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Odious Caribbean Women and the Palpable Aesthetics of Transgression by Gladys M. Francis (review)

correction of an historical oversight by which white, liberal humanist notions of being became foundational to understandings of humanity and subjectivity” (p. 99). This move effects the promise of the text—as Lillvis explains through Monáe and Badu’s collaborative video “Q.U.E.E.N.”: “This future-based power transforms Wonder from passive museum object to active time-travelling subject. If the viewer must imagine the future as a site of power for Wonder, then his identity, including his racial identity, might be understood to develop from the future as well” (p. 69). Lillvis’s text is a welcome addition to considering the gendered implications of affective investments in Afrofuturism. When Lillvis’s analysis sparkles, a real hope strains through that there could be a path with and out of “Afrofuturism” into richer, actual afrofutures. Although our routes through and to radically alternate futures usually skirt the ersatz-conservative politics of womanism, Lillvis’s work shows a fresh approach that bends the discourse in creative new directions.