How can feminist and queer theory inform concepts of postcolonial and Black hauntology; or, how can we queer hauntology (further)? Brit Bennett’s novel The Vanishing Half (2020) explores practices like passing, acting, and performing as its Black characters invent new life stories to pursue more self-determined lives. I argue that their performative imaginations of alternative pasts and futures can be read as forms of queer and racialized self-representation in a segregated, racist, and queerphobic US-American society. Reading the novel through a hauntological lens exposes this setting as haunted by the continuities of slavery and segregation. Supplementing hauntology with queer, feminist, and oceanic concepts of performativity, memory, and kinship highlights not only the centrality of actively responding to the something-to-be-done signaled by hauntings but offers performative strategies that make such wake work come to life. This paper examines the representation of racial gendered hauntings in The Vanishing Half, its narrativization of queer modes of performativity and oceanic relationality, as well as its politics of (in)visibility.