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Author Information: Bernard Wills, Memorial University of Newfoundland and Labrador, bwills@grenfell.mun.ca.

Wills, Bernard. “On the Limits of Any Scientism.” Social Epistemology Review and Reply Collective 7, no. 7 (2018): 34-39.

The pdf of the article gives specific page references. Shortlink: https://wp.me/p1Bfg0-3Zn

See also:

Image by Vancouver Island University via Flickr / Creative Commons

 

Mizrahi is, alas, still confused though that perhaps is my fault. I did not attribute to him the view that non-scientific disciplines do not produce knowledge.[1] I am sorry if a cursory glance at my article created that impression but what I thought I had said was that this was the position known as strong scientism. Indeed, looking over my paper it seems that I made it quite clear that this position was ‘strong scientism’ and that Mizrahi defended something called ‘weak scientism’. According to this latter view the humane disciplines do indeed produce knowledge only of a qualitatively and quantitatively inferior kind. If this is not what weak scientism says I confess I don’t know what it says.

Thus, the opening salvo of his response, where he answers at some length a charge I did not make, has sailed clean over its intended target. (Mizrahi, 41-42) In my paper I distinguished weak scientism from strong scientism precisely on these grounds and then argued that the weaknesses of the former still dogged the latter: Mizrahi does not address this in his response. Here is a place where Mizrahi could have learned from humanities scholars and their practices of close reading and attended to the rhetorical and argumentative structure of my essay.

I began by critiquing ‘strong scientism’ which I said was not Mizrahi’s view and I did this by way of setting up my actual argument which was that Mizrahi’s proposed replacement ‘weak scientism’ suffered from the same basic flaws. I ask Mizrahi to read my response again and ask himself honestly if I accused him of being a proponent of ‘strong scientism’ rather than of ‘weak scientism’. To help him let me include the following citation from my piece:

I will focus, then, on the qualitative question and particularly on the claim that science produces knowledge and all the other things we tend to call knowledge are in fact not knowledge at all but something else. I will then consider Mr. Mizrahi’s peculiar version of this claim ‘weak scientism’ which is that while there may be knowledge of some sort outside of the sciences (it is hard, he thinks, to show otherwise) this knowledge is of a qualitatively lesser kind. (Wills, 18)

Asking Why Quantity of Production Matters

Mizrahi is still on about quantity. (Mizrahi, 42) I really have no idea why he is obsessed with this point. However, as he regards it as essential to ‘weak scientism’ I will quote what I said in a footnote to my essay: “Does Mizrahi mean to say that if a particular sub-discipline of English produces more articles in a given year than a small subfield of science then that discipline of English is superior to that subfield of science? I’m sure he does not mean to say this but it seems to follow from his words.” This point is surely not lost on him.

I have no firm opinion at all as to whether the totality of the sciences have produced more ‘stuff’ than the totality of the humanities between 1997 and 2017 and the reason is that I simply don’t care. I don’t accept quantity as a valid measure here unless it is backed up by qualitative considerations and if Mizrahi can’t make the case on qualitative grounds then quantity is simply irrelevant for the reason I gave: there are more commercials than there are artistic masterpieces. However, if Mizrahi still wants to fuss over quantitative metrics he faces the problem I raised.

While science in a global sense may indeed produce more sheer bulk of material than English, say, if there are subfields of science that do not produce more knowledge than subfields of English by this measure these must be inferior. Plus, what if it were true that Shakespeare scholars produced more papers than physicists? Would that cause Mizrahi to lower his estimate of physics? He would be an odd man if he did.

At any rate, there are all kinds of extrinsic reasons why scientific papers are so numerous that include the interests of corporations, governments, militaries and so on. The fact that there is so much science does not by itself indicate that there is anything intrinsically better about science and if science is intrinsically better that fact stands no matter how much of it there happens to be.

On the Power of Recursivity

To my argument that recursive processes can produce an infinite amount of knowledge he replies with an ineffectual jibe: “good luck publishing that!” (46) Well I am happy to inform him that I have indeed published ‘that’. I have published a number of papers on ancient and early modern philosophy that touch on the question of reflexivity and its attendant paradoxes as Mizrahi can find out by googling my name. Since he is so concerned about purely extrinsic measures of scholarly worth he will have to admit that there are in fact journals happy to ‘publish that’ and to that extent my point stands by his own chosen metric.

At any rate, in a further answer to this charge we get the following sophism: Besides, just as “recursive processes can extend our knowledge indefinitely in the field of mathematics,” they can also extend our knowledge in other fields as well, including scientific fields. That is, one “can produce a potential infinity of knowledge simply by reflecting recursively on the” (Wills 2018, 23) (sic) Standard Model in physics or any other scientific theory and/or finding. For this reason, Wills’ objection does nothing at all to undermine Weak Scientism.” (46)

Of course we can extend our knowledge indefinitely by reflecting on the standard model in physics just as Augustine says. But this has nothing whatsoever to do with whether a proposition is scientific or not. It can be done with any proposition at all. Nor is recursive doubling a scientific procedure in the terms described by Mizrahi. This is why quantitative claims about the superiority of science can never succeed unless, as I have said many times, they are backed up with qualitative considerations which would render a quantitative argument unnecessary.

On the Intentionality of the Ism

Mizrahi makes the standard response to the concerns I raised about sexism and colonialism. He denies he is a racist and indeed, Fox News style, turns the charge back on me. (44-45) He should understand, however, that my concern here is not personal but systemic racism. The version of scientific ideology he proposes has a history and that history is not innocent. It is a definition of knowledge and as such it has a social and political dimension. Part of this has been the exclusion of various others such as women or indigenous peoples from the socially sanctioned circle of knowers. This is the ‘privilege’ I refer to in my paper.

Mizrahi, as a participant in a certain tradition or practice of knowledge that claims and can often assert hegemony over other discourses, benefits from that privilege. That is not rocket science. Nor is the fact that, rightly or wrongly, Mizrahi is making hegemonic claims for science from which he himself stands to benefit. It is nothing to the point for Mizrahi to proclaim his innocence of any such intention or to use the ‘you are the real racist for calling me a racist’ ploy. As anyone familiar with the discourse about racism and colonialism can tell him, intention is not the salient feature of this sort of analysis but overall effect.

Also he has not distinguished an ideological critique from an ad hominem attack. I am not attacking him as a person but simply pointing that the position he takes on scientism has social, political and monetary implications that make his defense of weak-scientism ideologically loaded. And let me emphasize again that this has nothing whatsoever to do with Mizrahi’s intentions or personal feelings: I am happy to consider him a perfect gentleman. Perhaps a consideration of Marx would help him see this point a bit better and I can assure Mizrahi that Marx’s impact rating is stellar.

So Who Is Correct?

