Mixed Race Studies

Yaba Blay | One Drop: Shifting the Lens on Race

Author Events
2021-03-04

Host:

Imani Perry, Hughes-Rogers Professor of African American Studies; Faculty Associate in the Program in Law and Public Affairs and Gender and Sexuality Studies
Princeton University

Referred to by Michael Eric Dyson as “one of the most brilliant and committed critics and advocates writing and thinking and working on behalf of Black people today,” Dr. Yaba Blay is a scholar, activist, and cultural consultant. Focusing on Black women and girls through topics like personal identity and body image, she has launched a number of viral media campaigns, produced the CNN documentary Who is Black in America?, and is an internationally renowned public speaker. Her work has appeared in publications such as the New York Times, Essence, and EBONY, and she has appeared on CNN, BET, and NPR, among other media outlets. In One Drop, Blay questions conventional perceptions of Blackness in order to create and understand a more diverse worldwide community.

Watch the interview here.

Public Thinker: Chanda Prescod-Weinstein Looks to the Night Sky

Public Thinker
Public Books
2021-03-09

Katherine McKittrick, Professor in Gender Studies and the Graduate Program in Cultural Studies
Queen’s University, Kingston, Ontario, Canada

Thinking in public demands knowledge, eloquence, and courage. In this interview series, we hear from public scholars about how they found their path and how they communicate to a wide audience.

My notes on The Disordered Cosmos: A Journey into Dark Matter, Spacetime, and Dreams Deferred, by Chanda Prescod-Weinstein, began on small paper squares that were about 10.5 x 10.5 cm. The paper squares allowed me to take fairly concise notes on key themes raised in the book; because of the size of the squares, I could reposition them as I read, which meant the themes were moveable and could change according to the time and place of my reading.

Partway through the book, I moved to lined three-ring paper, because the 10.5 x 10.5 cm thematic organization was stifling. I was losing my way. Thematic categorization—here is spacetime; here is melanin; here is Black feminism; here is, here are, phase(s); here is the one equation; here is diaspora and computing and song and nuclear physics and night sky—delimited the expansive intellectual work Prescod-Weinstein puts forth in this text. The lined three-ring paper offered more space; I was able to write out exact quotations at length and also write out ideas in my own words, mostly thinking about how to imagine the planet through curves and bendability.

Disordered Cosmos is a series of stories (cosmologies) and geometries and temperature variants and rapid expansions; these cosmologies, geometries, temperatures, and expansions are underpinned by racial-sexual violence, punitive evaluation metrics, the living memory of slavery, love, work. Particles, I think, hold everything together.

In her book, Prescod-Weinstein illuminated what I did not know and what I cannot know, and sharpened where I know from; she also showed me that the discipline of physics, and her work as a Black feminist physicist who studies quantum-gravity worlds, can forge meaningful interhuman and interecological and interstellar collaborations.

The kind of collaboration she offers is wide-ranging and painful and expressed through interdisciplinary promise. This is a book about how particle interactions are animated by the plantation. It is a book about how the racist contours of scientific knowledge provide the conditions that enable us to hold on to, and study, the liberatory inventions of Black scientists. It is a book that thinks about how wages and work and Blackness and identificatory politics and physics are entangled, and how this entanglement might, and can, reorient how we care for the planet and for each other. I am out of my depths.

In fall 2020, I had the chance to talk with Prescod-Weinstein about my book, Dear Science, and she gave me all kinds of space and time and energy so that I could share some of my ideas. I read Disordered Cosmos shortly afterward, and she agreed to continue our conversation—this time, with quarks and light dimensions and future-energy-distribution mechanisms, and the Blackness of it all, in mind…

Read the entire interview here.

MIXED MESSAGES episode 1 – Marcus

Mixed Messages with Sarah Doneghy
2021-02-24

Sarah Doneghy, Host

Marcus discusses his Mixed Race experience.

Watch the episode here.

Camila Pitanga on people questioning her blackness: “It’s as violent as if I was barred from a restaurant or a hotel because of my color.”

