Abstract
In an essay entitled “Variations on Negations and the Heresy of Black Feminist Creativity,” Black feminist Michele Wallace explores the difficulties of producing and presenting a “black female cultural perspective, which for the most part is not allowed to become written in a society in which writing is the primary currency of knowledge” (Wallace 1990, 54). Although she anticipates that some might find a defense of Black female cultural and political criticism “elitist,” she nevertheless remains, “convinced that the major battle for the ‘other’ of the ‘other’ [i.e., Black women] will be to achieve a voice, or voices, thus inevitably transforming the basic relations of dominant discourse. Only with these voices—written, published, televised, taped, filmed, staged, cross-indexed, and footnoted—will [Black women] approach control over [their] own lives” (66).