Mixed Race Studies

Faking It: Poetics & Hybridity: Critical Writing 1984-1999

NeWest Press
Spring 2000
288 pages
Paperback ISBN 13: 978-1-896300-07-8

Fred Wah

According to Fred Wah, the act of thinking critically is one of exploration and discovery. In Faking It, Wah demonstrates how writing poetry is writing critically. This scrapbook of Wah’s work—collected from fifteen years of his writing—contains essays, reviews, journals, notes and, most importantly, poetic improvisations on contemporary poetry and identity. Faking It was written between 1984 and 1999—during major shifts in critical thinking and cultural production—and the hybrid style of the book is an apt reflection of these changing times, as well as a reflection and study of Wah’s own hybrid identity.

Desdemona’s Fire

Lotus Press/Wayne State University Press
1999
61 pages
5.5 x 8.5
Paper ISBN: 9780916418830

Ruth Ellen Kocher, Associate Professor of English
University of Colorado, Boulder

This is the author’s first book and winner of the 1999 Naomi Long Madgett Poetry Award. While miscegenation has always been more a part of American history than many want to admit, Desdemona’s Fire journeys through this often forbidden landscape in poems that are sometimes painfully poignant, yet fresh in their imagery and detail.

The Writer’s Almanac Podcast with Garrison Keillor [Charles Wadell Chesnutt]

The Writer’s Almanac
2011-06-20

Garrison Keillor, Host

Today in history and a poem or two.

It’s the birthday of Charles Waddell Chesnutt (books by this author), born on this day in Cleveland (1858). His parents were free mixed-race Southerners who left Fayetteville, North Carolina, for Ohio. One of his grandfathers had been a slaveholder, and Chesnutt looked white, but he always identified as black. His family moved back to Fayetteville when Charles was eight, and the boy went to a Freedmen’s Bureau school for the children of freed slaves. He became a teacher, and then principal of the State Colored Normal School in Fayetteville, which trained black teachers.

In 1880, when he was 22 years old, he wrote in his journal: “I think I must write a book. I am almost afraid to undertake a book so early and with so little experience in composition. But it has been a cherished dream, and I feel an influence that I cannot resist calling me to the task.”
 
It took Chesnutt a few years to get there. He was an established and respected citizen in Fayetteville, but in 1883 he decided that he didn’t have much of a future as a black writer in the hostile post-Civil War South. So he moved back to Cleveland with his wife and children. He passed the state bar exams and set up a stenography business, and in his spare time he wrote stories. In 1887, he published his first short story, “The Goophered Grapevine,” in The Atlantic Monthly. He was the first black fiction writer to be published in The Atlantic—although the magazine assumed that he was white until he informed them several years, and many stories, later…

Read the text here. Listen to the podcast here.  Download the podcast here.

Les Cenelles

Centenary College of Louisiana Press / Editions Tintamarre
January 2003
208 pages
ISBN: 0-9723258-9-1

Armand Lanusse

The text is in French.

With few exceptions, the poets of Les Cenelles–the very first collection of poetry by Creoles of color–do not directly address their precarious situation in a South that was ever increasingly hostile to the racial caste to which they belonged. On the contrary, a naive reader might only discover the most pedestrian sorts of romantic subjects in these poems written by seventeen free men of color. However , why would Valcour B… refer to himself as an “unrecognized son of New Orleans?” What “cruel fate” might have forced P. Dalcour into exile? What is the source of the regret, the preoccupation with departure and the fear of betrayal that seeps from every line of these works?

However gifted and diligent they might have been, free people of color were forced to live within the constraints of their fate as second class citizens. May the modern reader delve into these “modest Cenelles” conscience of the troubling context that underpins their creation. Without this awareness, the profound depths of their melancholy spirit will escape him completely.

