished Grief reflects on the queer art of mourning in this guide to the beautiful, difficult work of staying with loss and finding life within it.

What if, instead of overcoming grief, we learned to live with it? Unfinished Grief invites readers to linger within loss and to understand mourning not as an endpoint, but as a mode of relation, continuance, and care. In this lyrical follow-up to his acclaimed After the Party, Joshua Chambers-Letson turns toward the art and theory of grief as a way of imagining queer survival. Drawing from queer of color critique, performance studies, Asian American studies, and Black studies, Chambers-Letson explores how love and loss are inseparable conditions of queer life. Engaging artists including Yoko Ono, Gertrude Stein, Bimbola Akinbola, Felix Gonzalez-Torres, Joshua Rains, and Kia LaBeija, he considers the lessons art and performance teach about living with what remains unfinished. Set against the backdrop of public and private catastrophe, from war and pandemics to the ravages of racial capitalism, Unfinished Grief insists that mourning and political struggle are entwined practices. Through sensuous, reflective prose and a deeply personal critical voice, Chambers-Letson reveals how grief can be both a sustaining and shattering site of vulnerability, creativity, and communal becoming. Intimate, meditative, and defiantly alive, Unfinished Grief reflects on the queer art of mourning in this guide to the beautiful, difficult work of staying with loss and finding life within it.

A 10th anniversary edition of this field defining work—an intellectual inspiration for a generation of LGBTQ scholars Cruising Utopia arrived in 2009 to insist that queerness must be reimagined as a futurity-bound phenomenon, an insistence on the potentiality of another world that would crack open the pragmatic present. Part manifesto, part love-letter to the past and the future, José Esteban Muñoz argued that the here and now were not enough and issued an urgent call for the revivification of the queer political imagination. On the anniversary of its original publication, this edition includes two essays that extend and expand the project of Cruising Utopia, as well as a new foreword by the current editors of Sexual Cultures, the book series he co-founded with Ann Pellegrini 20 years ago. This 10th anniversary edition celebrates the lasting impact that Cruising Utopia has had on the decade of queer of color critique that followed and introduces a new generation of readers to a future not yet here.

A 10th anniversary edition of this field defining work—an intellectual inspiration for a generation of LGBTQ scholars Cruising Utopia arrived in 2009 to insist that queerness must be reimagined as a futurity-bound phenomenon, an insistence on the potentiality of another world that would crack open the pragmatic present. Part manifesto, part love-letter to the past and the future, José Esteban Muñoz argued that the here and now were not enough and issued an urgent call for the revivification of the queer political imagination. On the anniversary of its original publication, this edition includes two essays that extend and expand the project of Cruising Utopia, as well as a new foreword by the current editors of Sexual Cultures, the book series he co-founded with Ann Pellegrini 20 years ago. This 10th anniversary edition celebrates the lasting impact that Cruising Utopia has had on the decade of queer of color critique that followed and introduces a new generation of readers to a future not yet here.

Winner, 2019 ATHE Outstanding Book Award, given by the Association for Theatre in Higher Education Winner, 2018 Errol Hill Award in African American theater, drama, and/or performance studies, presented by the American Society for Theatre Research A new manifesto for performance studies on the art of queer of color worldmaking. After the Party tells the stories of minoritarian artists who mobilize performance to produce freedom and sustain life in the face of subordination, exploitation, and annihilation. Through the exemplary work of Nina Simone, Jorge Ignacio Cortiñas, Danh Vo, Felix Gonzalez-Torres, Eiko, and Tseng Kwong Chi, and with additional appearances by Nao Bustamante, Audre Lorde, Martin Wong, Assata Shakur, and Nona Faustine, After the Party considers performance as it is produced within and against overlapping histories of US colonialism, white supremacy, and heteropatriarchy. Building upon the thought of José Esteban Muñoz alongside prominent scholarship in queer of color critique, black studies, and Marxist aesthetic criticism, Joshua Chambers-Letson maps a portrait of performance's capacity to produce what he calls a communism of incommensurability, a practice of being together in difference. Describing performance as a rehearsal for new ways of living together, After the Party moves between slavery, the Civil Rights Movement, the first wave of the AIDS crisis, the Vietnam War, and the catastrophe-riddled horizon of the early twenty-first century to consider this worldmaking practice as it is born of the tension between freedom and its negation. With urgency and pathos, Chambers-Letson argues that it is through minoritarian performance that we keep our dead alive and with us as we struggle to survive an increasingly precarious present.