Of course, as Mizrahi says, all this is forgivable if his overall thesis is correct. (45) Apparently, I truly did not understand that “Even if it is true that “craft knowledge has roughly 3 million-year head start,” it is irrelevant to whether Weak Scientism is true or false. This is because Weak Scientism is a thesis about academic knowledge or research produced by academic fields of study (Mizrahi 2017a, 356; Mizrahi 2017b, 11; Mizrahi 2018a, 12). (46) I admit this point did escape me.[2]

This means that if I find knowledge produced outside the academy with qualities comparable to scientific knowledge that is irrelevant to the argument. Well, by all means then, let me limit my consideration to the academy since Mizrahi has defined that as his sole battleground. I gave many examples of knowledge in my paper that come from an academic context. Let us consider these with respect to Mizrahi’s chosen criteria for “good explanations, namely, unification, coherence, simplicity, and testability (Mizrahi 2017a, 360-362; Mizrahi 2017b, 19-20; Mizrahi 2018a, 17).” (47) (46)

Mizrahi seems to think this applies to a statement I made about Joyce scholars. (47) Let me take them as my ‘academic’ example. I take it as a given that a masterful exposition of Portrait of the Artist as Young Man will show the unity, coherence and simplicity of the work’s design to the extent that these are artistically desired features. What about testability? How does a Joyce scholar test what he says? As I said he tests it against the text. He does this in two ways.

First on the level of direct observation he establishes what Stephen Daedalus, say, does on page 46. This is, as far as I can see, a perfectly reputable kind of knowledge and if we can answer the question about page 46 directly we do not need to resort to any more complex explanatory processes. The fact that such a procedure is perfectly adequate to establish the truth means that scientific procedures of a more complex kind are unnecessary. The use of scientific method, while it may mean better knowledge in many cases, does not mean better knowledge here so Mizrahi’s complaint on this score is beside the point. (47)

Statue of James Joyce in Dublin, Ireland
Image by Loic Pinseel via Flickr / Creative Commons

What Can Improve Knowledge?

Of course, the Joyce scholar will also have an interpretation of Portrait of the Artist as a Young Man. This is where he answers broader questions about the work’s meaning, structure, unity and so on. This also entails the test of looking at the text not at any particular point but as a whole. What in this hermeneutic process would be improved by ‘scientific method’ as Mizrahi describes it? Where does the Joyce scholar need to draw testable consequences from a novel hypothesis and test it with an experiment? What would that even mean in this context?

His test is close reading as this is practiced in the discipline of English literature and he has peers who judge if he has done this well or badly. What is amiss with this process that it could be improved by procedures that have nothing to do with determining the meaning and significance of books? How on this question could science even begin to show its supposed ‘superiority’? It seems to me the only option for Mizrahi here is to deny that the Joyce scholar knows anything (beyond bare factual information) and this means, alas, that his position once again collapses into strong scientism.

I think, however, that I see where Mizrahi’s confusion lies. He seems to think I am saying the following: Joyce scholars look at a book to determine a fact just as scientists look at the world to determine a fact ergo Joyce scholars are scientists. (47) Let me reassure him I am not so jejune. Of course, field notes and other forms of direct observation are part of the arsenal of science. Plus, scientific statements are, at the end of the day, brought into relationship with observation either directly or indirectly. Still, Joyce scholars do not just look at page numbers or what characters are wearing in Chapter 2. They formulate interpretations of Joyce.

In this way too scientists not only observe things but formulate and test hypotheses, construct theories and so on. In some ways these may be comparable processes but they are not identical. Hermeneutics is not just an application of hyothetico-deductive method to a book. Conclusions about Joyce are not products of experimental testing and I can conceive of no way in which they could be strengthened by them except in a purely ancillary sense (ie. we might learn something indirect about Ulysses by exhuming Joyce’s bones).

Thus, Mizrahi’s argument that scientific explanations have more ‘good-making properties’ overall (47) is, whether true or not, irrelevant to the myriad of cases in which scientific explanations are either A. unnecessary or B. inapplicable. Once again we teeter on the brink of strong scientism (which Mizrahi rejects) for we are now forced to say that if a scientific explanation of a phenomenon is not to be had then there can be no other form of explanation.

There Are Radical Differences in How Knowledge Is Produced

Let me go back to my daughter who was not out in a field or cave somewhere but in a university classroom when she presented her analysis of Scriabin’s Prometheus chord. This, I hope, satisfies Mizrahi’s demand that I confine myself to an ‘academic’ context. Both her instructor and her classmates agreed that her analysis was sound. Why? Because it was the clearest, simplest explanation that answered the question of how Scriabin created this chord. It was an abduction that the community of knowers of which she was a part found adequate and that was the end of the story.

The reason, let me emphasize again since Mizrahi has such trouble with the point, is that this was all the question required. Kristin did not deduce a “…consequence that follows from a hypothesis plus auxiliary hypothesis” (47) to be made subject of a testable prediction. Why? Because that is not how knowledge is produced in her domain and such a procedure would add no value to her conclusion which concerned not facts about the natural world but Scriabin’s thought processes and aesthetic intentions.

Again it seems that either Mizrahi must concede this point OR adopt the strong scientist position that Kristin only seems to know something about Scriabin while actually there is nothing to be known about Scriabin outside the experimental sciences. So, to make his case he must still explain why science can produce better results in music theory, which IS an academic subject, than explanatory procedures currently used in that domain. Otherwise the superiority of science is only contextual which is a trivial thesis denied by no one.

Thus, Mizrahi is still bedeviled by the same problem. How is science supposed to show its superiority in domains where its explanatory procedures are simply not necessary and would add no value to existing explanations? I do not think Mizrahi has established the point that:”…if distinct fields of study have the same aim (i.e., to explain), then their products (i.e., explanations) can be evaluated with respect to similar criteria, such as unification, coherence, simplicity, and testability (Mizrahi 2017a, 360-362; Mizrahi 2017b, 19-20; Mizrahi 2018a, 17). Mizrahi says ‘similar’ but his argument actually depends on these criteria being ‘identical’ such that we can judge all explanations by one pre-set standard: in this case hypothetico-deductive method.

But this is nonsense. All disciplines use abduction, true, but they do not all arrive at the ‘best explanation’ by the same procedures. Their procedures are analogical not univocal. Failure to see this distinction seems to be at the root of Mizrahi’s errors. Differing explanatory processes can be compared but not identified as can be seen if we imagine a classicist taking his copy of the Iliad down to the chemistry lab to be analyzed for its meaning. The Chemistry lab here is the classicist’s brain! To use a less flippant example though there are sciences such as paleontology that make liberal use of narrative reconstruction (i.e. how those hominid bones got in that tiny cave) which is a form of abduction that does not correspond simply to the standard H/D model. Still, the story the paleontologist reconstructs, if it is a good one, has unity, simplicity and coherence regardless of the fact that it has not achieved this by a robotic application of H/D but rather by another, less formalized, form of inference.

Thus, I think Mizrahi’s reforming zeal (48) has got the better of him. He does not help his case by issuing the Borg-like boast that ‘resistance is futile’. If I recall my Trek lore correctly, the boast that ‘resistance is futile’ ended in ignominious defeat. One final point. One should never proofread one’s own papers, I did indeed misspell Mizrahi for which I heartily apologize.

Contact details: bwills@grenfell.mun.ca

References

Mizrahi, Moti. “Weak Scientism Defended Once More.” Social Epistemology Review and Reply Collective 7, no. 6 (2018): 41-50.

Wills, Bernard. “Why Mizrahi Needs to Replace Weak Scientism With an Even Weaker Scientism.” Social Epistemology Review and Reply Collective 7, no. 5 (2018): 18-24.

[1] Though, as I point out in my response (Wills, 22), he clearly vacillates on this point.

