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Segregation's New Geography: The Atlanta Metro Region, Race, and the Declining Prospects for Upward Mobility

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Joseph Crespino Interviews Thomas Mullen, Author of Darktown

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Gordon Parks at Atlanta's High Museum of Art

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The Slaveholding Empire: Southerners, Federal Authority, and Slave Power Abroad

...with much recent scholarship, Karp presents these men, their worldview, and their institutions not as an aberration in the development of the United States or departure from the emerging capitalist...

Conflict and the Senses: A Review of The Smell of Battle, the Taste of Siege

...of many insights into, for example, military tactics, survival strategies, and commemorative practices. In "The Sounds of Secession," Smith invites readers to listen in to transformations in the Charleston soundscape...

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...describe personal relationships. Readings vary from specialist to specialist, and each reading may be valid. Historical geographic information systems (HGIS) and digital maps may also present opportunities to analyze complex...

Kara Walker's Blood Sugar: A Subtlety or the Marvelous Sugar Baby

...its visual spectacle, the installation greets our hearing and smell. Standing by the entrance closing our umbrellas and drying the bottoms of our dripping pants, we listen to the entering...

References
1.	Robert Southey, The Poetical Works of Robert Southey (New York: D. Appleton and Co., 1839), 110.
2.	Kara Walker, A Subtlety or the Marvelous Sugar Baby, May 10–July 6, 2014, Brooklyn, New York: Domino Sugar Factory.
3.	"Il n'arrive point de barrique de sucre en Europe qui ne soit teinte de sang humain." Claude-Adrien Helvétius, Œuvres Complètes, Vol. 1 (Paris: Lepetit, Editeur, 1777), 25. Author's translation.
4.	Jody Dunville, "Blood Sugar," accessed June 30, 2014, http://web.utk.edu/~gerard/romanticpolitics/bloodsugar.html. On the "blood sugar" topos in Coleridge's 1795 lecture on the slave-trade and Southey's 1797 sonnets, see Timothy Morton, "Blood Sugar," in Romanticism and Colonialism: Writing and Empire 1730–1830, ed. Tim Fulford and Peter J. Kitson (New York: Cambridge University Press, 1998), 87–106. Also consult anthropologist Sidney Mintz's seminal Sweetness and Power: The Place of Sugar in Modern History (New York: Penguin, 1985).
5.	Audie Cornish, "Artist Kara Walker Draws Us Into Bitter History With Something Sweet," National Public Radio, May 16, 2014, accessed June 30, 2014, http://www.npr.org/2014/05/16/313017716/artist-kara-walker-draws-us-into-bitter-history-with-something-sweet.
6.	In sugar cane producing French Overseas Departments—Martinique, Guadeloupe, and Reunion—the incidence of diabetes is twice as high as in continental France. "Le Diabète Explose en France: 2 Fois Plus de Diabétiques dans les Dom-Tom Qu'en Métropole," Docbuzz: L'Autre Information Santé, November 13, 2010, accessed July 2, 2014, http://www.docbuzz.fr/2010/11/13/123-le-diabete-explose-en-france-2-fois-plus-de-diabetiques-dans-les-dom-tom-qu%E2%80%99en-metropole. For the diabetes epidemics in the Caribbean, also see Ludmilla F. Wikkeling-Scott, "Addressing Diabetes, A Regional Epidemic in Caribbean Populations," June 5, 2012. Type 2 diabetes also has such prevalence in the US South that the Center for Disease Control and Prevention coined the term "Diabetes Belt": Melissa Healy, "Diabetes Belt: American South Gets More Health Notoriety," Los Angeles Times, March 8, 2011, accessed June 30, 2014, http://articles.latimes.com/2011/mar/08/news/lat-diabetes-belt-20110308.
7.	The Domino Sugar Factory will be demolished in August 2014. The operating New York area Domino factory is located in Yonkers. Before the demolition, the "Marvelous Sugar Baby" will be melted down. Some of the resin figurines will be salvaged for museum exhibits. For the recollections of Robert Shelton, who worked on the floor of the Domino factory for twenty years see Vivian Yee, "2 Jobs at Sugar Factory, and a Lump in the Throat," New York Times, July 5, 2014, accessed July 5, 2014, http://www.nytimes.com/2014/07/05/nyregion/recalling-sticky-hot-job-before-old-domino-sugar-factory-falls.html.
8.	Writing on the wall of the exhibit entrance at the Domino Sugar Factory in Brooklyn, New York.
