Abstract

Although many iterations of the mammy in the last two centuries have received analytical attention, the construction of this figure as asexual or undesiring and undesirable remains to be interrogated. This essay attends to this under-theorised dimension of her image. Resisting a reading of the mammy as fixed in silence, I assert that she might instead ‘say nothing’, and bring into focus a black asexual agency that I call a declarative silence. This strategy of ‘saying nothing’ is then explored in a reading of the withholdings of the character of Mama in Gayl Jones's neo-slave narrative, Corregidora (1975).