Controversial Harlem-born rapper/singer, songwriter, and provocateuse Azealia Banks is the most (in)famous, vocal, and visible proponent of Black Atlantic traditions in recent times—making a critical reckoning well overdue. I begin here by tracing Banks's engagement with Afro-Diasporic religions (including Caribbean Espiritismo, Afro-Cuban Lucumí, and Dominican “21 Divisions”) as a trajectory from vamp to bruja [witch]/santera to mayombera. A review of Banks's public statements reveals her growing commitment to championing “so-called voodoo” and urging other African Americans to do so as well. I argue that the release of Beyoncé's Lemonade in 2016 catalyzed Banks's advocacy for Kongo-inspired Palo Mayombe, long overshadowed by Yorùbá-based orisha worship. I further demonstrate that Banks's espousal of Palo Mayombe has been bound up with her identity as a Womanist and dark-skinned, cisgender femme fatale. More than a political program, however, Banks's discursive constructions amount to a Black Atlantic metaphysics. Drawing on Irene Lara's formulation of “bruja positionalities,” I propose that the theoretical scaffolding for her metaphysics should be designated Brujx Womanism. Missteps notwithstanding, Banks emerges as a metaphysician, aspiring to repair Black bodies by re-membering Kongo traditions. In closing, I suggest that Banks's Brujx Womanism may contribute to the conceptualization of Conjure Feminism in four crucial respects.

Dependency functions as a keyword in care theory. However, care theorists have spelled out the ontological and moral ramifications of dependency in different and often conflicting ways. In this article, I argue that conceptual disputes about dependency betray a fundamental discordance among authors, rooted in the empirical premises of their arguments. Hence, although authors appear to share a vocabulary of dependency, they are not writing about quite the same phenomenon. I seek to elucidate these differences by teasing out and comparing different conceptions of dependency found in the literature. Borrowing a phrase from Eva Kittay, I trace four “paradigm cases” of dependency: the infant, the physically disabled person, the profoundly intellectually disabled person, and the refugee. These paradigm cases serve as the empirical touchstone from which theorists extract their conceptions of dependency. Each paradigm case, moreover, permits (or even implores) a particular ethical sensibility toward care. How we understand and value dependency thus seems to determine how we understand and value care, and vice versa. In this way, I contend, our normative orientation toward care might influence what sorts of dependency we see—and, by extension, which forms of dependency we fail to notice.

This essay begins to develop a philosophical interpretation of Elena Ferrante's L'amica geniale, a work of fiction that is known in English as The Neapolitan Novels. My ultimate aim is to explore the work's ambitious moral psychology, and particularly its subtle conceptualization of women's path to freedom. I begin by reconstructing some of the main ideas of Italian difference feminism as they are expressed in the texts of the Milan Women's Bookstore Collective—texts that are controversial milestones of Italian social theory, yet are relatively unknown outside of Italy. I then show how these ideas provide a useful frame of reference for interpreters of Ferrante's novel. This discussion sets up a more extended analysis (in part 2 of this essay) of the special status of Lila Cerullo, her strange condition of smarginatura (“dissolving boundaries”), and the import of her puzzling earthquake speech.

An experience of helplessness during the production of a collective autobiographical narrative offers an opportunity to explore points of convergence between Adriana Cavarero's postural philosophy and Bracha Lichtenberg Ettinger's matrixial borderlinking. The narrative is treated as a live scene that enfolds the movement of the drive conceptualized in such a way as to avoid the prioritization of death over life. Five successive moves, inspired by Ettinger's rotation of the phallic prism, illuminate affinities between the two thinkers. The first rotation explores the matrixial and relational qualities that compose the scene. The second rotation approaches death from a notional beginning, prioritizing the presence of the mother and her assymmetrical relationship to the infant. The third rotation emphasizes the transformational character of Ettinger's matrixial movement and border-crossing, especially when examined in conjunction with Cavarero's maternal inclination. In the fourth rotation we show how inclination (clinamen) in Lacanian psychoanalysis is linked to the disappearance of the mother from the scene. The (re)introduction of the mother disrupts the Lacanian logic with the possibility of a beginning just as immanent as desire and lack. Movement, qua embrace and unity-disunity (fifth rotation), becomes an indispensable component of feminist ontology that captures the immanence of sharing in the matrixial-maternal plane.

