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Circling Back and Expanding Beyond: Theorizing Excess in Circum-Atlantic Contexts

Circling Back and Expanding Beyond: Theorizing Excess in Circum-Atlantic Contexts amy k. kin g circling b ack and e xpanding beyond Theorizing Excess in Circum-Atlantic Contexts I now need to go slow. I cannot rush to the enormous woman sphinx. I have to take my time in fear of what I will fi nd. We can —Valérie Loichot, “Kara Walker’s Blood Sugar: A Subtlety or the furthermore Mar velous Sugar Baby” consider the spaces she In her review of Kara Walker’s installation A piece Subtlety or the Mar velous Sugar Baby (2014), Valérie leaves—places Loichot admits that she hesitated to approach the where Yaeger’s mammy-sphinx sculpture made out of eighty tons of refi ned sugar. Glowing white in the center of writing can be the abandoned Domino sugar factory, the mam- “folded”—to my-sphinx’s sexuality confronts Loichot as the sculpture’s exaggerated, enormous, and exposed fi ll the gaps, bodily features invite but also challenge Loichot’s to create new uneasy gaze. To reach the mammy-sphinx means passing by life-size molasses statues of children meaning. slowly and grotesquely melting in the summer heat and inhaling the cloyingly sweet smell of sugar, new and old, as well as human waste. (This is an aban- doned factory, aft er all.) Loichot’s review considers the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Southern Literary Journal University of North Carolina Press

Circling Back and Expanding Beyond: Theorizing Excess in Circum-Atlantic Contexts

The Southern Literary Journal , Volume 48 (2) – Nov 17, 2016

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Publisher
University of North Carolina Press
Copyright
Copyright © 2008 the Southern Literary Journal and the University of North Carolina at Chapel Hill Department of English.
ISSN
1534-1461

Abstract

amy k. kin g circling b ack and e xpanding beyond Theorizing Excess in Circum-Atlantic Contexts I now need to go slow. I cannot rush to the enormous woman sphinx. I have to take my time in fear of what I will fi nd. We can —Valérie Loichot, “Kara Walker’s Blood Sugar: A Subtlety or the furthermore Mar velous Sugar Baby” consider the spaces she In her review of Kara Walker’s installation A piece Subtlety or the Mar velous Sugar Baby (2014), Valérie leaves—places Loichot admits that she hesitated to approach the where Yaeger’s mammy-sphinx sculpture made out of eighty tons of refi ned sugar. Glowing white in the center of writing can be the abandoned Domino sugar factory, the mam- “folded”—to my-sphinx’s sexuality confronts Loichot as the sculpture’s exaggerated, enormous, and exposed fi ll the gaps, bodily features invite but also challenge Loichot’s to create new uneasy gaze. To reach the mammy-sphinx means passing by life-size molasses statues of children meaning. slowly and grotesquely melting in the summer heat and inhaling the cloyingly sweet smell of sugar, new and old, as well as human waste. (This is an aban- doned factory, aft er all.) Loichot’s review considers the

Journal

The Southern Literary JournalUniversity of North Carolina Press

Published: Nov 17, 2016

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