Reviewed by:

• Queer Times, Black Futures by Kara Keeling
• Brenna M. Casey

On a gray day last December, I stood in Birmingham’s Elmwood Cemetery with three friends looking desultorily down at a very nondescript lawn-level headstone marking the grave of cosmic philosopher and free jazz impresario Sun Ra. For a musician whose most iconic looks relied upon gold lamé, sequins, and Nemes crowns, the bare granite seemed somehow disparaging.

It is with Sun Ra’s signature shine that Kara Keeling launches her latest rumination on the space and time of Black liberation. Beginning with the pulsing, postapocalyptic lyrical interrogatory “It’s after the end of the world (Don’t you [End Page 342] know that yet?)” from Sun Ra’s 1974 film Space is the Place, Keeling asks how to begin without a past, in a present of lingering catastrophe with the future positioned as time’s only remainder. Transiting through the disciplines of philosophy, film and media studies, literature, finance capital, physics, and ethnic and gender studies, Queer Times, Black Futures attempts to chart the potentiality of Afrofuturism’s communion with queer connection. This desirous entanglement Keeling heralds— but not before rehearsing the attendant obstacles of a neoliberal supremacist patriarchy on the brink of environmental disaster—may “call forth new relations for all” (34). While Keeling takes pains not to overdetermine these as-of-yet unrealized potentials, the author does offer transnational citizenship and what she terms a voluntary “cosmic mode” of belonging as glimmering possibilities (194).

Keeling’s conceit is this: If credit and speculation emerged to manage the imagined risks that accompanied global capital’s treacherous consubstantiation with colonization, enslavement, land enclosure, racial consolidation, and anti-Black racism, these assumed outcomes also intimate futures that were wholly unconsidered in the obfuscating calculus of oppression and domination. Here, she cites Michel-Rolph Trouillot’s iconic formulation that the Haitian Revolution “entered history with the peculiar characteristic of being unthinkable even as it happened” (qtd. in 23). Modernity produced self-replicating quotidian violences to maintain what Michel Foucault has called “the order of things,” but its clumsy modes of producing value and commensuration leave much substantively and capriciously unaccounted for. Leaning heavily on Édouard Glissant’s theories of opacity and the poetics of relation throughout the monograph, Keeling charts chances for detecting the social dimensions that undergird capital, the accumulations of risk that adhere to social and cultural life, and the emancipatory possibilities indicated by the conjugation of queer temporality, “a dimension of time that produces risk,” with Black existence (19). Queer is disentangled from its identitarian registers, celebrated for its capacities to carve out connection within difference, and proffered as a structuring antagonism to the social as well as the institutions that seek social regulation and control. Keeling insists upon “the antifragility of freedom dreams” (22), appraises perceptible forms of wealth lingering in escrow, and makes a case for the surprise safeguarded in poetics. Keeling begs the question: What is beyond capital’s measure?

Queer Times, Black Futures turns to cinema for many of its materials, mediations, and meditations. The book contributes to a burgeoning field of scholarship that interrogates the relationship between race and film epitomized by contemporary scholars like Nicole Fleetwood, Michael Boyce Gillespie, Alice Maurice, and Tina Campt, among others. Pulling predominantly from US-based Black film, the book interrogates the constitutive elements of Afrofuturism—imagination, technology, future, and liberation—under the thrall of capital’s manipulations of a would-be future. With its emphasis on mythmaking and music, sound and speculative fiction, Space is the Place troubles the fictitiously inviolable boundaries of Western ontology and allows Keeling to forward Gilbert Simondon’s collective concept of “transindividuation” as a viable model of being. Looking for Langston (Isaac Julien, 1989), The Watermelon Woman (Cheryl Dunye, 1996), Brother to Brother (Rodney Evans, 2004), and The Aggressives (Daniel Peddle, 2005) provide a fruitful terrain for considering how filmic organizations of time render present political possibilities. The Last Angel of History (John Akomfrah, 1996) and Love is the Message, the Message is Death (Arthur Jafa, 2016) serve as portals for...