Black Brazil Today
2012-02-11

Marques Travae

Having captured the hearts of millions of Brazilians with her portrayals of several memorable characters in Brazil’s ever popular novelas, Camila Pitanga has earned her wings as a top actress and one of the most visible black actresses on the air. Her success is the fruit of hard work, an early start (appearing in the film Quilombo at age 6 in 1984) and having a famous father couldn’t have hurt (father Antônio Pitanga is a long-time actor). Of her role as Rose, an ex-domestic in the novela, Cama de Gato, Pitanga says: “I identify myself with Rose because she is a fighter and I have this reference in my family. My father is a man of humble origins from Bahia, he was a mailman and it was the arts that created his identity. Rose will not become an artist but she has a dignity that I identify with.”…

Read the entire interview here.

Brit Bennett – Colorism & Racial Passing in “The Vanishing Half” | The Daily Social Distancing Show

The Daily Show with Trevor Noah
2020-12-03

Brit Bennett talks about exploring the effects of colorism in Black communities and the ability to pass as white in her new novel “The Vanishing Half.”

Watch the interview here.

Dash Harris is doing the work to end anti-Blackness in LatinX culture

theGrio
2020-06-16

DeMicia Inman

Through her work in creating ‘NEGRO: A DOCU-SERIES ABOUT LATINX IDENTITY,’ Harris hopes to dismantle anti-Blackness in the LatinX community.

The African diaspora gave much of the world a very layered identity. For centuries, the slave trade resulted in African natives being sold or stolen as slaves and transported across the globe. Now, Black people reside in countries from the United States and Brazil to Haiti and the Dominican Republic.

Dash Harris, an Afro-LatinX woman, understands not only her multi-cultural heritage but also the implications and societal structure surrounding her identity. Through her work in creating NEGRO: A DOCU-SERIES ABOUT LATINX IDENTITY and more, she hopes to highlight LatinX existence and dismantle anti-Blackness in the LatinX community…

Read the entire interview here.

INTERVIEW: Davon Loeb, Author of The In-Betweens

Hippocampus Magazine: Memorable Creative Nonfiction
2020-07-07

Interview by Amy Eaton

Davon Loeb

The Book: Beginning with the challenges of how his White father and Black mother met, with their desire “to run away and start fresh and new”—resulting in a sometimes “pretend family”—to a near-archetypal description of his grandfather having just cut the grass as the author watches with a swollen lip and a black eye, to incessant moments in which different expressions of masculinity get inculcated, Davon Loeb frequently captures the disturbing poesy of life growing up. With painstaking detail, this work is in the vein of James McBride’s ‘The Color of Water’, Justin Torres’s ‘We the Animals’, and Jamaica Kincaid’s ‘Annie John’, ‘The In-Betweens’ is a meditation on bruise and healing. Loeb’s struggles become snapshots of how transformation occurs even where shards have been piled, where one waits “for something to happen, like flashes of red and blue sirens pulsing.” A truly extraordinary new voice! ~ Roy G. Guzmán, author of Restored Mural for Orlando

The author: Davon Loeb is the author of the lyrical memoir The In-Betweens, out now with Everytime Press. He earned an MFA in creative writing from Rutgers-Camden, and he is a poetry editor at Bending Genres. Davon writes creative nonfiction and poetry. His work has been nominated for two Pushcart Prizes and one Best of the Net, and is forthcoming and featured in PANK Magazine, Barren Magazine, XRAY Magazine, Apiary Magazine, Split Lip Magazine, Tahoma Literary Review, and elsewhere. Besides writing, Davon is a high school English teacher, husband, and father in New Jersey. Follow him on Twitter…

…AE: Your mother is such a powerful figure in the book. You’ve got your father, who you don’t see for the first time until you’re seven? And then you start seeing him sort of consistently? It feels that your stepfather is the man you feel closest to, the man that you look up to, that you’re aspiring to be, but the women in your book: your mother, your grandmother are just solid rocks in there.

DL: That was intentional. In the chapter, But I’m Not Toby, I emphasize my mother trying to teach me about Black history and what it means to be a young Black man. She’s the strong maternal voice that I think is special in a lot of Black communities. For me, that was special—especially with the uncertainty of my fathers. I wanted to make her really the most consistent character throughout the book, and I do believe I succeeded at that…

Read the entire interview here.

