Abstract
Surrealism can describe the looseness of time and a confined space/mobility compounded by racial and economic injustice. This paper argues for the authenticity and potency of AfroSurreal autobiographies, including paintings and memoirs, through an examination of four works: Tameca Cole’s Locked in a Dark Calm, Raymond Towler’s Passing Time, Shay Youngblood’s Architecture of Soul Sound, and Steve Cormany’s A Common Survival. These works shift and recalculate time; a violence confronts the audience and wrings something from us: we think about the future and realize we have to change course.