By Rochelle Alers
An international of hope, seduction and scandal…
Adina's good looks and wiles have enabled her to undertake the fast paced way of life of the wealthy and fabulous…until she learns there's a freelance out on her lifestyles. She flees Brooklyn to begin over in an upscale suburb, dwelling one of the pampered and polished ladies she's constantly envied. yet past the mansions and manicured lawns lies an international she by no means may have idea possible….
Sybil's specific catering enterprise disguises her profitable sideline enterprise: she's Delectable, a dominatrix who entertains at bachelor events. Karla lives on a multimillion-dollar property, and she or he and her husband get pleasure from an open marriage…but her want for male realization is beginning to get dangerously out of control.
And as Adina is drawn into the scorching fact past her friends' excellent facades, she's additionally facing a brand new guy, who's blissfully blind to her not-so-innocent prior. Now, every one lady is ready to find that each ardour has a price…and that a few secrets and techniques are easily most unlikely to maintain hidden.
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Additional resources for After Hours
Through the metaphor of the racial veil, sight is used to conﬁ rm black nothingness, a state that ultimately affi rms both whiteness and its worth for these eminently self-assured philosopher-kings, whose profoundly subjective insights become translated as truth: reasoned, dispassionate, and authoritative. Therefore, shifting between the human and the animal in his contemplation of black women, Thomas Jefferson unselfconsciously deliberates between the possession of a human-identiﬁed beauty and the burden of a bestial sexuality.
By focusing on this intersection of writers and artists and their engagement with the racialized body, I reveal the polyglossic discourses, based on distinctive calls and unique responses, that are embedded in African-American and Afro-diasporic intellectual, cultural, and performance traditions, traditions of resistance. Like Simpson’s photograph, Waterbearer, that I reference at the beginning of this chapter, this tradition actively theorizes itself through language and image, insisting on the existence of what bell hooks deems “subjugated knowledge” (“Facing Difference” 94).
Yet, the book or icon is all about reproduction, reproduction ad inﬁnitum. Distanced from the performing body both by the original act of description and the author’s and artist’s disembodied mediating presence, the reader/participant is allowed to return and re-engage endlessly, experiencing not the actual performance but its simulacrum, its mimetic rendering in the symbolic vessel of the written or visual text. In this project, what becomes even more important than the performance itself, or indeed still more crucial than what performativity allows, is its power of incantation, as ﬁgurative response to an original call, a negotiation that both recalls and reinvents the history being re-conﬁgured, the bodies being re-membered, making of them phantasmal elements leaving their disruptive trace in the now.
After Hours by Rochelle Alers