Jesse McCarthy in Harvard Magazine:
Black studies, or African American studies, emerged out of the revolutionary fervor of the late 1960s, as students and faculty members demanded that universities recognize the need for departments engaged in scholarship on race, slavery, and the diasporic history and culture of peoples of African descent. Since its institutionalization, these departments have grown many branches of inquiry that maintain a rich interdisciplinary dialogue. One is a school of thought known as jazz studies, which investigates the intersections of music, literary and aesthetic theory, and politics. Moten is arguably its leading theoretician, translating jazz studies into a vocabulary of insurgent thought that seeks to preserve black studies as a space for radical politics and dissent. In his work he has consistently argued that any theory of politics, ethics, or aesthetics must begin by reckoning with the creative expressions of the oppressed. Having absorbed the wave of “high theory”—of deconstruction and post-structuralism—he, more than anyone else, has refashioned it as a tool for thinking “from below.”
Moten is best known for his book In the Break: The Aesthetics of the Black Radical Tradition (2003). “The history of blackness is testament to the fact that objects can and do resist,” is the book’s arresting opening sentence, announcing his major aim: to rethink the way bodies are shaped by aesthetic experience. In particular, he explores how the improvisation that recurs in black art—whether in the music of Duke Ellington and Billie Holiday, the poetry of Amiri Baraka and Nathaniel Mackey, or the conceptual art of Adrian Piper—confounds the distinctions between objects and subjects, individual bodies and collectively experienced expressions of resistance, desire, or agony. Since 2000, Moten has also published eight chapbooks of poetry, and one, The Feel Trio, was a finalist for the National Book Award in 2014. He is that rare literary figure who commands wide and deep respect in and out of the academy, and who blurs the line between poetics as a scholarly pursuit, and poetry as an act of rebellious creation, an inherently subversive activity.