Spit Back a Boy: Poems by Iain Haley Pollock

The University of Georgia Press
2011-06-15
72 pages
Trim size: 5.5 x 8.5
ISBN: 978-0-8203-3908-5

Iain Haley Pollock, English Teacher
Springside-Chestnut Hill Academy, Philadelphia, Pennsylvania

Winner of the 2010 The Cave Canem Poetry Prize

Iain Haley Pollock’s poems cover the ground from a woman late to catfish supper to an ancient queen who howls, “Sea, you is ugly,” from the creaking of slave ships launched from Lancaster to gunfire on a contemporary Philadelphia street. Such lyric moments find grounding in stories woven through this book—in one story line, a boy with a black mother and white father wishes he could shed his white skin or carve into what lies beneath: “I flung my almost white self / into my mother’s embrace—that brown / embrace I hoped would swallow me whole / and spit back a boy four shades darker.” Another thread follows a marriage and a woman intertwined with hunger and the blues, a woman who hears a whale song in a refrigerator’s hum, who cries hard like the lonely barking of a fox.

Even when these poems soften, they can’t be complacent about good fortune: for all the maple seedpods and snow fluttering down here, the poems are always aware of wreckage and car bombs there, and they keep conscious of the mustard gas of old wars and the losses of recent ones. Punctuated with lives that end early, such as those of Hart Crane and Mikey Clark, a high-school classmate who once swiped the Communion wine, Pollock’s collection earns its vitality and romance without closing its eyes to violence and sorrow.

from “Rattla cain’t hold me”

. . . And all our sadness will be old Arkansas,
rural and misspoken, its roads smudged
by the fog’s blue prints, its pine board shacks

daubed with mud to keep out mosquitoes
and the cold. The kitchens and porches
where we aren’t will cease to exist. We’ll miss

rain in autumn dousing the fire of the leaves.
Wind writhing like a water moccasin.
Like convicts we’ll sing, Rattla cain’t hold me

Rattla cain’t hold me, while outside the fence,
poplars, stripped by gypsy moths, stand bare.

The Quadroon Girl

Poems on Slavery
1842

Henry Wadsworth Longfellow (1807-1882)

Provided by the Maine Historical Society

The Slaver in the broad lagoon
  Lay moored with idle sail;
He waited for the rising moon,
  And for the evening gale.

Under the shore his boat was tied,
  And all her listless crew
Watched the gray alligator slide
  Into the still bayou.

Odors of orange-flowers, and spice,
  Reached them from time to time,
Like airs that breathe from Paradise
  Upon a world of crime.

The Planter, under his roof of thatch,
  Smoked thoughtfully and slow;
The Slaver’s thumb was on the latch,
  He seemed in haste to go.

He said, “My ship at anchor rides
  In yonder broad lagoon;
I only wait the evening tides,
  And the rising of the moon.”

Before them, with her face upraised,
  In timid attitude,
Like one half curious, half amazed,
  A Quadroon maiden stood.

Her eyes were large, and full of light,
  Her arms and neck were bare;
No garment she wore save a kirtle bright,
  And her own long, raven hair.

And on her lips there played a smile
  As holy, meek, and faint,
As lights in some cathedral aisle
  The features of a saint.

“The soil is barren,–the farm is old,”
  The thoughtful planter said;
Then looked upon the Slaver’s gold,
  And then upon the maid.

His heart within him was at strife
  With such accurséd gains:
For he knew whose passions gave her life,
  Whose blood ran in her veins.

But the voice of nature was too weak;
  He took the glittering gold!
Then pale as death grew the maiden’s cheek,
  Her hands as icy cold.

The Slaver led her from the door,
  He led her by the hand,
To be his slave and paramour
  In a strange and distant land!

Mulatto [Poem]

1927
Langston Hughes (1902-1967)

I am your son, white man!
Georgia dusk
And the turpentine woods.
One of the pillars of the temple fell.

You are my son!
Like Hell!
The moon over the turpentine woods.
The Southern night
Full of stars,
Great big yellow stars.

What’s a body but a toy?

Juicy bodies
Of nigger wenches
Blue black
Against black fences.
O, you little bastard boy,
What’s a body but a toy?
The scent of pine wood stings the soft night air.

What’s the body of your mother?
Silver moonlight everywhere.

What’s the body of your mother?
Sharp pine scent in the evening air.

A nigger night,
A nigger joy,
A little yellow
Bastard boy.
Naw, you ain’t my brother.
Niggers ain’t my brother.
Not ever.
Niggers ain’t my brother.
The Southern night is full of stars,
Great big yellow stars.

O, sweet as earth,
Dusk dark bodies
Give sweet birth
To little yellow bastard boys.