9.	On the sanitary and safety state of the building at the time of the exhibit, see Claire Voon's "How are they Keeping Rats Off Kara Walker's Sugar Sculptures?," Hyperallergic: Sensitive to Art & Its Discontents, June 10, 2014, accessed June 30, 2014, http://hyperallergic.com/130365/how-are-they-keeping-rats-off-kara-walkers-sugar-sculptures.
10.	I am grateful to my friend and colleague, Professor Naïma Hachad, who helped me brainstorm during and after the exhibit and enriched this piece with her insights.
11.	Jerry Saltz, "Kara Walker Bursts Into Three Dimensions, and Flattens Me," Vulture, May 31, 2014, accessed June 30, 2014, http://www.vulture.com/2014/05/art-review-kara-walker-a-subtlety.html.
12.	"Creative Time presents Kara Walker's A Subtlety," accessed June 30, 2014, http://creativetime.org/projects/karawalker/.
13.	"Confectionery," Wikipedia, accessed June 30, 2014, http://en.wikipedia.org/wiki/Confectionery.
14.	Nato Thompson, "Curatorial Statement," accessed June 30, 2014, http://creativetime.org/projects/karawalker/curatorial-statement/.
15.	"Walker went down a rabbit hole of sugar history, at one point stumbling on some black figurines online—the type of racial tchotchkes that turn up in a sea of mammy cookie jars," Audie Cornish, "Artist Kara Walker Draws Us Into Bitter History With Something Sweet," National Public Radio, May 16, 2014, accessed June 30, 2014, http://www.npr.org/2014/05/16/313017716/artist-kara-walker-draws-us-into-bitter-history-with-something-sweet.
16.	Valérie Loichot,The Tropics Bite Back: Culinary Coups in Caribbean Literature (Minneapolis: University of Minnesota Press, 2013). See also Mimi Sheller's Consuming the Caribbean: From Arawaks to Zombies (London: Routledge, 2003) and Jack D. Forbes's Columbus and Other Cannibals (New York: Seven Stories Press, 2008).
17.	See, for instance, Devery Anderson, Emmetttillmurder.com, accessed June 30, 2014.
18.	See Gwendolyn DuBois Shaw's Seeing the Unspeakable: The Art of Kara Walker (Durham and London: Duke University Press, 2004).
19.	Walker's installation resembles in its evolution Jason deCaires Taylor's underwater sculptures (accessed June 30, 2014, http://www.underwatersculpture.com/sculptures). However, while Taylor's sculptures' evolution with their coral environment conveys rejuvenation, Walker's art's alliance with the industrial site evokes degeneration.
20.	For Hortense Spillers, the reduction to bare flesh is the condition of enslaved Africans. The critic reads the marking of the flesh of the New World African woman, of the "seared, divided, ripped-[apart], riveted to the ship's hole, fallen, or 'escaped' overboard," as a cultural text whose marking and branding "transfers from one generation of the other." See Hortense Spillers, Black, White, and In Color (Chicago: University of Chicago Press, 2003) 206–207.
21.	Jane Bennett, Vibrant Matter: A Political Ecology of Things (Durham: Duke University Press, 2010), 5, viii.
22.	For Martinican poet and philosopher Édouard Glissant, the hold of the slaveship, the slave plantation and its machinery constitute "bellies of the world," functioning at once as expelling guts and sheltering womb. See my Orphan Narratives for a discussion of Glissant's ambivalent bellies of the world: Valérie Loichot, Orphan Narratives: The Postplantation Literature of Faulkner, Glissant, Morrison, and Saint-John Perse (Charlottesville: University of Virginia Press, 2007). For Cuban writer Antonio Benítez Rojo as well, the sites of slavery and exploitation are also the wombs of modernity without which the industrialized world would not have been born. The Brooklyn Domino Sugar Refinery, established in its Williamsburg, New York, location in 1882, was the largest sugar refinery in the world, hence, a major belly of the world. Thompson explains that "The Domino Sugar refinery is certainly an integral part of the story of sugar. Built by the Havemeyer family in 1856, by 1870 it was refining more than half of the sugar in the United States, producing over 1,200 tons of the sweet stuff every day." See Thompson, "Curatorial Statement."
23.	William Faulkner, Light in August (New York: Vintage International, 1990), 465.
24.	"Thy lips, O my bride, drop honey." Source: "Song of Songs, Chapter 4," The Complete Hebrew Bible, accessed June 30, 2014http://www.mechon-mamre.org/p/pt/pt3004.htm.
25.	"Billie Holiday—Sugar," YouTube, accessed June 30, 2014, https://www.youtube.com/watch?v=_UajeQsQrRA&feature=kp.
