Social media engagement means losing and finding oneself on a sea of disparate and divergent rhythms, which in this chapter is taken as both material condition and metaphor for the mixture of playful surprise and persistent dread that characterizes the digital dimension of contemporary Black life in the United States. This chapter reads together a collection of technologies, digital and nondigital texts, and memory to explore how contemporary Black social media protest draws on and extends legacies of Black textual play.

Chapter 19 sets forth the substantial understanding of ecumenism promoted by Ratzinger with his writings and ecclesial actions.

Much contemporary antiracist and African Americanist scholarship – especially since the 2008 election of President Barack Obama – has assumed a decidedly cynical orientation toward ideas of “post-racialism.” Scholars, journalists, and activists have rightly detected, in numerous deployments of the term, a kind of bad faith utopianism espoused as a cover for political retreat from progressive, race-conscious policies. This chapter recognizes the merits of such anti-post-racial critiques, but also argues against the summary dismissal of the term. More pointedly, the chapter argues for a rethinking of post-racialism that acknowledges and grapples with a long, ideologically heterogeneous history of African American investments in and ambivalence toward the race concept. The upshot of this rethinking is not a defense of post-racialism as such, but a richer and more dynamic portrait of post-racialism’s historical force, social currency, and inner workings. The chapter takes inspiration from, and proceeds through close readings and intertextual analyses of, Danzy Senna’s 2017 novel, New People.

Chapter 16 surveys Ratzinger’s understanding of modernity in relation to Christian revelation and his proposals for an intelligent engagement of the Gospel with today’s society.

Chapter 20 explores the theological foundation and importance of Christian dialogue with religions, in particular Judaism, in Ratzinger’s thought.

This chapter grows out of the strain of queer theory that revolves around questions of time. Many thinkers make sense of queer subjects by exploring their complex relationships to the past, present, and future as well as what time signifies in this context. Taking seriously the critical linkage between queerness and temporality, I consider how queer bodies make us aware of time – whether through temporal refusal, embrace, or displacement. I argue that contemporary novelists Mia McKenzie and Robert Jones, Jr., use queer characters to reorient narrative understandings of time and present new possible relationships to time. McKenzie’s The Summer We Got Free (2013) and Jones’s The Prophets (2021) both attend to the past to write Black queer life, and, in doing so, these authors provide meditations on time and the writing of history. Beginning with a consideration of the larger historical context of Black queer writing from the end of the twentieth century, the chapter highlights the narrative questioning of the temporal placement and meaning of the Black queer body and draws a connection between the narrative construction and conceptions of temporality that disrupt prevalent ways of thinking about time. In these texts, time emerges as a queer formation.

Understanding contemporary African American literature, this chapter argues, requires accounting for the rich, multifaceted dialogue between Black literary production and the visual arts. This chapter traces what Toni Morrison called the “alliances and alignments” between literature and the other arts by analyzing the aesthetics and themes of contemporary African American writing and examining the cross-arts influences that shaped it. The dialogue between African American literature and visual culture is part of a much longer tradition, and contemporary writers have built on many earlier precedents. But this chapter also unpacks how important historical changes, including developments in media technology and the rise of Black art institutions, have generated new and more numerous intersections between Black literary and artistic cultures since the 1970s. Focusing on three key spaces that provided material support and thematic inspiration for Black writers’ experiments with visual art – the home, museum, and university – this chapter examines how authors working in a range of literary genres, including novels, poetry, plays, screenplays, memoirs, and essays, engaged with a variety of visual arts, including painting, film, sculpture, and photography. The influences and aesthetics of visual culture, the chapter shows, powerfully infuse the work of many writers today.

Chapter 1 considers the academic teachers who were instrumental in Ratzinger’s formation and the historical theologians he engaged with in the shaping of his own theology.

Chapter 9 presents Ratzinger’s theology of creation, in which he emphasizes the ontological goodness of the created world and promotes an integral vision of human ecology.

Chapter 18 reviews Ratzinger’s spiritual insights regarding the understanding and practice of the theological virtues.

Chapter 17 studies Ratzinger’s theological and practical contribution to the challenges of preaching in our times.

Chapter 10 explores key themes of Ratzinger’s Christology, such as the importance of a canonical reading of the Gospels and the personal encounter with Jesus Christ.

Chapter 21 offers a synthetic presentation of Ratzinger’s general contribution to theology and the life of the Church.

In the five decades since the publication of Ishmael Reed’s Mumbo Jumbo (1972), the satirical mode of discourse has arguably been more prominent in American popular culture than at any point in the nation’s history. Although the 1960s produced innumerable exemplary satires in various genres, the subsequent decades feature an even greater density of significant works that express political, social, and cultural criticisms through the absurdism, parody, polyvocality, and other distinctive characteristics of the satirical mode. Mumbo Jumbo both indicates and accelerates the predominance of what Steven Weisenburger identifies as a "degenerative" satirical mode that fundamentally reorients the nature of both American literature generally and African American literature specifically. Contemporary African American satire remains a literature of dissent, even though it seemingly bears scant relation to either midcentury “protest novels” or the wide range of “uplift” narratives common to both the Harlem Renaissance and the Black Arts Movement. In the hands of African American authors, degenerative satire is intensely skeptical of a wide range of ideologies that have contributed to the construction, representation, and (de)valuation of blackness as both an individual and collective identity in the contemporary United States.