Reviewed by: Preaching The Blues: Black Feminist Performance in Lynching Plays by Maisha S. Akbar Judith Stephens-Lorenz PREACHING THE BLUES: BLACK FEMINIST PERFORMANCE IN LYNCHING PLAYS. By Maisha S. Akbar. Routledge Focus series. Abingdon, UK: Routledge, 2020; pp. 138. In Preaching the Blues: Black Feminist Performance in Lynching Plays, Maisha Akbar examines the intersections of lynching dramas, performance theory, and a Black feminist blueswoman tradition. Drawing on the work of journalist and anti-lynching activist Ida B. Wells (1862–1931) and Bessie Smith's (1894–1937) performance of "Preachin' the Blues," Akbar provides, in three chapters, a perspective through which readers can recognize the disruptive force of Black feminist/non-normative subjects and strategies in lynching plays. In our 1998 volume, Strange Fruit: Plays on Lynching by American Women, Kathy Perkins and I called for the recognition of lynching drama as a distinctly American genre, offered a definition, documented more than a hundred plays in existence (at that time), and reviewed lynching's influence on other art forms. More recently, Koritha Mitchell's award-winning volume Living with Lynching: African American Lynching Plays, Performance, and Citizenship, 1890–1930 provides a critical analysis of these plays as mechanisms through which African Americans survived mob violence while continuing to assert their right to full citizenship. Treva Lindsey's Colored No More: Reinventing Black Womanhood in Washington D.C. examines lynching plays as nontraditional sources of Black women's cultural production in Washington D.C. and highlights the important role of local playwright/poet Georgia Douglas Johnson's literary salon. In her introduction and chapter 1, Akbar's volume presents the genre as a Black feminist performance tradition and thus provides an additional framework through which to view these plays. She also posits "critical lynching studies" as an interdisciplinary critical cultural scholarship project for examining lynching plays as well as other forms of antilynching cultural production. Beginning with the work of anti-lynching pioneer Wells, Akbar guides her readers through an understanding of the plays as a Black feminist performance and/or discourse tradition comprised of specific (counter-hegemonic) communicative strategies and practices opposing lynching as white supremacist performance. As Akbar recognizes the foundational work of Wells in opposing what scholar Kirk Fuoss has termed "lynching performances" (that is, actual historical lynchings), she examines lynching plays for their disruptive (non-normative) constructions of race, gender, and sexuality as well as their antilynching themes. Akbar honors a Black feminist tradition of disrupting and challenging commonly held or established views and practices of white su premacy. In doing so, she foregrounds anti-lynching plays and activism as disruptive forces in opposition to the whiteness narrative of the traditional lynching story in which a fragile innocent white female victim needs to be protected/rescued by a gallant white male hero from rape by a villainous Black man. In this archetypal lynching story, which became familiar through novels such as Thomas Dixon's The Clansman (1905) and films like D. W. Griffith's The Birth of a Nation (1915), Black women are absent. Employing Angela Davis's Blues Legacies and Black Feminisms (1998), Hazel Carby's Cultures in Babylon: Black Briton and African America (1999), and Smith's composition "Preachin' the Blues" (1927), Akbar links the anti-lynching activism performance tradition to a blueswoman music tradition, specifically through the use of a blues-spiritual aesthetic in which an unexpected or disruptive combination (such as sacred/secular) occurs. Drawing on the lyrics from Smith's version of "Preachin' the Blues"—"Now one sister by the name of Sister Green jumped up and done a shimmy you ain't never seen"—Akbar perceives a vision of the Black church as a potentially disruptive space in which women can challenge traditional gender roles and express themselves more fully. Reflecting this same spirit, Angelina Grimke's Rachel (1916) is set in a Black home and presents a female protagonist as a "non-normative subject who is unwilling to replicate a white supremacist societal/family construct" (32). As the character of Rachel (after learning of her father's lynching and of the continual racial bullying of neighborhood children) rejects marriage and biological motherhood, she is refusing to take part in the...