This Hypatia cluster aims to create space for sharing stories and tools designed to support situated, embodied, and dialogical philosophical activism. It emerges from a new generation of pragmatist feminists, illustrating how the field has evolved. These pieces locate pragmatist feminism in place- and issue-based philosophical activism. As an activist and pragmatically grounded philosophy, this approach values the embodied and relational nature of social change as well as the need to create multiple pathways of engagement situated in and across communities.

Notorious for advancing a strict dichotomy between the masculine “demiurgic father” and the feminine “nurse/receptacle of becoming” as the “natural” origin of the cosmos, Plato's Timaeus has become a site for feminist interrogation. Most critics easily deem the text a masculine fantasy that projects feminine impotence and obligatory heterosexuality, reinforcing patriarchal power structures that are blindly reproduced in their historical reception. Consequently, this article analyzes the Neoplatonic replication of this framework, but with special attention given to Proclus's challenges to this gendered and sexual context. In this late, sometimes forgotten figure, we find, rather surprisingly, a Platonist who neither sequesters the feminine to the domain of the passive receptacle nor charges her simply with being a bastard image of the masculine. Rather, for Proclus, the feminine becomes the site of lived, erotic power that produces and sustains the value of authentic otherness. Furthermore, Proclus offers a challenge to the naturalness of the sex binary, suggesting a radical queerness as the basis of all identity. Overall, we shall see how classical patriarchal thinkers may, despite themselves, offer subversive models that might present readers with possibilities for troubling the sexual prejudices of ancient metaphysical schemas.

I met Kyla at a small conference on a rainy weekend in February 2018. I wandered into the workshop shortly after it had started, and the room was filled with Black women designing vision boards. Kyla didn't stop what she was doing as she replied to the question the presenter posed to the room. Her hands continued moving, cutting glossy paper or pasting shiny gems onto her board: “When I tell people that my organization raises money to take girls abroad, so many of them say, ‘Well why wouldn't you raise money for them to buy clothes or eat. They need food and education before they need to travel.’ But I always say, ‘But what about Black joy?’”

Before the Department of Homeland Security instituted the Migrant Protection Protocols in January 2019, as many as 1,000 Central American refugees passed each day through Catholic Charities’ Humanitarian Respite Center, where they received food, clothing, a shower, toiletries, and sandwiches for the road. Sister Norma Pimentel founded the Humanitarian Respite Center in 2014 to “restore human dignity” to refugees who had been degraded and vilified during their dangerous journeys north, not least by way of their processing by the US government. Sister Norma has inspired countless people, including me, to engage with the community as a form of place-based philosophical activism, that is, of situated and engaged teaching, scholarship, and service. In this essay I read Sister Norma as a feminist pragmatist in the historical and philosophical lineage of Jane Addams, and I aim to provide an example of how a feminist-pragmatist approach can support and encourage philosophical activism in our communities. Feminist scholars can learn from feminist pragmatism the importance of “being-with,” “sympathetic understanding,” and “a larger social impulse.” Feminist pragmatism encourages academics to become place-based philosophical activists who use their teaching, research, and service in order to press for social justice.

This begins before 1896. This begins before Arkansas. But “this can't be right grandmother. who are our Ancestors! she said, shit gal, i don't know” (Bridgforth 2012). One of my ancestors walks toward me. She be Gertrude. Gertrude Grant. I have no pictures of her. I have no living memories of her. Yet I remember. Her. My Nana's mama, born around 1890 in the lumber town of Canfield in southern Arkansas.

