Abstract This essay argues that the serial murderer's rituals are homologous to those that structure the more quotidian or administrative, but equally sadistic, forms of violence against fungible bodies in US civil society. At stake in this homology is recognizing that the sadism publics so readily associate with the depraved serial killer are present in the many cruelties that such publics enthusiastically condone and enjoy. Serial murder is a modernist ritual among many others, and its capacity to induce affective investment from consuming publics, just as surely as the killer himself, is a function of what I am calling sadistic form. To clarify this argument, the essay reads serial killer Ted Bundy's many crimes as ritualistic enactments of sadistic form, as well as the varied responses during his 1989 execution. In so doing, I illustrate how different rituals function to obscure or amplify the sadism to which they give expression.

ABSTRACT This essay develops a reception history of the Communist Party of the USA’s (CPUSA) responses to Richard Wright’s Native Son. Drawing on what Fiona Paton calls “cultural stylistics,” I argue that the voices residing in Native Son itself participated in the broader interpretive politics surrounding the novel. Specifically, Wright’s primary character, Bigger Thomas, functioned as a disruptive performance of blackness that revealed the limitations of communist orthodoxy for bringing expression to black subjectivity. I conclude by reflecting on the ways cultural stylistics poses salient ethical challenges to all of us who engage in the labor of critique.

With the publication of books such as Michelle Alexander’s The New Jim Crow: Mass Incarceration in the Age of Colorblindness and the release of Ava DuVernay’s documentary 13th, as well as mass mobi...

In 1970, black autoworker James Johnson, Jr., fatally shot three people at Chrysler’s Eldon Avenue Gear and Axel Plant in Detroit. The shooting occurred three years after a devastating urban uprising and in the context of black militant labor organizing in local automotive plants. After a legal defense arguing racism and labor exploitation provoked his actions, Johnson was found not guilty for reasons of insanity. In this essay, I attend to the defense strategy that attempted to retain the political critique implicit in Johnson’s “black rage” while working within the constraints of jurisprudential and clinical notions of “insanity.” The Johnson case suggests that the mobilization of black affect is an always-ambivalent endeavor that can enable radical critique and political practice, while also subordinating black rhetorical agency.