The Rhetoric of Abolition: Metonymy and Black Feminism

Abstract

Abstract: In light of Ruth Wilson Gilmore’s call that abolition means to “change everything,” how might we understand an abolitionist literary method? An abolitionist literary method dials into the language of critiquing prisons. This essay contends that recent developments in U.S. discourse concerning prison reform and prison abolition rely on the distinction between metaphor and metonymy. As rhetorical tropes, metaphor and metonymy both operate by means of figurative language. Metaphor creates a parallel formation between terms, popular in prison reformist language (i.e. “prison as labor,” “prison as slavery,” “schools as prisons,” or “black holes as prisons”), while metonymy demonstrates a network between materially related sites, persons, and objects (as in “flesh,” “black holes,” or “the Prison Industrial Complex”) more central to the rhetoric of prison abolition. Following Emily Apter’s critique of Fredric Jameson’s “carceral metaphors,” I demonstrate these distinctions between metaphor-reform and metonymy-abolition through textual analysis of a Black feminist archive by considering the work of Ruth Wilson Gilmore, Hortense Spillers, Saidiya Hartman, George Jackson, Evelynn Hammonds, and Assata Shakur. These different thinkers employ metonymy to illuminate theoretical possibilities for abolition through economics, flesh, motherhood, intimacy, sexuality, and physics over a period of thirty years. That being said, none of these writers define their work by the principal status given to metonymy, and this essay seeks to bring together their interventions through this rhetorical trope. I propose that abolition’s stretch through metonymy is central to an abolitionist literary method, provoking the animated reconsideration of language-use by scholars and activists. While not eliding metaphor entirely, this historical materialist work demonstrates that the careful elaboration of words and phrases becomes more robustly anti-carceral when one indexes where, how, and why metaphor and metonymy contract or extend imaginative political possibility.