Canfield, Arkansas, 1896
We're children
Babies really
when the fires start
A mob is always ready to take
our wages
Run us away
Always ready to lynch us
When a volley of shots
be my lullabies
I won't live to see 36

This article concerns itself with the ways that Black women have taken up #BlackGirlMagic as a critical reimagining of their subject positionalities as Black women. I argue that #BlackGirlMagic is a resistant imaginary that has significantly altered the contemporary western social imaginary and suggest that the intersectional ambiguity that Black women animate builds community among Black women toward collective liberation. Bringing together Kimberlé Crenshaw's concept of intersectionality, Simone de Beauvoir's concept of ambiguity, and María Lugones's concept of oppressed←→resisting subjects, I argue that #BlackGirlMagic's so-called “magic” is both produced by and produces what José Medina has termed a guerrilla epistemology. In outlining the contours of this epistemology, I demonstrate how #BlackGirlMagic resists through the transmission of knowledge, the creation of a critical genealogy, its visionary orientation, and the development of an insurrectionary counterdiscourse. To illustrate, I briefly discuss how #BlackGirlMagic provides white women with an opportunity for a beneficial form of epistemic friction. In the end, I suggest that #BlackGirlMagic's ability to unite Black women transnationally bodes well for its continued effects on the western social imaginary.

Julia Ward Howe, author of the lyrics to “The Battle Hymn of the Republic,” remains known as a poet, abolitionist, and founding member of the antiracist organization American Woman Suffrage Association (AWSA), but her work on political philosophy and her foundational sense of the necessity for justice and suffrage for all without exception are still unexplored. Howe's speech, “The Position of Women in Plato's Republic” provides a window into the philosophy that shaped the second half of her life and her political organizing. Howe explores problems feminist scholars have often had with Socrates's plans to educate and enfranchise women of the ruling class, analyzes the rhetoric behind Socrates's successful persuasion of reluctant interlocutors, and transforms Plato's arguments into overwhelming rhetorical support for universal suffrage. Howe's intellectual conversion to the cause of suffrage, which occurred later in life and after her support for the 15th Amendment, comes into focus as she wrestles with the questions fundamental to her change of heart: women's moral relationship to human excellence, whether suffrage would destabilize family life, the relationship of gender to divine genderless unity, and the relationship of the Platonic principle of the Good to practical political policy.

In this essay, I reflect on the contradictions that arise from a personal experience of conflict with my father and the clash of traditional Filipino gender norms in the context of the practice of name changes within the institution of marriage and intersecting feminist critiques of patriarchy. My understanding of the Tagalog amor propio is self-love or self-pride within Filipino culture and signifies one's authority, place, and meaning in the community. As a concept of authority, amor propio encourages practices of respect toward the authority figure. In the context of the home, amor propio is attributed to the father, and members of the family ought to respect his amor propio. This essay examines my own conflicted relationship with my father and my attempts to navigate the complex terrain of amor propio, as a Filipina, feminist/peminist, dutiful daughter. Filipino immigrant families face distinct challenges within family life owing to globalization, colonialism, and racism, so I find Jane Addams's social ethics of filial relations helpful in framing the tension between individual and social claims within the specific cultural values expected of Filipina women as dutiful daughters. Addams's feminist social sensibilities in her work at Hull House were attuned to the plight of daughters and the conflicting claims of the family emergent within the crowded immigrant neighborhoods in Chicago. She was able to articulate and sympathetically understand the generational divide within immigrant families at Hull House and sought to bridge these differences within the context of the family. I reflect on her work in my own experience as a dutiful Filipina daughter.

