ABSTRACT
In fields of art and media, where black women artists and writers stand the best chance of transforming representations of blackness and beauty, class limitations also combine with race and gender restrictions in determining both the production and accessibility of black women's creative work. Thus, prevailing images and stereotypes of black femininity in dominant culture are confronted, interrogated, and eventually subverted in various efforts to re-present black female bodies in cultural productions. Subsequently, access to media and knowledge production, which privilege marginalized groups, remains a significant struggle in dismantling the intersections of racism and sexism. By highlighting the economies of aesthetic production, Lorde reminds us that intersections of race, class, and gender oppression limit the creative options of black women and other marginalized groups. One black feminist text that manages to complicate yet affirm the transnational connections of black women's lives is Edwidge Danticat's 1994 novel Breath, Eyes, Memory.
