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Naila Keleta-Mae

In this article I examine the performances of black girlhood in two texts by Ntozake Shange—the choreopoem “for colored girls who have considered suicide when the rainbow is enuf” (1977) and the novel Sassafras, Cypress and Indigo (1982). The black girls whom Shange portrays navigate anti-black racism in their communities, domestic violence in their homes, and explore their connections with spirit worlds. In both these works, Shange stages black girls who make decisions based on their understanding of the spheres of influence that their race, gender, and age afford them in an anti-black patriarchal world dominated by adults. I draw, too, from Patricia Hill Collins’s work on feminist standpoint theory and black feminist thought to introduce the term black girl thought as a theoretical framework to offer insights into the complex lives of black girls who live in the post-civil rights era in the United States.

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Félix Germain

perhaps why he did not romanticize or embellish black France. His work brought black literature and black political discourses into the limelight, but he always underscored the highly heterogeneous nature of black thought in France. 52 Since Cook did not

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Heidi Morrison, James S. Finley, Daniel Owen Spence, Aaron Hatley, Rachael Squire, Michael Ra-shon Hall, Stéphanie Vincent-Geslin, Sibo Chen, Tawny Andersen, and Stéphanie Ponsavady

transformation in the wake of the Fugitive Slave Law, the Kansas-Nebraska Act, the Dred Scott decision, Reconstruction, and the opening waves of the first Great Migration. Instead, Black Atlas reveals how black literature “reconfigures” those geographic