Part of a Larger Battle: A Conversation with Thomas Chatterton Williams

Los Angeles Review of Books
2020-07-16

Otis Houston
Portland, Oregon

Thomas Chatterton Williams

I FIRST INTERVIEWED Thomas Chatterton Williams for the Los Angeles Review of Books in the spring of 2019. We discussed his then-forthcoming book, Self-Portrait in Black and White: Unlearning Race, as well as the state of the discussion about race in in the United States, including the popular movements for social justice born of the increased visibility of the killings of black Americans by police.

I recently spoke with Thomas again about what has changed in the way we talk about race and identity. We also discussed the effects of the collision of social justice theories with art and institutions, and the best-selling books that are now influencing the national mood and tracing the borders of generational and ideological difference in the United States in 2020.

Thomas is a contributing editor at The New York Times and a columnist at Harper’s. He spoke to me by phone from his home in Paris, France. The following conversation has been edited for length and clarity.

OTIS HOUSTON: At about this time last year we discussed Self-Portrait in Black and White: Unlearning Race. One of your main arguments was that, in order to transcend racism and the social hierarchies it imposes, we have to commit to rejecting the very concept of race and its centrality in determining our identities.

One year later, in a time of mass protests in response to the killing of George Floyd, it seems to me like we’re seeing the media and some of the most prominent voices in the antiracism movement moving further away from the view of race and identity you’ve been advocating for. Increasingly, they argue that effective opposition to racism requires racial identity to always be foremost in our minds, both in the way we view politics and society and in our daily interactions with one another. This ideological movement is perhaps most visible in the books How to Be an Antiracist by Ibram X. Kendi and White Fragility by Robin DiAngelo, which have topped best-seller lists for weeks now. How would you describe this shift in thinking?

THOMAS CHATTERTON WILLIAMS: I see that as kind of a lamentable movement, actually. The two books that have dominated the conversation — and I mean dominated — are books that brook no middle ground and occlude any nuance. Robin DiAngelo’s central thesis, for instance, is that white people function not as individuals, but as a category, as a monolith that is inherently racist. According to her, to deny that you’re racist as a white person is proof of your racism, and to admit that you’re racist as a white person is proof of your racism, and the circular logic is airtight…

Read the entire interview here.

Brit Bennett: ‘Last week was truly the wildest week of my life’

The Guardian
2020-07-05

Simran Hans

‘I’m Californian, so nobody really reads me as anxious’: Brit Bennett. Photograph: Leonardo Cendamo/Getty Images

The US author on topping the bestseller charts with her new novel, why being right is overrated, and the TV show bringing her joy in lockdown

Brit Bennett, 30, was born and raised in southern California. She attended Stanford University and earned an MFA in fiction at the University of Michigan. Her acclaimed first novel, The Mothers, was published in 2016, when she was 26. Her follow-up, The Vanishing Half, has spent the past three weeks in the top five of the New York Times bestseller list and the screen rights have been optioned by HBO in a seven-figure deal.

HBO had to outbid 17 rival TV companies in the race to adapt your book for the screen. How does that feel?
Last week was truly the wildest week of my life. It was my birthday week, so I’ve never been sent so many bottles of champagne or bouquets of flowers in my life, and probably never will be again.

And that was on top of your book debuting at No 1 in the NYT bestseller list. What were you doing when you heard the news?
It was maybe 5 o’clock in the evening and I was just sitting on my couch, and my editor called out of nowhere. We were optimistic, but I never imagined that. The people who are No 1 are household names, like Stephen King!

Describe The Vanishing Half.
It’s a story about twin sisters, Desiree and Stella, who decide to live their lives on opposite sides of the colour line – one as a white woman and one as a black woman…

Read the entire interview here.

Brit Bennett on her New Novel ‘The Vanishing Half” and the History of Racial Passing

CBS This Morning
2020-06-26

Best-selling author Brit Bennett is following the success of her critically-acclaimed debut, “The Mothers,” with a “The Vanishing Half,” a novel exploring the American history of racial passing. She joins CBS News’ Errol Barnett to discuss how the story, which opens in 1968, is particularly timely today. Bennett also shares her reaction to J.K. Rowling’s controversial statements on transgender women and how the trending #PublishingPaidMe has uncovered inequities within the publishing industry.

Listen to the episode (00:26:00) here. Download the episode here.