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The Black Radical Tragic: Performance, Aesthetics, and the Unfinished Haitian Revolution

When was — or is? — the Haitian Revolution? The deliberately complex temporal engagements of Jeremy Matthew Glick’s The Black Radical Tragic: Performance, Aesthetics, and the Unfinished Haitian Revolution are signaled on its cover, which notes the book’s inclusion in NYU Press’s “America and the Long 19th Century” series. It was — is — a very long 19th century indeed, one that, in Glick’s hands, incorporates 20th-century aesthetic reverberations of a late 18thand early 19th-century uprising that upended an imperial and colonial project begun centuries prior. Though driven by political urgency in the face of “current neoliberal coordinates” and antiblack racism, The Black Radical Tragic anchors its investigations in the 20th-century philosophical and theatrical traditions of black radicalism and Haitian revolutionary drama (5). As such, it joins contemporary works by scholars such as Fred Moten, Robin D.G. Kelley, David Scott, and Sylvia Wynter in thinking through the relationship between black aesthetics and black politics.