Post-blackness deploys Amiri Baraka's concept of the 'changing same' and Kamau Brathwaite's theory of 'tidalectics' to interrogate the interplay of presentism, future possibility, and states of 'suspension' in the translation of black experience into art and other modes of cultural expression. Stated differently, post-blackness inheres in the anticipation of a free, self-determined, 'not-yet-here' blackness that shapes what blackness is at any given moment. It is therefore not a rejection of blackness as such, but rather of imposed ideological fixities that obscure the constant tension between 'being' and 'becoming.' As Margo Natalie Crawford explains, 'after an understanding of post-black as post-ideological blackness, we move to the new understanding of "black" as an emptied but full space of imagining the unimaginable' (Crawford, 2010, p. 218). In effect, post-blackness is the epistemological and methodological manifestation of Carolyn M. Rodgers' (1970) expression of being 'Black/ Blacker/and Blackless sometimes' (pp. 265-66).