Carlos Decena
“An intellectual and linguistic tour de force, Roberto Strongman's study on trance possession channels a love letter from the orishas to the futures of Afro-Atlantic religious studies, queer of color critique, Latinx and Latin American studies, and comparative literature. Queering Black Atlantic Religions is more than a book: it is a major, formidable achievement that will touch many and illustrate how scholarship can be an expressive and radical transformational practice.”
Carole Boyce Davies
“Queering Black Atlantic Religions provides a new theoretical language for the fields of African diasporic religions and gender and sexuality studies, all the while setting a new standard in comparative literary and cultural studies in the twenty-first century. Using an eclectic and unique cultural studies methodology, displaying proficiency in half a dozen languages, and having field work experience in a similarly impressive number of research sites, Strongman provides an advanced exploration of the creolized religions of the greater Caribbean cultural zone.”
Carol Boyce Davies
“Queering Black Atlantic Religions provides a new theoretical language for the fields of African diasporic religions and gender and sexuality studies, all the while setting a new standard in comparative literary and cultural studies in the twenty-first century. Using an eclectic and unique cultural studies methodology, displaying proficiency in half a dozen languages and field work experience in a similarly impressive number of research sites, Roberto Strongman provides an advanced exploration of the creolized religions of the greater Caribbean cultural zone.”
J. Lorand Matory
“Queering Black Atlantic Religions closely reads an astonishingly circum-Atlantic and polyglot array of canonical films, paintings, photographs, novels, and ethnographies through the lens of the Afro-Atlantic religions of spirit possession. Roberto Strongman revisits the theme that these religions disrupt the conventional binaries of Western gender identity and apprehend the self through metaphors of horsemanship and vessels occupied by spirits as multiple as they are mobile. He also shows that, while many Latin American and European artists, authors, and critics have exploited the image of the black to liberate themselves from their native cultural constraints, they often come to internalize Afro-Atlantic spirits and configurations of the self.”