Although there is growing debate among feminist scholars on how fathers often socialize their male children to aspire to embody specific values and behaviors, there is limited academic research on how fathers themselves construct and represent masculinity in Ghana. This article draws on data from six focus group discussions held with forty men to foreground men's negotiations, expressions, and representations of masculinity among the Dagaaba in northwestern Ghana. Our findings suggest that men in rural northwestern Ghana are likely to embody hybrid masculinities where traditionally hegemonic masculine ideals—such as men being seen as independent breadwinners—and contemporary gender-conscious norms—such as men as supportive partners—interact in complex ways. Yet the hybridization of masculinity both challenges and reinforces patriarchal gender arrangements in subtle ways. By maintaining a keen interest in their heteronormative breadwinning role as a model of masculinity, educated and gainfully employed men are critical of patriarchal norms that may be destructive to feminist discourses, yet their representations of masculinity indirectly embolden male hegemony in marriage relationships. Our findings further reveal considerable ambiguity in how men define themselves as supportive allies of feminist discourses by endorsing gender egalitarianism, yet none of them visibly challenges why women cannot also be breadwinners.

This article explores the affective dimension of resilient epistemological systems. Specifically, I argue that responsible epistemic practice requires affective engagement with nondominant experiences. To begin, I outline Kristie Dotson's account of epistemological resilience whereby an epistemological system remains stable despite counterevidence or attempts to alter it. Then, I develop an account of affective numbness. As I argue, affective numbness can promote epistemological resilience in at least two ways. First, it can reinforce harmful stereotypes even after these stereotypes have been rationally demystified. To illustrate, I examine the stereotype of Black criminality as it relates to false confessions (Lackey 2018). Second, it can encourage “epistemic appropriation” (Davis 2018), which I demonstrate by examining the appropriation of “intersectionality” and #MeToo by white culture. Finally, I conclude that resisting harmful resilience requires affective resistance, or efforts that target numbness via different kinds of affective engagement. I consider Kantian “disinterestedness” as a candidate.

This essay recovers Jane Addams's (1860–1935) practice of constituent storytelling as a resource for contemporary social-change-nonprofit professional practice and activism. Whereas feminist theorizing is rich with resources for theorizing about constituent storytelling, Addams, as both a publicly engaged philosopher and a social-change-nonprofit professional, is uniquely situated to provide practical ways forward for social-change practitioners navigating the lived complexities of speaking for others in light of spatial stratification, subordinating structures, and epistemic exclusion. As a hybrid activist-scholar situated across diverse spaces, Addams serves as a bridge between feminist theorizing about speaking for others, and practices of it among social-change-nonprofit professionals and activists. I show that Addams reveals new ways of thinking about the practice of constituent storytelling for social-change-nonprofit professionals. Namely, in this lived context, speaking for others entails speaking for them through one's own story. Responsible constituent storytelling names oneself as a speaker, owns one's own social standpoint in this rhetorical naming practice, and orients the story through one's own journey—a journey inevitably riddled with failures and faulty assumptions—toward democratic neighborship with the Other across difference.

This essay considers how deployments of the acronym “LGBT” often obscure and flatten the specificity of the terms the letters reference. Also of concern here is how the “T” might be the more fundamental letter, as reactions to “LGBT identity” are indexed in gender transgression, to which the “T” refers. I argue for holding the trouble of the acronym in the “T” and that the trans underlies how “LGBT,” as a marker of subjectivity or violence, becomes legible. To carry this out, the essay makes a parallel to how “LGBT” functions similarly to “people of color” as the terms obscure the fundamentality of the trans and the black, respectively; clarifies the distinction between queer and trans, and subsequently trans and transgender; and demonstrates how transphobic readings are integral to homophobic responses.

Contemplating the techniques of white nationalism used to refuse Black ontology and deny Black belonging to the humanity of Canadian nationhood, this article considers how art imaginatively visualizes rebellion against the racist logics that regulate such denials. Exploring the function of hyperbole, this article examines the ways the willfully heightened strangeness of the extraterrestrial Afro-Astronaut and Black Muslim monster depicted in performance and visual art trouble racial matrixes through the dissonance provoked by the Other's unfamiliar display of excess.