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Linda MartÍn Alcoff Visible Identities: Race, Gender, and the Self. New York, Oxford University Press, 2055.

the gens as an institution links motherhood to agriculture and social reproduction, and thus to the production of genealogical and racial inheritance. The writings of scholars Anne Fausto-Sterling and Troy Duster might be valuable additional texts in this section, for both scholars argue-against much work of contemporary population biologists-that race is far more complicated than a simple question of genetics. This would have nuanced an argument that at times seems to rely on a slippage between species and m e , or to put it more precisely a conflation of genetic inheritance and racial properties. Weinbaum’s study concludes with a chapter and a coda that emphasize the agency of literature in the reconceptualization of race and reproduction. A meticulous enumeration of the changing conceptions of reproduction in the writings of W .E. B. DuBois demonstrates how the image of black maternity is freighted with contradictory meanings as the author’s own commitments shift from nationalism to racial globality, and from biological kinship from cultural belonging. The coda acknowledges that, as Dubis’s work demonstrates, it is now possible to decouple race and reproduction, and emphasizes the crucial role played by works of the imagination in making that possibility a reality. Turning to works in the contemporary art exhibition “Gene( sis),” Weinbaum demonstrates how these works by a range of visual and new media artists undermine the fantasy of genealogical control, offering us instead a celebration of the wayward. Indeed, the evocative image of Juror Number 6, “Leopard Spirit,” by Daniel Lee, suggests that Weinbaum might productively follow this book with a sequel exploring the role postmodem modes of reproduction are playing in the construction and government of the keyword species in reflexive modernity. But that is for a different book, and perhaps a wayward one.