Abstract The fight for Black lives is waged in seconds; that’s the lesson of the young-adult-novel-turned-feature-film The Hate U Give, hailed for its empowering narrative of one Black girl speaking out for justice. Reading critical reception of the film and novel against the official film trailer, I argue that the trailer’s tracking of hands displaces speech (prosopopoeia) with “the cut” (ellipsis) as the dominant trope of a Black political agency that depends on being able to read for, not speak about, the form hate takes. The trailer offers vigilance as an akairic (akaireomai) temporal pedagogy for Black audiences who can no longer see the mountaintop and White audiences who might momentarily experience a life lived in seconds. Unfortunately, the trailer’s disrupted marriage plot renarrates the loss of Black lives as a matter of (one) Black (woman’s) guilt; the tragedy we are meant to mourn is the loss of a love, not the taking of a life.

中文翻译：

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暂时（d）存在：仇恨的形式体现在你给予的仇恨中

摘要 为黑人生命而战是在几秒钟内进行的 这就是由年轻成人小说改编的故事片《你给的仇恨》的教训，该片因其对一位黑人女孩为正义而发声的有力叙述而广受赞誉。阅读电影和小说对官方电影预告片的批判性接受，我认为预告片对手的追踪取代了言语（prosopopoeia）与“切割”（省略号）作为黑人政治机构的主要比喻，这取决于能够阅读而不是谈论仇恨的形式。预告片为无法再看到山顶的黑人观众和可能暂时体验几秒钟生活的白人观众提供了作为 akairic (akaireomai) 时间教学法的警惕。很遗憾，预告片中断的婚姻情节将黑人生命的损失重新描述为（一个）黑人（女人）的内疚；我们注定要哀悼的悲剧是失去爱，而不是夺去生命。