[2] It is an odd kind of scientism that holds science is superior within the academy while leaving open the question of whether non-scientific knowledge outside the academy may be superior to science. However, if that is Mizrahi’s position I will not quibble.

Author Information: Kristie Dotson, Michigan State University, dotsonk@msu.edu

Dotson, Kristie. “Abolishing Jane Crow.” Social Epistemology Review and Reply Collective 7, no. 7 (2018): 1-8.

The pdf of the article gives specific page references. Shortlink: https://wp.me/p1Bfg0-3YJ

See also:

Image by Adley Haywood via Flickr / Creative Commons

 

It took me 8 years to publish “Theorizing Jane Crow.” I wrote it at the same time as I wrote my 2011 paper, “Tracking Epistemic Violence, Tracking Practices of Silencing.” The many reviews that advocated for rejecting “Theorizing Jane Crow” over the years made me refine it…and alter it….and refine it some more. This is not necessarily a gripe. But it will seem that way. Because there are two consistent critiques of this paper that have stuck with me for how utterly problematic they were and are. In this reply to Ayesha Hardison’s commentary, “Theorizing Jane Crow, Theorizing Literary Fragments,” I display and analyze those critiques because they link up in interesting ways to Ayesha Hardison’s commentary.

The two most common critiques of this paper include:  1) the judgement that my paper is not good intellectual history or not good literary criticism and 2) the conclusion that Black women’s literary production is so advanced that there is no way to make a claim of unknowability with respect to US Black women today (or yesterday).  In what follows, I will articulate and explore these critiques. The first critique brings attention to just how wonderful Hardison’s commentary actually is for how it sets up the rules of engagement between us. The second critique can be used to tease out convergences and a potential divergence between Hardison’s position and my own.

The First Critique: Does E’rybody Have to be Historians or Literary Studies Scholars?

Since I neither claim to be a literary scholar nor a historian, I found no reason to deny the first (and by far most consistent) critique of this paper. This paper is not good intellectual history. And, plainly speaking, it is terrible literary criticism. Let me say this, for the record, I am neither an intellectual historian, nor a literary critic. And, with all due respect to those people who do these things well, I have no desire to be.

Hardison detected that she and I are coming to the same sets of problems with different trainings, different habits of attention, and, quite frankly, different projects. Because, no, I am not a literary critic. Hardison acknowledges our different orientations when she writes:

Whereas Dotson theorizes Jane Crow by outlining social features facilitating black women’s ‘unknowability,’ in literary studies, we might say black women’s ‘unknowability’ is actually a matter of audience, and more importantly, a problem of reception. (2018, 57)

Another place where differences in our respective approaches is foreshadowed is in the very first line of Hardison’s reply when she writes, “To acknowledge Jane Crow…is not the same as understanding how black women’s subjugation works – or why it persists,” (2018, 56). From the very first line, I was put at ease with Hardison’s commentary. Because however much we might disagree or agree, at least, she recognized my actual project. I treat Murray like a philosopher. In accordance with philosopher stone rules, e.g. like an element from which composite understandings can be derived. It was clear to me that even among Black feminist academics, potential audiences for this paper were simply unused to the kinds of flights of fancy that taking Black women as philosophers requires.[1]

Hardison didn’t have this problem at all. In other words, Hardison was, for me, a “brown girl’s heart” to receive what I was trying to articulate. For that I am so very grateful to her. I believe that Hardison understood what I was trying to do. I was treating Pauli Murray the way I would be allowed to treat any theoretical white dude. Like her work should be able to inspire more work with family resemblances. I treated Murray like there could and should be Murray-ians. And it was this move that I utterly refused to compromise on. It was also the move that inspired, in my estimation, the most resistance from anonymous reviewers. But Hardison got it. But, then, of course, she would get it. She does the same thing in her book, Writing Through Jane Crow (Hardison 2014). We treat Murray like a philosopher.

The performance of Hardison’s commentary accords very much with the existence of (and necessity of) “an empathetic black female audience” (Hardison 2018, 59). And what is uncovered between us is a great deal of agreement between her positions and my own and a potential disagreement. At this point, Hardison and I can talk to each other. But I want to draw attention to the fact it is Hardison’s commentary that sets the stage for this exchange in a way where our convergences and divergences can be fruitfully explored. And that is no easy feat. Hats off to Hardison. I am deeply grateful for her work here.

The Second Critique: Black Women’s Literary Production vs. Jane Crow Dynamics

The second most common critique of “Theorizing Jane Crow” concerned skepticism about whether US Black women could be understood as unknowable in the face of US Black women’s literary production. It was only in reading Hardison’s commentary that I realized, I may have misunderstood part of the critiques being leveled at me from (again) anonymous reviewers that were most likely Black feminist academics themselves. One might have misread my essay to say that Black women never afford each other the kind of empathetic audiences that are needed to render them, broadly speaking, knowable in hegemonic and counterhegemonic spaces. That the Black community at large never extends such empathy.

Or, in Hardison’s words, some may have taken me as advocating for “the conceit that black women’s narratives about their multivalent oppression registers similarly in hegemonic and counterhegemonic spaces” (2018, 56). Now, I am not sure if Hardison is accusing me of this. There is reason to believe that she isn’t but is rather choosing this point as a way of empathetically extending my remarks. For example, Hardison writes:

An analysis of African American women writers’ engagement with Jane Crow is outside the scope of Dotson’s epistemological story in “Theorizing Jane Crow, Theorizing Unknowability,” but their texts illuminate the philosophical conundrum she identifies. (2018, 57)

This suggests, to me, that Hardison detects the problem of Jane Crow unknowability in Black women writer’s work, even as they work to navigate and counter such unknowability with some degree of success.

Now, to be clear, unknowability, on the terms I outline, can be relative. One might argue that the difficulty of receiving a fair peer-review for this paper in a particular domain rife with either Black feminists with literary, historical, and/or sociological training means that hegemonic and counterhegemonic communities alike pose epistemological problems, even if they are not exactly the conditions of Jane Crow (and they aren’t). But those epistemological problems may have the same structure of the epistemological engine I afford to Jane Crow dynamics, e.g. disregard, disbelief, and disavowal. This is primarily because, epistemologies in colonial landscapes are very difficult to render liberatory (see, for example, Dotson 2015).[2]

Limits of Unknowability, Limits of a Single Paper

Still, for me, the most egregious misreading of “Theorizing Jane Crow” is to interpret me as saying that Black women are equally as unknowable to other Black women as they are in “hegemonic spaces” (56) and according “hierarchical epistemologies” (58). Yeah, that’s absurd. Hardison’s commentary extends my article in exactly the ways it needs to be extended to cordon off this kind of ludicrous uptake, i.e. that Black womenkind are equally unknowable to ourselves as we might be in the face of hegemonic epistemological orientations.[3]

But, as Hardison notes, an extensive development of the point that Black womenkind offer empathetic audiences to Black womenkind that render them knowable, at least “to themselves and each other” (Hardison 2018, 57), both for the sake of their own lives and for the sake of the lives of other Black womenkind, is outside the scope of my paper. Rather, I am concerned with, as Hardison rightly notes, “understanding how black women’s [Jane Crow] subjugation works – or why it persists” (2018, 56). And though I don’t think my essay indicates that Black womenkind are equally “unknowable” to each other in all instances, if that is a possible reading of my essay, thank goodness for Ayesha Hardison’s generous extension of this project to make clear that the performance of this text belies that reading.