26.	"Nina Simone—Four Women," YouTube, accessed June 30, 2014, https://www.youtube.com/watch?v=WRmzQ39sXTQ.
27.	"And they took my milk!" See Toni Morrison, Beloved (Knopf: New York, 1994), 19. In her Washington Post piece (McDonald, "Going to See Kara Walker's A Subtlety? Read These First," Washington Post, May 27, 2014, accessed June 30, 2014, http://www.washingtonpost.com/news/morning-mix/wp/2014/05/27/going-to-see-kara-walkers-subtlety-read-these-first/), Soraya Nadia McDonald gives a non-inclusive reading list of novels by Morrison, Maryse Condé, Jean Rhys, and Jamaica Kincaid, who have focused on similar issues.
28.	On "American Primitives," see Grace Elizabeth Hale's "A Horrible, Beautiful Beast," Southern Spaces, March 6, 2008, accessed June 30, 2014, https://southernspaces.org/2008/horrible-beautiful-beast. On the politics and aesthetics of milk in Kara Walker, see Patricia Yaeger's "Circum-Atlantic Superabundance: Milk as World-Making in Alice Randall and Kara Walker," American Literature 78, no. 4 (2006): 769–798.
29.	For another contemporary take on the trope, see Beyoncé Knowles's 2006 "Suga Mama" in which the star sings on what looks like a white sugar cube in a pose reminiscent of the Marvelous Sugar Baby's four-legged pose. Beyoncé as well takes an ironic twist on the image, bending gender roles as she begins the song dressed as a stereotypical providing "suga daddy" rather than a "suga mama": "And I've always been the type to take care of mine / I know just what I'm doing . . . Puttin' you on my taxes already, yeah, yeah, yeah, yeah." See "Beyonce—Suga Mama," Vagalume, accessed July 27, 2017, https://www.vagalume.com.br/beyonce/suga-mama.html.
30.	On the process of the "white gaze" smoothing out the body of "black subjects," by dismissing any individual characteristics, see Frantz Fanon's Black Skin, White Masks, trans. Richard Philcox (New York: Grove Press, 2008).
31.	On a related discussion of the correspondence between lips and labia, both called "lèvres" in French, see Lynn Huffer's Are the Lips a Grave? A Queer Feminist on the Ethics of Sex (New York: Columbia University Press, 2013).
32.	Africana Studies scholar Noliwe M. Rooks deplores the fact that reviews of Walker's "A Subtlety" have been overwhelmingly positive and that critics and journalists have ignored the reception of the piece by black women (Noliwe Rooks, "Black Women's Status Update," The Chronicle of Higher Education, June 26, 2014, accessed June 30, 2014, http://chronicle.com/article/Black-Womens-Status-Update/147351/). She also points out that some of the white visitors behaved in ways that were "not just ignoble but also disrespectful" by, for instance, posing in explicitly sexual postures with the statue. Rooks's point is especially well taken not only for its crucial political dimension, but also in that, as I argue, the visitors become not only part of the show, but also incorporated into it. The ignoble gestures to which Rooks alludes become part of this repeated, unfinished, unending history of oppression.
33.	For an extensive review of Kara Walker's iconographic influences, see "Kara Walker: Process and Inspiration," Creative Time, accessed June 30, 2014, http://creativetime.org/projects/karawalker/inspiration/.
34.	"Great Sphinx of Giza," accessed June 30, 2014, http://en.wikipedia.org/wiki/Great_Sphinx_of_Giza.
35.	"Sphinx," in Theoi Greek Mythology: Exploring Greek Mythology in Classical Literature and Art, ed. Aaron J. Atsma, accessed June 30, 2014, http://www.theoi.com/Ther/Sphinx.html.
36.	Among many examples of the factory as a cannibalistic machine eating up the cane workers and vomiting them out, see Aimé Césaire's Notebook of a Return to the Native Land: (Middletown, CT: Wesleyan University Press, 2001), 4: "[the] mills, slowly vomiting out their human fatigue."
37.	"From Greek Sphinx, said to mean literally 'the strangler,' a back-formation from sphingein 'to squeeze, bind.'" See "sphinx (n.)," in Online Etymology Dictionary, ed. Douglas Harper, accessed June 30, 2014, http://www.etymonline.com/index.php?term=sphinx.
38.	On the prevalence of the figure of the cannibal as a controlling image, see Loichot, The Tropics Bite Back, especially xix–xxiii.
39.	For a full list of sponsors, including Domino Foods, see "Kara Walker: Project Support," Creative Time, accessed June 30, 2014, http://creativetime.org/projects/karawalker/project-support/.

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