From the novels of Toni Morrison to the music of Beyoncé Knowles, the cultural prevalence of a transnational black identity, as created by African American women, is more than a product of geographic mobility. Rather, as author Simone C. Drake shows, these constructions illuminate our understanding of a chronically marginalized demographic. In Critical Appropriations, Drake contends that these fluid and hetero-geneous characterizations of black females arise from multiple creative outlets - literature, film, and music videos - and reflect African Ameri-can women's evolving concept of home, community, gender, and family. Through a close examination of Toni Morrison's Paradise, Danzy Senna's Caucasia, Gayl Jones's Corregidora, Erna Brodber's Louisiana, and Kasi Lemmons's film Eve's Bayou, as well as Beyoncé Knowles's B-Day album and music-video collaboration with Shakira, ""Beautiful Liar,"" Drake reveals how concepts of hybridity - whether positioned as créolité, Candomblé, négritude, Latinidad, or Brasilidade - are appropriated in each work of art as a way of challenging the homogeneous paradigm of black cultural studies. This redefined notion of identity enables African American women to embrace a more complex, transnational blackness that is not only more liberating but also more pertinent to their experiences. Drawing from this borderless exchange of ideas and a richer concept of self, Critical Appropriations offers a rewarding reconsideration of the creative implications for African American women, mapping new directions in black women's studies.
From the novels of Toni Morrison to the music of Beyoncé Knowles, the cultural prevalence of a transnational black identity, as created by African American women, is more than a product of geographic mobility. Rather, as author Simone C. Drake shows, these constructions illuminate our understanding of a chronically marginalized demographic.