Perhaps Hardison says it best, my “grappling with and suture of Murray’s philosophical fragments challenges the hierarchical epistemologies that have characterized black women as unknowable and unknowing,” (2018, 58). This is why I love Black feminist literary studies folks. Because, yes! The performance of this piece belies the message that there is no way for us to be known, especially by ourselves. And, what’s more, such an inexhaustible unknowing has to be false for the successful performance of this text. But then I am aware of that. So what else might I be attempting to articulate in this paper?

It strikes me that a charitable reading of the second main criticism leveled at this paper might proceed as follows:

From where does the charge of unknowability come in the face of the existence and quantity of US Black women’s literary and cultural production? This is an especially important question when you need Black women’s production to write about their ‘unknowability,” how can you claim that Black women are unknowable when the condition for the possibility of this account is that you take yourself to know something about them from their own production? This seems to be a contradiction.

Yes. It does seem like a contradiction or, if folks need a white male theorist to say something to make it real, it is a kind of differend- (Lyotard 1988).[4] Radically disappeared peoples, circumstances, and populations are often subject to problems with respect to frames, evidence and modes of articulation. Being disappeared is different than being invisible simpliciter, but then I make this claim in “Theorizing Jane Crow.”

Problems of large scale disappearing that affect entire populations, events, and historical formations render unknowable unknowability. This problematic seems to be what this second critique falls prey too, i.e. the disappearing of unknowability behind sense making devices (Dotson 2017). As the critique goes, if Black women are unknowable at the scale I seem to propose, then how do I know about this unknowability?[5] How, indeed.

I still reject this rendition of the second criticism, i.e. the one that says with all the literary production of Black womenkind we are no longer unknowable or else I wouldn’t know about a condition of unknowability. Jane Crow unknowability, in my estimation, is not subject to brute impossibilities, i.e. either we are knowable or unknowable. This is because Jane Crow is domain specific in the same ways Jim Crow was (and is). Also, Jane Crow is made of epistemological and material compromises. Hardison gets this. She is very clear that “Black women continue to be ‘unknowable’ in dominant culture due to its investment in white supremacy and patriarchy,” (Hardison 2018, 57).

But, let’s get something clear, an “investment” is not only a set of attitudes. It is composed of sets of institutional norms (and institutions through which to enact those norms). Sets of norms of attention. Sets of historically derived “common sense” and “obvious truths” that routinely subject Black womenkind to Jane Crow dynamics. It is composed of social and material relations that make sense because of the investments that invest them with sense.

Jane Crow as a Dynamic of Complex Social Epistemology

Jane Crow dynamics, when they appear, are built into the functioning of institutions and communal, social relations. They are embedded in the “common sense” of many US publics- including counterhegemonic ones- because I am presuming we are assuming that some Black communities indulge in patriarchy, which is what lead Murray to her observations (See, Hardison 2018). And though Black women can disrupt this in pockets it does not change the epistemological and material conditions that are reinforcing and recreating Jane Crow dynamics for every generation. And it doesn’t change the reality that there is a limit to our capacity to change this from within Jane Crow dynamics. So, we write ourselves into existence again and again and again.

Hardison acknowledges this, as she astutely notes, “Although I engage Pauli Murray as a writer here to offer a complementary approach to Dotson’s theorizing of Jane Crow, I do not claim that black women’s writings irons out Jane Crow’s material paradoxes,” (2018, 62). And this is the heart of my disagreement with the second major critique of this essay. Are those critics claiming that epistemological possibilities brought by Black women’s literary production iron out material paradoxes that, in part, cause Jane Crow dynamics? Because, that would be absurd.

But here is where I appear to disagree with Hardison. Is Hardison claiming that epistemological possibilities have ironed out Jane Crow’s epistemological paradoxes? Because I sincerely doubt that. Schedules of disbelief, disregard, and disavowal are happening constantly and we don’t have great mechanisms for tracking who they harm, whether they harm, and why (on this point, see Dotson and Gilbert 2014).

This leads to a potential substantive disagreement between Hardison and I. And it can be found in the passage I cited earlier. She writes:

Whereas Dotson theorizes Jane Crow by outlining social features facilitating black women’s ‘unknowability,’ in literary studies, we might say black women’s ‘unknowability’ is actually a matter of audience, and more importantly, a problem of reception. (2018, 57)

There is a potential misreading of my text here that seems to center on different understandings of “epistemological” that may come from our different disciplinary foci. Specifically, I don’t necessarily focus on social features. I focus on epistemic features facilitating black women’s unknowability, when we encounter it. That is to say, disregard, disbelief, and disavowal are epistemic relations. They are also social ways of relating, but, importantly, in my analysis they are socio-epistemic. What that means is that they are social features that figure prominently in epistemological orientations and conduct. And these features are embedded in what makes audiences and uptake relevant for this discussion. That is to say, the reasons why audiences matter, and problems of reception are central, is because varying audiences indulge in disregard, disbelief, and disavowal differently.

So, the juxtaposition that might be assumed in Hardison’s statement of the focus in literary studies, which is indicated by the phrase “actually a matter of,” is not a difference in kind, but rather a difference in emphasis. I am tracking the kinds of things that makes audience and problems of reception important for rendering anything knowable in social worlds, e.g. disregard, disbelief, and disavowal. Because it is there, as a philosophy-trained academic, that I can mount an explanation of “how black women’s [Jane Crow] subjugation works -or why it persists” (Hardison 2018, 56).

The Great Obstacles of Abolishing Jane Crow

In the end, this may not be a disagreement at all. I tend to think of it as a change in focus. My story is one story that can be told. Hardison’s story is another. They need not be taken as incompatible. In fact, I would claim they are not incompatible but, as Hardison notes, complementary (2018, 62). They uncover different aspects of a complicated dynamic. One can focus on the problems of audience and reception. And I think that this is fruitful and important. But, and this is where Hardison and I might part company, focusing on these issues can lead one to believe that Jane Crow dynamics are easier to abolish than they are.

One might suspect, as some of the anonymous reviewers of this essay have, that all the literary production of US Black womenkind means that US Black womenkind don’t actually face Jane Crow dynamics. Because, and this seems to be the take-home point of the second critique, and as Hardison explains, “Structural realities (and inequities) demand black women’s invisibility, but black women’s philosophical and literary efforts make them visible – first and foremost – to themselves” (2018, 57). And this is the crux of our potential disagreement.

What do we mean by “make them visible” and, more importantly, where? In the domains where they are experiencing Jane Crow dynamics, i.e. epistemological and material compromises, or in the domains where they, arguably, are not? Because the empathetic audiences of “brown girls” outside of institutions that operate to our detriment are not major catalysts for the problem of Jane Crow unknowability, on my account. This is where domain specificity becomes important and one must reject the conclusion (as I do in “Theorizing Jane Crow”) that Jane Crow unknowability is invisibility simpliciter.

As Hardison explains, Pauli Murray’s experiences with racial and gender subordination motivated her towards identifying and signifying Jane Crow oppression (along with constructing epistemological orientations with which to do so) (2018, 61). What the anonymous reviewers and Hardison insist on is that “These fragments of knowing identify black women’s autobiography as a vehicle for positive self-concept and social epistemology.”

