Kirin Wachter-Grene – författare

This Element argues that the sex worker character in crime narratives, often dismissed as a flat stereotype or mere plot device, actively performs crucial narratological labor that shapes the novel's realism and challenges conventional understandings of character, agency, and social reproduction. By applying Alex Woloch's theory of character-space and drawing on contemporary Black feminist scholarship that privileges power, pleasure, and desire, this study reveals how sex worker characters, through their evolving representation from marginal figures to central agents, resist narrative containment and illuminate broader socio-cultural tensions surrounding gender, class, and authority within the genre.

This Element argues that the sex worker character in crime narratives, often dismissed as a flat stereotype or mere plot device, actively performs crucial narratological labor that shapes the novel's realism and challenges conventional understandings of character, agency, and social reproduction. By applying Alex Woloch's theory of character-space and drawing on contemporary Black feminist scholarship that privileges power, pleasure, and desire, this study reveals how sex worker characters, through their evolving representation from marginal figures to central agents, resist narrative containment and illuminate broader socio-cultural tensions surrounding gender, class, and authority within the genre.

A radically new framework for understanding the relationship between race, eroticism, representation, and literary formWhat happens when African American literature ceases to labor under the demands of racial representation, political redemption, and liberationist expectation? What emerges when Black writers break the barrier of convention and dare to imagine desires, pleasures, and forms of self-subjection that appear to run counter to political common sense?To explore these questions, Kirin Wachter-Grene draws on the work of Samuel R. Delany, Gayl Jones, Toni Morrison, Octavia Butler, Chester Himes, Gary Fisher, and others, developing the concept of Black kenosis: a gesture of self-emptying through which writers detach African American literature from the political and aesthetic obligations historically imposed upon it. In these texts, scenes of erotic surrender, domination, contradiction, and excess do not allegorize racial oppression, nor do they offer straightforward lessons in emancipation. Instead, they expose desires and imaginative possibilities that cannot be contained by the familiar language of uplift and progress.Intervening in African American literary studies, Black sexuality studies, and queer theory, Black Kenosis argues that criticism has too often approached Black literature through the expectation that it must perform a sociological function or embody a liberatory political project. Reading against that assumption, Wachter-Grene turns to a wayward canon of novels and stories that pursue risk and imaginative disorder, revealing the erotic life of power while challenging critical habits that reduce Black literary expression to questions of racial advancement.Rather than replace one political interpretation with another, this work recovers a tradition of Black writing which refuses the demands of racial representation, political utility, and liberationist consensus. In doing so, Black Kenosis argues that some of the archive’s most unexpected provocations emerge where writers court contradiction and uncertainty, opening new possibilities for desire, freedom, and literary expression beyond the horizon of recognition.