审核人：

• 酷儿时代，卡拉·基林的《黑色期货》
• 布伦纳·凯西（Brenna M. Casey）

Ø N A天苍苍去年12月，我站在伯明翰的埃尔姆伍德公墓和三个朋友一起看杂乱无章下来在一个非常不起眼的草坪级墓石标志着宇宙的哲学家和自由爵士掌门人孙镭的坟墓。对于一个最具有标志性的音乐家来说，依靠金箔，亮片和尼姆斯王冠，裸露的花岗岩似乎简直令人失望。

正是由于太阳镭（Sun Ra）的标志性光芒，卡拉·基林（Kara Keeling）对黑人解放的时空进行了新的反思。从Sun Ra 1974年的电影《太空就是这个地方》开始，从末日的脉动，末日的抒情性疑问开始，“基林问世了（你[End Page 342]还不知道吗？）” ，基林问如何没有过去就开始，在灾难缠绵的现在中，将未来定位为时间的剩余部分。在哲学，电影和媒体研究，文学，金融资本，物理学以及种族和性别研究，《酷儿时报》，《黑未来》等学科中进行转机试图通过奇异的联系来勾勒出非洲未来主义共融的潜力。这种渴望的纠缠基林预示着，但在排练新自由主义至高无上的父权制在环境灾难边缘时伴随的障碍之前，这可能是“为所有人建立新的关系”（34）。尽管基林竭尽全力不要过度确定这些尚未实现的潜力，但作者的确提供了跨国公民身份，她称之为自愿的“宇宙模式”归属是微弱的可能性（194）。

基林的想法是这样的：如果出现信贷和投机活动来管理想象中的风险，这些风险伴随着全球资本对殖民，奴役，土地封闭，种族巩固和反黑人种族主义的奸诈化身，那么这些假定的结果也将亲密地期货化，而这在全球经济中是完全没有考虑的。压制压制和统治的演算。她在这里引用了米歇尔·罗尔夫·特鲁约特（Michel-Rolph Trouillot）的标志性表述，即海地革命“以其不可思议的独特特征进入了历史”（第23期）。现代性产生了自我复制的报价暴力，以维持米歇尔•福柯所说的“事物的秩序”，但其笨拙的创造价值和相称的方式却在很大程度上并没有说明。Keeling高度依赖ÉdouardGlissant的不透明性理论和整本专着的关系诗学，他绘制了机会来发现支撑资本的社会层面，坚持社会和文化生活的风险积累以及通过结合产生的解放的可能性。奇怪的时间性，“产生风险的时间维度”，与布莱克存在（19）。酷儿（Queer）摆脱了其身份认同的束缚，因其在差异中建立联系的能力而倍受赞誉，并被社会和寻求社会调控的机构构成对抗。基林坚持“自由梦想的反脆弱性”（22），评估了在代管中徘徊的可感知财富形式，并为诗学中所保护的意外提供了理由。

酷儿时报（Queer Times），《黑期货》（Black Futures）凭借其许多材料，调解和冥想转向电影院。这本书为新兴的学术领域做出了贡献，该学科探讨了尼科尔·弗利特伍德，迈克尔·博伊斯·吉莱斯皮，爱丽丝·莫里斯和蒂娜·坎普等当代学者所代表的种族与电影之间的关系。该书主要取材于美国的黑人电影，在资本操纵可能的未来的过程中，审视了非洲未来主义的构成要素-想象力，技术，未来和解放。注重创造神话和音乐，声音和投机小说，太空就是这个地方困扰着西方本体论的虚拟不可侵犯的边界，并允许基林提出吉尔伯特·西蒙登（Gilbert Simondon）关于“超个性化”的集体概念作为一种可行的存在模型。寻找兰斯顿（艾萨克·朱利安，1989年），西瓜女人（彻丽尔·邓伊，1996年），哥兄弟（罗德尼·埃文斯，2004年），和该Aggressives（丹尼尔·柏，2005）考虑的时候怎么膜状组织提供了卓有成效的地形展现当前的政治可能性。历史的最后一位天使（John Akomfrah，1996）和爱是讯息，消息是死亡（Arthur Jafa，2016）作为...的门户。