In Queer Tidalectics, Emilio Amideo investigates how Anglophone writers James Baldwin, Jackie Kay, Thomas Glave, and Shani Mootoo employ the trope of fluidity to articulate a Black queer diasporic aesthetics. Water recurs as a figurative and material site to express the Black queer experience within the diaspora, a means to explore malleability and overflowing sexual, gender, and racial boundaries. Amideo triangulates language, the aquatic, and affect to delineate a Black queer aesthetics, one that uses an idiom of fluidity, slipperiness, and opacity to undermine and circumvent gender normativity and the racialized heteropatriarchy embedded in English. The result is an outline of an ever-expanding affective archive of experiential knowledge.
Amideo engages and extends the work of Black queer studies, Oceanic studies, ecocriticism, phenomenology, and new materialism through the theorizations of Sara Ahmed, Omise’eke Natasha Tinsley, M. Jacqui Alexander, Édouard Glissant, José Esteban Muñoz, and Edward Kamau Brathwaite, among others. Ambitious in scope and captivating to read, Queer Tidalectics brings Caribbean writers like Glissant and Brathwaite into queer literary analysis—a major scholarly contribution.
Acknowledgments
Introduction: Fluid Language and Black Queer Diasporic Aesthetics
1. The Sub(merged)text in James Baldwin’s Giovanni’s Room
2. Waves of Sound, Gender Fluidity and Shifting Kinships in Jackie Kay’s Trumpet
3. To Breathe in Water: Alternative Voicing of Queer Belonging in Thomas Glave’s Work
4. Time (Un)flowing and Sideways Movement in Shani Mootoo’s Moving Forward Sideways Like a Crab
Conclusions: Fluid Archives of the Black Queer Diaspora
Notes
Bibliography
Index