Moreover, Hardison claims, and rightly so, that though “Black women writers do not ‘resolve our dilemmas,’…they do ‘name them.’ In a destructive culture of invisibility, for black women to call out Jane Crow and counter with their self-representation has substantive weight” (2018, 62). I agree with all of these conclusions about the importance of Black women countering Jane Crow dynamics, even as I wonder what it means to say it has “substantive weight.”

I question this not because I disagree that such countering has substantive weight. It does. But part of what has to be interrogated in the 21st century, as we continue to grow weary of living with centuries old problematics, what does the abolition of Jane Crow look like? Are there other forms of “substantive weight” to pursue in tandem to our historical efforts?

In asking this I am not attempting to belittle the efforts that have gotten us to this point- with resources and tools to “call out and counter” Jane Crow dynamics. My work in this paper is impossible without the efforts of previous and current generations of Black womenkind to “name” this problem. Their work has been (and is) important. And for many of us it is lifesaving.  But- and yes, this is a ‘but,’ what next? I want a world other than this. And even if that world is impossible, which I half believe, I still want to work towards a world other than this today as part of what it means to live well right now. So, though this may be blasphemous in today’s Black feminist academy, I don’t think that Black women’s literary production is quite the panacea for Jane Crow dynamics that it is often assumed to be.[6] But then, from Hardison’s remarks, she doesn’t assume this either. How we come to this conclusion (and how we would extend it) may be quite different, however.

The Limits and Potential of Literary Production

And, yes, I think a focus on the socio-epistemic and material conditions of Jane Crow can help us detect the limits of relying on black women’s literary production for the abolition of Jane Crow dynamics, even if such production has an integral role to play in its abolition, e.g. producing knowledge that we use to form understandings about potential conditions of unknowability. And though I would argue that black women’s cultural production is key to worlds other than (and better than this). Because, as Hardison explains, such work helps us “confront the epistemic affront intrinsic to black women’s Jane Crow subjection,” (2018, 60).

I will still never argue that such production, by itself, can fix the problems we face. It cannot. But then, Hardison would not argue this either. As Hardison concludes, disruption of Jane Crow dynamics means a “a complete end to its material and epistemological abuses,” (2018, 62). Indeed- this is my position as well. In making this claim, we are not attempting to overshadow what has been (and continues to be) accomplished in US Black women’s literary production, but to continue to push our imaginations towards the abolition of Jane Crow.

Contact details: dotsonk@msu.edu

References

Dotson, Kristie. 2012. “A Cautionary Tale: On Limititng Epistemic Oppression.”  Frontiers: A Journal of Women Studies 33 (1):24-47.

Dotson, Kristie. 2013. “Radical Love: Black Philosophy as Deliberate Acts of Inheritance.”  The Black Scholar 43 (4):38-45.

Dotson, Kristie. 2014. “Conceptualizing Epistemic Oppression.”  Social Epistemology 28 (2).

Dotson, Kristie. 2015. “Inheriting Patricia Hill Collins’ Black Feminist Epistemology.”  Ethnic and Racial Studies 38 (13):2322-2328.

Dotson, Kristie. 2016. “Between Rocks and Hard Places.”  The Black Scholar 46 (2):46-56.

Dotson, Kristie. 2017. “Theorizing Jane Crow, Thoerizing Unknowability.”  Social Epistemology 31 (5):417-430.

Dotson, Kristie, and Marita Gilbert. 2014. “Curious Disappearances: Affectability Imbalances and Process-Based Invisibility.”  Hypatia 29 (4):873-888.

Hardison, Ayesha. 2018. “Theorizing Jane Crow, Theorizing Literary Fragments.”  Social Epistemology Review and Reply Collective 7 (2):53-63.

Hardison, Ayesha K. 2014. Writing Through Jane Crow: Racec and Gender Politics in African American Literarure. Charlottesville: University of Virginia Press.

Lyotard, Jean-Francois. 1988. The Differend: Phases in Dispute. Minneapolis: University of Minnesota Press.

[1] Nothing I am saying here is meant to indicate that literary critics are not (and can never be) philosophers. That is not a position I hold (Dotson 2016). Rather, the claim I am making is that treating people like philosophers can come with certain orientations. It takes extreme amounts of trust and belief that the person(s) whose thought one is exploring can act like a transformative element for the construction of composite understandings (Dotson 2013). It takes trust and belief to utilize someone else’s ideas to extend one’s own imagination, especially where those extensions are not written word for word. One way to treat a person’s work as philosophical work is to assume a form of authorship that allows one to use that work as a “home base” from which to explore and reconstruct the world that is implied in their abstractions. I call this activity, “theoretical archeology” (Dotson 2017, 418). And all I really meant to describe with that term was one way to take a writer as a philosopher. I had to become very detailed about my approach in this paper because of the propensity of anonymous reviewers to attempt to discipline me into literary studies or intellectual history.

[2] This is what I attempt to draw attention to in my work. The epistemological problems in Jane Crow, for example, are epistemological problems that might be able to exist without their corresponding material problems. The material problems in Jane Crow are material problems that might be able to exist without the epistemological problems. But in Jane Crow they are so linked up with each other that they reinforce and reproduce one another.  So, one can address the epistemological problems and leave the material ones (that eventually reintroduce those epistemological problems again). One can address the material problems and still leave the epistemological ones (that will eventually reintroduce those material problems again). Epistemic relations impact material relation and material relations impact epistemic relations, on my account. But they are not the same and they are not subject to domino-effect solutions. Fixing one does not mean one has fixed the other. And it is unclear one can make a claim to have fixed one without having fix both.

[3] If the reader needs more evidence that I have “figured this out,” see (Dotson 2012, 2016).

[4] There is a great deal about Lyotard’s account I would disagree with. But we are undoubtedly grappling with similar dynamics- though our subject population and approach differs significantly. Pauli Murray’s work pre-dates this formulation, however.

[5] I consider the appearance of this kind of seeming paradox to be a symptom of second order epistemic oppression. See (Dotson 2014).

[6] It may be my lower-socio-economic class background that makes it hard to accept the position that writing is going to save us all. I acknowledge that Black womenkind in the places where I am from needed literature and other cultural products for our survival (especially music, social and film medias. The kind of emphasis on writing in this exchange has a tinge of classism. But we can’t do everything here, can we? There is much more dialogue to be had on these issues.) Though, some might say, as Murray did that we need a “brown girl’s heart to hear” our songs of hope. I will agree with this and still maintain that I needed far more than that. When child protective services were coming to attempt to take me from my very good, but not flawless mother, I needed not only brown girl’s hearts. I also needed hierarchical epistemological orientations and oppressive, material conditions to lose hold.

Author Information: Ayesha Hardison, University of Kansas, hardison@ku.edu

Hardison, Ayesha. “Theorizing Jane Crow, Theorizing Literary Fragments.” Social Epistemology Review and Reply Collective 7, no. 2 (2018): 56-63.

The pdf of the article gives specific page references. Shortlink: https://wp.me/p1Bfg0-3UA

Please refer to:

Image by Trojan_Llama via Flickr / Creative Commons

 

To acknowledge Jane Crow, the term Pauli Murray contrived to unmask black women’s intersecting race and gender oppression, is not the same as understanding how black women’s subjection works—or why it persists. In “Theorizing Jane Crow, Theorizing Unknowability,” Kristie Dotson defines Jane Crow as a system of practices subjugating black women materially and epistemologically. That is, Jane Crow restricts black women’s inalienable rights to citizenship and limits their equitable access to resources.

