In the wake of a disturbing decades-long trend in both print and visual media—the appropriation of Black history and culture—another trend is observed in works of African American fiction: the reclamation of the appropriated imagery, in both neo-slave narratives and works of Afrofuturism. The image focused on specifically in this paper is that of the ship, which I argue serves at least two identifiable functions in Black fiction: first, to address the historical treatment of Africans and their American descendants, and secondly, to demonstrate Black progress and potential. Through an exploration of three works of African American fiction, works that take their Black protagonists beyond the ship's dreadful hold, the reader can see the important themes being channeled: Charles Johnson's Middle Passage sets a course on how to arrive at true freedom, enacting a process of Black liberation that begins with learning how to survive "in the wake," a concept derived Christina Sharpe's work In the Wake: On Blackness and Being. Rivers Solomon's An Unkindness of Ghosts demonstrates not only the effects of "the hold," but how the hold itself has evolved from its origins on the slave ship; as new holds are constructed and demanded by society, rebellion is …

Rein of Renegades is an introduction to the young adult contemporary fantasy novel of the same name. It is prefaced with an explication of various drafts written throughout adolescence. I am trying to reclaim things I've misplaced or dropped. Over the past few years, I've had much too many trinkets to carry. There went the melodramatic allegations from my teenage writing voice, cracked on a classroom floor. There went the ability to sit, stomach deep, so steadily grounded in another world, this escape blurred with the strawberry ice cream I dripped onto the campus concrete. Writing the ideal love becomes complicated, jaded, too realistic when the hands writing it are always reaching for someone who never reaches back at the right time

This thesis examines the changes Spain was forced to make toward their colonial patterns due to Nahua resistance. Each chapter assesses different periods during the colonial era, tracing how the Virgin of Guadalupe's meaning changed according to Spanish colonial needs.

Answering the call to decenter whiteness and coloniality within communication studies (#RhetoricSoWhite), this project attempts to reclaim space for indigenous knowledge and to serve decolonial struggles. Written as a project of love for my fellow indigenous scholars and peoples, I expand upon Tiara Na'puti's conceptualization of "Indigeneity as Analytic" and chart how indigenous Pacific Island decolonial resistance operates through a paradigm of decolonial futurity. By recognizing Guåhan (Guam), as well as Chamoru, bodies as (de)colonial borderlands, I demonstrate the radical potential of indigeneity through three different case studies. First, I name indigenous feminine style as a strategic mode of public address adopted by Governor Lou Leon Guerero to resist the spread of COVID-19 by US military personnel on the island of Guåhan. Second, I showcase how the process and practice of indigenous Pacific Island tattooing delinks away from coloniality. Finally, I demonstrate how the celebration of a Chamoru saint, Santa Marian Kamalen, provides a spatial-temporal intervention that articulates an indigenous religion and enacts a decolonial futurity.