Roshanak Kheshti opens her book with a line from one of Zora Neale Hurston's earliest stories: “we see with the skin.” From this brief but potent line, Kheshti examines how Hurston’s understanding of Black skin as both seen and seeing offers radical insight into racialized perception and Black consciousness. Kheshti follows Hurston’s travels across the back woods of Florida, Georgia, Alabama, and Louisiana as a filmmaker and sensory ethnographer of the African diasporic spiritual practice of hoodoo. Through her travels, Hurston encountered a sensibility that could animate the object status of being colored with the power of a return gaze. Kheshti considers both how Hurston poetically exploited the synesthetic logic at the heart of race thinking—being colored—as well as how her embodied performance ethnography catalogued an outside to that logic. We See With the Skin is an original mapping of Hurston’s synesthetic theory and its broader implications for understanding minoritarian perception and thought.

In When Home Is a Photograph, Leigh Raiford asks how Black people use photography to make home in the world. Raiford focuses on a selection of Black American activists and artists, including Marcus Garvey, James Van Der Zee, Eslanda Goode Robeson, and Kathleen Neal Cleaver to explore the complex relationship between racialized subjects and the medium of photography. As they traveled the world for study, for work, for pleasure, or for survival, these artists and activists took and collected photographs to express their political platforms and personal sense of self. Raiford considers the everyday image-making practices that these Black Americans employed to improve the condition of Black lives globally by imagining, identifying, inhabiting, leaving, defending, and destroying “home.” When Home Is a Photograph shows how these figures did not merely utilize photography to emplace themselves in the world—they demonstrated how the use of photography is itself a way to mediate one’s relationship to the world.

In Winnowing, Suzanne Matson examines our personal, cultural, and environmental relationship with material objects. Matson alternates between reflective essays on the nature of ownership and her own “Winnowing Log,” a day-by-day account of her attempts to reduce the items in her home. Sorting through the emotional value of mementos, the gendered dimensions of housekeeping, and the environmental cost of both mass production and disposal, she physically, mentally, and spiritually lightens her life while reflecting on the tethers that make winnowing so hard. She compares ideas of material impermanence in Stoicism, Buddhism, and Christianity, acknowledging that total renunciation of things is beyond most people’s goals or abilities, but also that reducing what we own, carry, and tend can clear space for spiritual lightness, aesthetic pleasure, and freedom. Rather than a celebration or condemnation of material goods, Winnowing is a meditation on the personal and universal struggles and rewards of separating the chaff from the grain.

Writings from feminist scholars of color about their experiences during the pandemic.

Bringing uncertainty, fear, and change, the COVID-19 pandemic shook the world, altered people’s lives, and sparked a wave of introspection. Underserved communities—people of color, women, and queer people among them—were affected the most, and their experiences, in turn, reflected hope and opportunities to reinvent themselves individually and collectively. Drawing on Gloria Anzaldúa’s use of nepantla—the Náhuatl word meaning “in-between space,” the en medio and a liminal space between worlds imbued with change—World Making in Nepantla collects writings about the hurdles feminist scholars of color faced during the pandemic years.

Contributors explore how COVID affected feminist scholars of color while recognizing the ways in which inequality influences experience and also celebrating the resilience of communities all over the world. Dispatches from classrooms and quarantined homes and introspective essays on disability, mutual aid, and borders are included among the essays here. These pieces serve as a concrete record, capturing an ephemeral time already being lost to memory. Created during the heart of the pandemic, World Making in Nepantla is an honest and intimate recording of how feminist scholars of color navigated struggles and found strength during an era that forever changed the modern world.