The Ends of Autotheory Che Gossett (bio) Endings I'm always looking for terms that are not "memoir" to describe autobiographical writing that exceeds the boundaries of the "personal." —Maggie Nelson1 I have written then what is meant to be not so much my autobiography as the autobiography of a concept of race. —W. E. B. Du Bois2 What is the relationship between autotheory, blackness, and abolition? Where does the autobiographical end and autotheory begin? What is the relationship between the autobiography of the concept of race and personhood? Between autotheory and the autotelic? What does the notion of the self as a possessive property have to do with the carceral metaphysics of the subject? Saidiya Hartman's critical labors on and ever urgent diagnosis of slavery and freedom's historical and contemporary, political, and ontological "double bind" are a condition of possibility for such questions and abolitionist aporias.3 Not aporias, however, in the sense of an unsurpassable impasse or foreclosure to which we must surrender. In his seminars on the death penalty and abolition, Jacques Derrida argued against the carceral conception of the impasse as "a prison," resisting the predominant figuration of the aporetic as "what stops or arrests, often in the form of a judgement or verdict."4 Rather than a deadlock, an aporia, then, might be seen as a threshold. In this brief reflection, I follow the piercing insights of blackness as identity's critique. By identity's critique, I mean the way in which blackness explodes what Frank Wilderson so aptly calls the "assumptive logic" undergirding the aesthetic, political, philosophical, and ontological edifice of the human and the predicates of personhood.5 Poet and critical scholar Fred Moten profoundly and beautifully invites all into the fold of the "ensemblic" (inter)play of "study."6 I turn toward the shimmering illuminations within and the lifelong (and life-exceeding) thought of Sylvia Wynter, Katherine McKittrick, Hortense Spillers, Saidiya Hartman, W. E. B. Du Bois, George L. Jackson, Cedric Robinson, Brent Hayes Edwards, Fred Moten, Laura Harris, R. A. Judy, and M. NourbeSe Philip. Blackness not only exceeds the boundaries of the personal but problematizes the category of personhood itself. I touch on moments where the consonance of the self is rendered dissonant and problematized under the critical analysis of blackness's relation to the human and being. The aesthetic-political and ontological infrastructure of the self is jolted, short-circuited by another frequency of thought: a live wire. [End Page 577] And notice! One major implication here: humanness is no longer a noun. Being human is a praxis. —Sylvia Wynter7 Sylvia Wynter has dedicated her synoptic, capacious, generative, and generous brilliance to not only diagnosing the human as a genre of the racial but also through and as that critical labor, an outside: praxis. This is made available through the generosity of thought shared between Wynter and editor Katherine McKittrick in the phenomenal 2015 anthology that both gathers and is a gathering—in the sense of celebration and engagement—for her remarkable work.8 Wynter's work is also an indispensable contribution to philosophy of mind and interrogates the very premises and grammar of that disciplinary formation. She shows how the genre of Man and all its predicates, including mind, are part of a racial and colonial episteme. Wynter deviates from functionalism, which posits that mind is purely its operations, and instead argues for the primacy of sociogenesis: "if the mind is what the brain does, what the brain does, is itself culturally determined through the mediation of the socialized sense of self, as well of the 'social' situation in which this self is placed."9 Mind as neurology's warden, the executive function as precinct. Wynter's approach thinks the sociality of mind, as opposed to its ipseity. The neurocentric figuration of the self is demystified and denaturalized. Swarm W.E.B. Du Bois's Black Reconstruction in America, first published in 1935, is a required text and fundamental touchstone for the study and theory of abolition. In this paradigmaltering work, Du Bois enacts an epistemic break with the historiography of the Civil War of his time and shows how Black struggle—via...