Moreover, Jane Crow forecloses comprehension of the disenfranchisement it engenders. Dotson explains, “The complex bind of Jane Crow subordination is constituted by occupying simultaneous hyper-visibility, i.e. membership in social categories policed and suppressed for the maintenance of some form of supremacy, and invisibility, i.e. the limited nature of using those social categories to understand the specific nature of the subordination in question.”[1] Jane Crow, Dotson argues, singles out black women and girls for repression and control and summarily casts them as ciphers, nonentities “hidden in plain sight” despite statistics documenting their plight.[2] As a result of their concurrent hypervisibility and invisibility, black women are perceived as “unknowable” to the social, political, and cultural brokers upholding white supremacy and patriarchy. They are systematically targeted, branded as pathological, pared down to stereotype, regarded as disreputable, and ultimately deemed untenable.

I agree with Dotson: Jane Crow is a material and epistemological problematic manifest in black women’s longstanding repudiation in US hegemonic culture, a phenomenon theorized in black feminist thought since its beginnings. Black women have been relegated historically to the margins of black freedom struggles and women’s movements, and they continue to struggle for legibility in our post-civil rights moment particularly, as Dotson highlights, in the context of familiar narratives about the “endangered black male.”[3]

Yet, constitutive to black women’s epistemological quandary under Jane Crow, i.e. the way racism and sexism impacts their ability to produce knowledge, is the conceit that black women’s narratives about their multivalent oppression register similarly in hegemonic and counterhegemonic spaces. For example, a 2017 New York Times article uses the term Jane Crow to describe the practices of Children’s Services to punish poverty-stricken black and Hispanic women’s parenting by removing their children from their homes. The piece quotes a lawyer at length to indict the epistemic nature of the system’s biases:

There’s this judgment that these mothers don’t have the ability to make decisions about their kids, and in that, society both infantilizes them and holds them to superhuman standards. In another community, your kid’s found outside looking for you because you’re in the bathtub, it’s ‘Oh, my God’—a story to tell later. … In a poor community, it’s called endangering the welfare of your child.[4]

The state’s criminalizing narrative, based on discriminatory racial, gender, and economic geographies, exemplifies the distorted perspectives on black women’s structural disadvantages. Black women continue to be “unknowable” in dominant culture due to its investment in white supremacy and patriarchy. However, black women are not unknowable to themselves, especially if we consider their writing as epistemological endeavors instructive for their readers as well as their conceptualization of self.

An analysis of African American women writers’ engagement with Jane Crow is outside the scope of Dotson’s epistemological story in “Theorizing Jane Crow, Theorizing Unknowability,” but their texts illuminate the philosophical conundrum she identifies. From its conception, the African American women’s literary tradition has explored the realities of black women’s social condition under Jane Crow as well as considered, in its various fiction and nonfiction forms, the ways Jane Crow has shaped black women’s production of knowledge.

Pauli Murray’s own memoir Song in a Weary Throat (1987), which narrates the legal scholar’s civil rights activism throughout the twentieth century, makes concrete the material and epistemological injustices black women endure. Whereas Dotson theorizes Jane Crow by outlining the social factors facilitating black women’s “unknowability,” in literary studies, we might say black women’s “unknowability” is actually a matter of audience and, more importantly, a problem of reception. Structural realities (and inequities) demand black women’s invisibility, but black women’s philosophical and literary efforts make them visible—first and foremost—to themselves and each other.

“Theorizing Unknowability”

Dotson describes the conditions fostering black women’s invisibility as “a trifold structure of disappearing” that relies on “disregard, disbelief, and disavowal.”[5] First, black women occupy negative socio-epistemic space in hegemonic culture, which fixes them as unknowable. Public opinion largely classifies black women as irrelevant, and their social vulnerability permits rigid stereotypes that further their invisibility rather than inspire challenges to it. Dotson explains, “a catalyst for invisibility can be seen as, in part, epistemic failings with respect to what we use to make sense of our worlds that serves to obscure certain populations.”[6]

Second, black women experience reduced epistemic confidence, which means they are not afforded plausibility, seen as credible, or viewed as worthy subjects to be “believed in.”[7] In conjunction with the epistemic failings that encourage a disregard of black women, a common-held disbelief in black women delimits their capacity to contribute to the social production of knowledge.

Finally, black women are susceptible to heightened epistemic backgrounding, by which they are demoted to bit players in their own stories or employed as material for juxtaposition instead of subjects of inquiry. Such disavowal, Dotson expounds, displaces black women “as the backdrop of some other subject(s) of contemplation.”[8] Together these three negating environs underwrite black women’s invisibility, which effectively mystifies their Jane Crow oppression by the state and delegitimizes their discernment of their social status.

Dotson’s methodology invites a literary approach to her philosophical interrogation of Jane Crow’s epistemological assault. For example, she cites Toni Blackman’s poetry to exemplify black women’s negotiation of their presence so often mistaken for absence. However, when engaging Pauli Murray’s conceptualization of Jane Crow, Dotson focuses on Murray’s academic and public scholarship. She is careful to note that her work is not an intellectual history of Murray but a “theoretical archeology” of Jane Crow. “It is a story sketched between conceptual fragments in Black women’s social theory,” she writes.[9]

To compose an epistemological story, Dotson stitches together theoretical fragments from Murray’s 1947 article “Why Negro Girls Stay Single” and 1965 essay “Jane Crow and the Law: Sex Discrimination and Title VII.” She also mines a quote from Murray’s 1970 essay “The Liberation of Black Women,” in which Murray clarifies, “Jane Crow refers to the entire range of assumptions, attitudes, stereotypes, customs, and arrangements that have robbed women of a positive self-concept and prevented them from participating fully in society as equals with men.”[10]

Dotson highlights this fragment’s epistemological relevance by concentrating on the causes of Jane Crow oppression. She contends black women’s “unfavorable placement with respect to prevailing” assumptions, stereotypes, and customs sanctions the material effects and epistemic circumscriptions of Jane Crow.[11] In effect, her grappling with and suture of Murray’s philosophical fragments challenges the hierarchal epistemologies that have characterized black women as unknowable and unknowing.

I appreciate Dotson’s attentive epistemological reading, and I am struck also by the fragment’s reference to Jane Crow’s influence on black women’s “positive self-concept.” This, too, is epistemologically relevant, and I would go further to suggest that it is within fragments of Murray’s creative and nonfiction writing that an inchoate discourse about black women’s positive self-concept, which is often overlooked and undervalued, emerges.

