Coming Undone

Abstract

Abstract Black transness has been marked and made broken by necropolitical systems of power. Theories and politics of and for black trans women have often prioritized a rejection of or confrontation with this “state of brokenness,” as poet Nat Raha terms it. Visual artist Tourmaline offers a different relationship with brokenness in her call to “come undone,” whereby those who are “broken” can gather their broken pieces together not to heal but to give and share one's pieces with another. This essay engages Tourmaline's Salacia (2019), a film about the life of Mary Jones, a black trans sex worker who became infamous in 1836 following her arrest in New York City, as producing a black trans aesthetic of brokenness. Using a collage style of placing distinct frames upon frames, Tourmaline mixes speculative retellings of Jones's life alongside archival footage of Latina trans activist Sylvia Rivera to create an image built from the pieces and fragments of the trans archive. This aesthetic of brokenness offers an aestheticization of Saidiya Hartman's “critical fabulation” that holds and cares for black transness, a practice of gathering and being-with and being-for.