In this piece, I respond to Sarah Cervenak and Molly Farneth’s generous readings of Hope Draped in Black. Regarding Cervenak’s moving piece, “High Under The Pew,” I focus on the apposition of apparent oppositions—such as elevation and being underneath, or social life and black death. I also draw attention to the relationship between style of writing and ethics that Cervenak enacts in her comments. I then engage Farneth’s reflections on the ritualization of melancholy. While melancholy is expressed and performed in aesthetic and political practices (song, dance, vigil), we must be alert to the ways that civic rituals convert loss and anguish into opportunities to affirm and bolster imperial projects.

在这篇文章中，我回应了莎拉·塞维纳克（Sarah Cervenak）和莫莉·法内特（Molly Farneth）慷慨地阅读《黑衣希望》。关于Cervenak的动人作品“ The Pew Under The Pew”，我着眼于明显的反对派的并置，例如抬高和在下面，或社会生活和黑人死亡。我还提请注意Cervenak在她的评论中体现的写作风格与道德之间的关系。然后，我将Farneth对忧郁的仪式化的思考纳入其中。在审美和政治实践（歌曲，舞蹈，守夜）中表现和表现出忧郁的同时，我们必须警惕公民仪式将损失和痛苦转化为肯定和支持帝国项目的机会的方式。