This is not about moving on but about moving forward, with the assurance that what we are inching toward is not a repeat or a disremembering of the abuses of yesterday.
In an early interview she claims, "I'm not an issues playwright" (76), but throughout the trajectory of her work, Parks discusses battling stereotypes and questioning the history of American history and asserts that she is "dismembering and disremembering black history" in order to restore and/or create a black presence (5).
Part of the uniqueness of this research is the examination of contemporary black lesbian texts that have heretofore never been analyzed, such as Jackie Kay's Trumpet; Cherry Muhanji's Her; Jewelle Gomez's "Louisiana, 1850"; LaShonda Barnett's "Miss Hannah's Lesson"; and SDiane Adamz Bogus's "The Champagne Lady." These texts all revise history by instantiating the black lesbian subject over and against what Richardson calls "disremembering," or the process by which black lesbian subjects are deliberately forgotten or "un-mourned" in the recounting of black cultural history.