In her first book, “Monstrous Intimacies,” Sharpe writes extensively on Walker’s work to reveal how society is programmed to default to racist narratives.
The work in Sharpe’s office, like many of Walker’s famous prints and sculptures, is devoid of color.
The more time I spend with Sharpe’s work, the more it inflects my ways of seeing the world.
According to Sharpe, Blackness is anagrammatical, meaning that the structures that order language, thought and society become disordered — if not destroyed entirely — when they encounter Blackness.
“Her work has shown that we, as Black people, are the foils of humanity,” Frank B. Wilderson III, author of “Afropessimism,” told me.