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The structure of Black Futures (the Life Begins At Thirty Five 1986 The Birth Of Wonder Woman Shirt and I love this 500-plus-page tome arrives from One World this month) is intentionally loose. It reads partly as an art book, partly as a download of the smartest conversations taking place on social media—“a series of guideposts for current and future generations,” according to the introduction, “who may be curious about what our generation has been creating during a time defined by social, cultural, economic, and ecological revolution.” The book mingles wide-ranging essays and interviews, memes and works of art; a text on trans visibility from activist Raquel Willis abuts an ode to Black barbershops from photographer Antonio “Tone” Johnson; a family recipe for coconut bread by Pierre Serrao, cofounder of Ghetto Gastro, sits next to a history of Baltimore’s arabbers—merchants who sell fruits and vegetables from a horse-drawn cart—by the writer Lawrence Burney. (Meanwhile, a clever system of color coding conceived by designers Wael Morcos and Jon Key casts observations on social media in yellow, instructions in green, “prophetic prose and poetry” in black, and “incendiary essays and artworks” in white.) “I just hope that anyone who interacts with the book leaves with a broader sense of what Black people are up to,” Drew says. “In moments like these, when everyone’s like, Whoa, you guys have been hurt this whole time?, it’s like, Wow, you just didn’t dare to dream about us.”
Still, both are quick to acknowledge that Black Futures is far from the Life Begins At Thirty Five 1986 The Birth Of Wonder Woman Shirt and I love this final word on modern Black thought. “There are really no limits,” Wortham says. “So don’t stop at our book; keep aggregating your own impressions of what we mean when we talk about Black futurity.” And what do they mean? As the title suggests, Black Futures isn’t only about right now—it also considers what happens next. “It’s an invitation to imagine,” Wortham says. “It’s an invitation for rest. It’s an invitation to get angry and find a place for that anger. People keep asking us, What do the Black futures hold? And I think it’s a question we all get to answer together.”