Image by AntonSLarsson via Flickr / Creative Commons

 

“Creatively Theorizing The Black Female Autobiographical Self”

Murray was an accomplished writer as well as a distinguished legal scholar. In addition to academic articles and law compendiums, she produced a collection of poetry, a biography of her grandparents, and her posthumously-published memoir Song in a Weary Throat. The latter takes its title from Murray’s published poem “Dark Testament” (1943), which sketches African American history from African society, captivity, and slavery to impending freedom over the poem’s twelve sections. Its speaker relays, “Hope is a song in a weary throat.”[12] Noticeably, “hope” is not included in the title of Murray’s autobiography, but its affect resonates in her extraordinary life story as a black activist, feminist, lawyer, priest, and poet.[13]

The speaker of “Dark Testament” goes on to entreat, “Give me a song of hope and love/And a brown girl’s heart to hear it” (italics original). This fragment, just a few lines later, suggests that a song of hope does not achieve its full transformative power without a brown girl’s heart and ear—or to put it another way, without an empathetic black female audience. In the introduction to Murray’s poetry collection, Morris Milgram reveals the activist/poet thought of “Dark Testament,” a prodigious narrative, as “only a fragment and forerunner of the epic of black America yet to be written.”[14]

Nonetheless, the fragment frames Murray’s memoir as a song of hope. It also signals the importance of a black female reader to whom and for whom her production of knowledge would be regarded, believed, and avowed despite the presumptions of “unknowability” black women’s Jane Crow oppression provokes.[15]

In her essay “Being the Subject and the Object,” Barbara Christian recalls her experience reading African American women’s fiction, namely Paule Marshall’s novel Brown Girl, Brownstones (1959), for the first time. She writes that the “woman-voice” of the black female protagonist’s mother “constantly interrupted my mind-voice. Her anguish-rage warned me of trials I might have to face.”[16] Marshall’s coming of age tale resonated with Christian, as the latter internalized the lessons she gleaned from the protagonist’s racial and gender struggles.

The novel allowed Christian to confront the epistemic offense intrinsic to black women’s Jane Crow subjection. “In it,” she writes, “I as subject encountered myself as object.”[17] By reading black women’s writing, Christian distinguishes herself as a reader, a subject, from that which is read, an object. Her confrontation with herself as an object codified her abiding invisibility in American literature and culture even as it marked her obvious presence. Christian surmises Brown Girl, Brownstones “was crucial to a deeper understanding of my own life,” and she later learns from a conversation with Marshall that it was written “to unravel [the black female writer’s] own knots.” Central to the acts of reading and writing, then, is black women’s knowing.[18]

Christian’s reflection minds African American women’s fiction, but its premise is helpful for thinking about black women’s epistemic endeavors in nonfiction.[19] A cursory review of black women’s literary criticism in autobiographical studies reveals fragments theorizing their unknowability as well as their efforts to counteract it. In Black Women Writing Autobiography, Joanne Braxton expresses, “We have been knowers, but we have not been known.”[20] She elucidates that autobiography is a way for African American women to “meet,” or know, their mothers “on the conscious plane,” as exemplified by her study of the works of Harriet Jacobs, Ida B. Wells, Nina Simone, and Maya Angelou among others. “Defying every attempt to enslave or diminish them or their self-expression in any way,” Braxton writes, “black women autobiographers liberate themselves from stereotyped views of black womanhood, and define their own experiences.”[21]

Similarly, Margo Perkins contends that the autobiographies of Angela Davis, Assata Shakur, and Elaine Brown construct “an alternative history that challenges hegemonic ways of knowing.”[22] Finally in Words of Witness, Angela Ards asserts that personal narrative and political discourse intersect within an autobiography to create a “deliberative space where readers” can “imagine the new vocabularies and strategies that the moment demands.”[23] These fragments of knowing identify black women’s autobiography as a vehicle for positive self-concept and social epistemology.

In Song in a Weary Throat, Murray relays the moment she decided to write her memoir late in the narrative. While contemplating a faculty appointment at Brandeis in 1968, she explains, “Suddenly I realized that what I really wanted to do was to write an autobiographical book on Jim Crow and Jane Crow—racism and sexism as they had impinged upon my life.”[24] Murray elected to do both, to teach and write during the summer. Her purpose for penning the book, to write about sexism during the height of twentieth-century black freedom struggles, echoes her resolve to confront systemic oppression depicted throughout her memoir.

Earlier in the text Murray discloses her decision to attend Howard Law School “with the single-minded intention of destroying Jim Crow.”[25] However, it is during her time there that she began to theorize Jane Crow, “the twin evil of discriminatory sex bias,” as she was the only female student in her class at the all-black institution which had no women faculty and only one female staff member.[26] “[T]he racial factor was removed in the intimate environment of a Negro law school dominated by men,” she writes, “and the factor of gender was fully exposed.”

Murray describes experiencing the material affects of Jane Crow as well as its epistemological repercussions in this period of her life. She is excluded from the legal fraternity and its extended networks due to her gender. Although she characterizes her male classmates as “friendly,” she qualifies that they “seemed to take it for granted that I had nothing to contribute. For much of that first year I was condemned to silence unless the male students exhausted their arguments or were completely stumped by a professor’s question.”[27] Murray is barred customarily from adding to the class’s production of knowledge. Consequently, she writes that her realization “women were often the objects of ridicule disguised as a joke” by her classmates and professors “aroused an incipient feminism in me long before I knew the meaning of the term ‘feminism.’”[28]

Song in a Weary Throat details Murray’s experiences with racial and gender subordination, but it also outlines the processes of knowledge production that motivated her to identify and signify her Jane Crow oppression.[29] She theorizes the practice in law school, and she applies the term in her 1947 essay “Why Negro Girls Stay Single.” Yet, it is in the fragments of her autobiography that Murray demythologizes black female epistemologies. Song in a Weary Throat is an enlightening testament to black women’s production of knowledge.

Coda

In the conclusion of her essay, Dotson asks, “How does one disrupt epistemic resources that hide their inadequacy behind the shape of its own sense making features? … Would one aim an intervention at the nature of imagination as a means of disrupting knowledge economies?”[30] In response to these questions, she states many black feminists, such as Pauli Murray and Kimberlé Crenshaw, and many black women writers, such as June Jordan, Toni Morrison, and Audre Lorde, “have tried.”  Yet such a feat could only be accomplished with the demise of Jane Crow—a complete end to its material and epistemological abuses.

Although I engage Pauli Murray as a writer here to offer a complementary approach to Dotson’s theorizing of Jane Crow, I do not claim that black women’s writing irons out Jane Crow’s material paradoxes. I do want to suggest black women’s self-articulation provides them a way to mitigate the intellectual confines of Jane Crow. Black women writers do not “resolve our dilemmas,” to return to Christian’s insights about the literary tradition, but they do “name them.”[31]  In a destructive culture of invisibility, for black women to call out Jane Crow and counter with their self-representation has substantive weight.

Contact details: hardison@ku.edu

References

Ards, Angela A. Words of Witness: Black Women’s Autobiography in the Post-Brown Era. Madison: University of Wisconsin Press, 2015.

Bobo, Jacqueline.  Black Women as Cultural Readers. New York: Columbia, 1995.

Braxton, Joanne M. Black Women Writing Autobiography: A Tradition within a Tradition. Philadelphia: Temple University Press, 1989.

___. “Autobiography and African American Women’s Literature.” African American Women’s Literature. Eds. Angelyn Mitchell and Danille K. Taylor.  Cambridge, UK: Cambridge University Press, 2009. 128-147.

Christian, Barbara. “Being the Subject and the Object: Reading African-American Women’s Novels.” New Black Feminist Criticism, 1985-2000. Eds. Gloria Bowles, M. Giulia Fabi, and Arlene R. Keizer. Urbana: University of Illinois Press, 2007. 120-126.