Winner, 2019 ATHE Outstanding Book Award, given by the Association for Theatre in Higher Education Winner, 2018 Errol Hill Award in African American theater, drama, and/or performance studies, presented by the American Society for Theatre Research A new manifesto for performance studies on the art of queer of color worldmaking. After the Party tells the stories of minoritarian artists who mobilize performance to produce freedom and sustain life in the face of subordination, exploitation, and annihilation. Through the exemplary work of Nina Simone, Jorge Ignacio Cortiñas, Danh Vo, Felix Gonzalez-Torres, Eiko, and Tseng Kwong Chi, and with additional appearances by Nao Bustamante, Audre Lorde, Martin Wong, Assata Shakur, and Nona Faustine, After the Party considers performance as it is produced within and against overlapping histories of US colonialism, white supremacy, and heteropatriarchy. Building upon the thought of José Esteban Muñoz alongside prominent scholarship in queer of color critique, black studies, and Marxist aesthetic criticism, Joshua Chambers-Letson maps a portrait of performance's capacity to produce what he calls a communism of incommensurability, a practice of being together in difference. Describing performance as a rehearsal for new ways of living together, After the Party moves between slavery, the Civil Rights Movement, the first wave of the AIDS crisis, the Vietnam War, and the catastrophe-riddled horizon of the early twenty-first century to consider this worldmaking practice as it is born of the tension between freedom and its negation. With urgency and pathos, Chambers-Letson argues that it is through minoritarian performance that we keep our dead alive and with us as we struggle to survive an increasingly precarious present.

Winner of the 2014 Outstanding Book Award presented by the Association for Theatre in Higher Education Taking a performance studies approach to understanding Asian American racial subjectivity, Joshua Takano Chambers-Letson argues that the law influences racial formation by compelling Asian Americans to embody and perform recognizable identities in both popular aesthetic forms (such as theater, opera, or rock music) and in the rituals of everyday life. Tracing the production of Asian American selfhood from the era of Asian Exclusion through the Global War on Terror, A Race So Different explores the legal paradox whereby U. S. law apprehends the Asian American body as simultaneously excluded from and included within the national body politic. Bringing together broadly defined forms of performance, from artistic works such as Madame Butterfly to the Supreme Court's oral arguments in the Cambodian American deportation cases of the twenty-first century, this book invites conversation about how Asian American performance uses the stage to document, interrogate, and complicate the processes of racialization in U. S. law. Through his impressive use of a rich legal and cultural archive, Chambers-Letson articulates a robust understanding of the construction of social and racial realities in the contemporary United States.

Winner of the 2014 Outstanding Book Award presented by the Association for Theatre in Higher Education Taking a performance studies approach to understanding Asian American racial subjectivity, Joshua Takano Chambers-Letson argues that the law influences racial formation by compelling Asian Americans to embody and perform recognizable identities in both popular aesthetic forms (such as theater, opera, or rock music) and in the rituals of everyday life. Tracing the production of Asian American selfhood from the era of Asian Exclusion through the Global War on Terror, A Race So Different explores the legal paradox whereby U. S. law apprehends the Asian American body as simultaneously excluded from and included within the national body politic. Bringing together broadly defined forms of performance, from artistic works such as Madame Butterfly to the Supreme Court's oral arguments in the Cambodian American deportation cases of the twenty-first century, this book invites conversation about how Asian American performance uses the stage to document, interrogate, and complicate the processes of racialization in U. S. law. Through his impressive use of a rich legal and cultural archive, Chambers-Letson articulates a robust understanding of the construction of social and racial realities in the contemporary United States.