āTo be blunt, Afropessimism is wordplay and sophistry. HartmanāsĀ Scenes of SubjectionĀ is a formalist exercise of linking airy ontological assertions to their apparent logical negations; although her moves are often clever on their own terms, their argumentative effect is that nothing ever changes. Wilderson makes bold, empirically groundless assertions, repeats them emphatically and relentlessly, and spins accounts of how things would seem to be if those assertions were correct. And he often extrapolates the bold assertions from fictionāthe filmĀ 12 Years a SlaveĀ (AP 276); the Sethe character in Toni Morrisonās novel,Ā BelovedĀ (AP 242, 303); and an episode of the reactionary television series,Ā HomelandĀ (AP 192f)āwhich he then blends with and takes as the normative basis for interpreting actual events. Critical appraisals of Wildersonās work in particular can be read allegorically as a contemporary update of āThe Emperorās New Clothes.ā The gullible and the dilettantish strain to argue that Wildersonās and other Afropessimistsā more outlandish, clearly absurd assertions should not be read as intended to be claims of literal fact.[11] Academic reception of Wilderson is even more revealing than the popular assessments. I daresay that, if the academy were more like an honest craft guild, professors who blurbed hisĀ AfropessimismĀ or otherwise have praised and recommended it might be at risk of having their doctorates revoked, as could happen, say, to a shoddy and irresponsible member of the International Brotherhood of Electrical Workers. Fortunately for them, and unfortunately for the quality of American intellectual life, particularly at its nexus with civic and political concerns, few acknowledge the extent of social harms that can ensue from academic malpractice.ā