Clifford, Stephanie and Jessica Silver-Greenberg. “Foster Care as Punishment: The New Reality of ‘Jane Crow.’” New York Times July 21, 2017. Accessed January 31, 2018 https://www.nytimes.com/2017/07/21/nyregion/foster-care-nyc-jane-crow.html

Cooper, Brittney C. Beyond Respectability: The Intellectual Thought of Race Women. Urbana: University of Illinois Press, 2017.

Dotson, Kristie. “Theorizing Jane Crow, Theorizing Unknowability.” Social Epistemology: A Journal of Knowledge, Culture and Policy 31:5 (2017) 417-430.

Graham, Maryemma. “Introduction.” The Cambridge Companion to the African American Novel. Cambridge, UK: Cambridge University Press, 2004. 1-16

Hardison, Ayesha K. Writing through Jane Crow: Race and Gender Politics in African American Literature. Charlottesville: University of Virginia Press, 2014.

Perkins, Margo V. Autobiography as Activism: Three Black Women of the Sixties. Jackson: University Press of Mississippi, 2000.

Petry, Ann. The Street. 1946. Boston: Houghton Mifflin Company, 1998.

Milgram, Morris. “Introduction.” Dark Testament and Other Poems. Norwalk, CT: Silvermine, 1970.

Murray, Pauli. “Dark Testament.” 1943. Dark Testament and Other Poems. Norwalk, CT: Silvermine, 1970. 12-27.

___. Song in a Weary Throat: An American Pilgrimage. New York: Harper & Row, Publishers, Inc., 1987.

___. “The Liberation of Black Women.” 1970. Words of Fire: An Anthology of African-American Feminist Thought. Ed. Beverly Guy Sheftall. New York: The New Press, 1995. 186-197.

[1] Kristie Dotson, “Theorizing Jane Crow, Theorizing Unknowability,” Social Epistemology: A Journal of Knowledge, Culture and Policy 31:5 (2017): 417.

[2] Ibid., 420, 425.

[3] Ibid. The degree of black women’s visibility in the current #metoo campaign is also debatable, given the limited discussion of their experiences in Hollywood despite the hashtag’s origin in black female activist Tarana Burke’s grassroots organizing around sexual abuse.

[4] Maisha Joefield, the mother penalized under these circumstances, shares in the article that the temporary removal of her child still makes her nervous: “You’re afraid to parent the way you would normally parent.” The ritualized castigation of poor black mothers with scarce options for childcare speak to the circuitous material and epistemological aspects of their Jane Crow oppression. Stephanie Clifford and Jessica Silver-Greenberg, “Foster Care as Punishment: The New Reality of ‘Jane Crow,’” New York Times July 21, 2017, Accessed January 31, 2018, https://www.nytimes.com/2017/07/21/nyregion/foster-care-nyc-jane-crow.html.

[5] Dotson, “Theorizing Jane Crow, Theorizing Unknowability,” 426.

[6] Ibid., 423.

[7] Ibid., 424.

[8] Ibid.

[9] Ibid., 418.

[10] Pauli Murray, “The Liberation of Black Women,” 1970, Words of Fire: An Anthology of African-American Feminist Thought, edited by Beverly Guy-Sheftall (New York: The New Press, 1995), 186.

[11] Dotson, “Theorizing Jane Crow, Theorizing Unknowability,” 421.

[12] Pauli Murray, “Dark Testament,” Dark Testament and Other Poems (Norwalk, CT: Silvermine, 1970), 22.

[13] Murray’s public identities are the subtitle to the eponymously titled 1989 edition of her autobiography.

[14] Morris Milgram, “Introduction,” Dark Testament and Other Poems (Norwalk, CT: Silvermine, 1970), n pag.

[15] Jacqueline Bobo differentiates the interpretive community black women create from audiences that passively consume representations perpetuating black women’s ideological domination. Within an interpretive community, “women utilize representations of black women that they deem valuable, in productive and politically useful ways” to challenge their cultural subordination. Jacqueline Bobo, Black Women as Cultural Readers (New York: Columbia, 1995), 22.

[16] Barbara Christian, “Being the Subject and the Object: Reading African-American Women’s Novels,” New Black Feminist Criticism, 1985-2000, edited by Gloria Bowles, M. Giulia Fabi, and Arlene R. Keizer (Urbana: University of Illinois Press, 2007), 121.

[17] Ibid., 122.

[18] African American women’s fiction also theorizes black women’s Jane Crow oppression. For example, Ann Petry’s novel The Street, published in 1946 one year before Murray’s essay “Why Negro Girls Stay Single,” examines Lutie Johnson’s interlocking racial, gender, class, and sexual oppressions as a single mother and domestic worker in Harlem during WWII. Lutie is aware of her invisibility among her white employers, who assume she is promiscuous, and she questions the purpose of being taught how to write, as her voice is undermined throughout the novel. Of course, the existence of Petry’s novel attests to the importance of black women writing and sharing their stories.

[19] The social aims of black women’s fiction and life writing are not mutually exclusive. Maryemma Graham points out “the autobiographical impulse in the African American novel. The continuous need to explain and ‘inscribe the self’ in a world which has historically denied the existence of that self gives both focus and intensity to the act of writing a story about black life.” Maryemma Graham, “Introduction,” The Cambridge Companion to the African American Novel (Cambridge, UK: Cambridge University Press, 2004), 5.

[20] Joanne M. Braxton, Black Women Writing Autobiography: A Tradition within a Tradition (Philadelphia: Temple University Press, 1989), 1.

[21] Joanne M. Braxton, “Autobiography and African American Women’s Literature,” African American Women’s Literature, edited by Angelyn Mitchell and Danille K. Taylor (Cambridge, UK: Cambridge University Press, 2009), 128.

[22] Margo V. Perkins, Autobiography as Activism: Three Black Women of the Sixties (Jackson: University Press of Mississippi, 2000), xii.

[23] Angela A. Ards, Words of Witness: Black Women’s Autobiography in the Post-Brown Era (Madison: University of Wisconsin Press, 2015), 16.

[24] Pauli Murray, Song in a Weary Throat: An American Pilgrimage (New York: Harper & Row, Publishers, Inc., 1987), 388.

[25] Ibid., 182.

[26] Ibid., 183.

[27] Ibid., 183-184.

[28] Ibid., 183, 184.

[29] Murray’s autobiography foregrounds her battles with racism and sexism in her public life to the exclusion of her efforts to understand her queer and nonnormative sexual and gender identities in her private life. Brittney Cooper’s intellectual history of Murray highlights the ways Jane Crow and the politics of respectability inform black women’s praxis as “knowledge producers” (102). She reveals, “at exactly the same moment that [Murray] named Jane Crow as a form of sexist discrimination that she experienced as a woman, she was frequently being hospitalized for depression related to her struggle with her gender identity” (100). In my own work on Murray, I argue Song in a Weary Throat “resounds with silence” about her struggle with her gender identity due to Jane Crow’s “literary inscriptions” for black women’s self-representation (17, 15). Brittney C. Cooper, Beyond Respectability: The Intellectual Thought of Race Women (Urbana: University of Illinois Press, 2017); Ayesha K. Hardison, Writing through Jane Crow: Race and Gender Politics in African American Literature (Charlottesville: University of Virginia Press, 2014).

[30] Dotson, “Theorizing Jane Crow, Theorizing Unknowability,” 426.

[31] Christian, “Being the Subject and the Object,” 122.