The second section foregrounds methodological approaches to twenty-first century fiction, starting with Candice Jenkins’s examination of Afro-Futurism and Afro-Pessimism as conceptual frameworks within which contemporary African American fiction has represented the past and present during “the Black Lives Matter era.” Discerning an inherently speculative quality to the two separate bodies of thought, Jenkins argues they share a “a certain radicalism–one inclined towards both building and destroying worlds.” This speculative radicality infuses the work of a remarkably broad range of writers, including N. K. Jemisin, Jesmyn Ward, Colson Whitehead, with the generatively imagined restructured societies derived not from utopianism, but the negative affects of intractable historical racism.

Chapter 4 interprets funerals and second lines performed since Hurricane Katrina to articulate an ethics of mourning and hospitality. In the context of post-Katrina New Orleans, these second lines perform memorials for all those who died or were dispossessed during the storm and have been unable to return. They are simultaneously forms of mourning and protest, occupying public space in resistance to government policies of diaspora. Drawing on trauma theory, I argue that Katrina can only be understood from a morally and politically engaged position, and healing can only happen within this context. Furthermore, I build on Jacques Derrida’s work on hospitality to link mourning and repair in post-Katrina New Orleans, illuminating the ways the people of New Orleans articulated an ethics for climate disruption through solidarity and social care. I conclude with a reading of Jesmyn Ward’s novel Salvage the Bones, which depicts the empathy, care, and courage of an African American family in the bayou during the storm.

Recent research by climate scientists suggest that New Orleans, much of which is below sea level and protected from the sea only by a rapidly eroding marshland, may someday become uninhabitable. The city’s literature of the last few decades has been preoccupied with the theme of fatalism and apocalypse, and the deadly epidemics of the nineteenth century have provided rich symbolic terrain for figuring the troubles that “plague” the city and that will someday mean its end. Some recent work by women of color – notably Erna Brodber and Brenda Marie Osbey – delineates a different literary project, one appropriate to a post-apocalyptic diaspora, namely the work of remembering. Both the traditional fatalism and this emerging interest in memory will likely be central themes to watch for in the major literature associated with the New Orleans in coming decades.