Git on back there in the night,
You ain’t white
The bright stars scatter everywhere.
Pine wood scent in the evening air.

A nigger night,
A nigger joy.
I am your son, white man!

A little yellow
Bastard boy.

Other Tongues: Mixed-Race Women Speak Out

Inanna Publications
November 2010
250 pages
ISBN-10: 1926708148
ISBN-13: 978-1-926708-14-0

Edited by

Adebe De Rango-Adem (Adebe D. A.)

Andrea Thompson

This anthology of poetry, spoken word, fiction, creative non-fiction, spoken word texts, as well as black and white artwork and photography, explores the question of how mixed-race women in North America identify in the twenty-first century. Contributions engage, document, and/or explore the experiences of being mixed-race, by placing interraciality as the center, rather than periphery, of analysis. The anthology also serves as a place to learn about the social experiences, attitudes, and feelings of others, and what racial identity has come to mean today.

Adebe De Rango-Adem recently completed a research writing fellowship at the Applied Research Center in New York, where she wrote for ColorLines, America’s primary magazine on race politics. She has served as Assistant Editor for the literary journal Existere, and is a founding member of s.t.e.p.u.p.—a poetry collective dedicated to helping young writers develop their spoken word skills. Her poetry has been featured in journals such as Canadian Woman Studies, The Claremont Review, Canadian Literature, and cv2. She won the Toronto Poetry Competition in 2005 to become Toronto’s first Junior Poet Laureate, and is the author of a chapbook entitled Sea Change (2007). Her debut poetry collection, Ex Nihilo, will be published in early 2010.

Andrea Thompson is a performance poet who has been featured on film, radio, and television, with her work published in magazines and anthologies across Canada. Her debut collection, Eating the Seed (2000), has been featured on reading lists at the University of Toronto and the Ontario College of Art and Design, and her spoken word CD, One, was nominated for a Canadian Urban Music Award in 2005. A pioneer of slam poetry in Canada, Thompson has also hosted Heart of a Poet on Bravo tv, CiTr Radio’s spoken word show, Hearsay. In 2008, she toured her Spoken Word/Play Mating Rituals of the Urban Cougar across the country, and in 2009 was the Poet of Honour at the Canadian Festival of Spoken Word.

Table of Contents (Thanks to Nicole Asong Nfonoyim)

• Acknowledgements
• Preface – Carol Camper
• Introduction – Adebe DeRango-Adem and Andrea Thompson1
• RULES/ROLES
  • Enigma – Andrea Thompson
  • Blond- Natasha Trethewey
  • Mixed- Sandra Kasturi
  • pick one – Chistine Sy and Aja
  • My Sista, Mi Hermana – Phoenix Rising
  • little half-black-breed – Tasha Beeds
  • “White Mask” – Jordan Clarke
  • “Nothing is just black or white” – Jordan Clarke
  • Roll Call – Kirya Traber
  • What Am I? – Marijane Castillo
  • Casting Call: Looking for White Girls and Latinas – D.Cole Ossandon
  • Conversations of Confrontation – Natasha Morris
  • “why i don’t say i’m white”- Alexis Kienlen
  • “Confession #8” – Mica Lee Anders
  • “Other Female” – Mica Lee Anders
  • “MMA and MLA” – Mica Lee Anders
  • The Pieces/Peace(is) in Me – monica rosas
  • Generation Gap (Hawaiian Style) – ku’ualoha ho’omanawanui
  • The Incident that Never Happened – Ann Phillips
  • In the Dark – Anajli Enjeti-Sydow
  • ananse vs. anasi (2007) – Rea McNamara
  • Contamination-  Amber Jamilla Musser
  • A Mixed Journey From the Outside In – Liberty Hultberg
  • What Are You? – Kali Fajardo-Anstine
  • One Being Brown – Tru Leverette
  • One for Everyday of the Week – Michelle Lopez Mulllins
  • Savage Stasis – Gena Chang-Campbell
  • The Half-Breed’s Guide to Answering the Question – M. C. Shumaker
  • My Definition – Kay’la Fraser
  • Pop Quiz – Erin Kobayashi
• ROOTS/ROUTES
  • Melanomial – Sonnet L’Abbe
  • half-breed – Jonina Kirton
  • “Inca/Jew” – Margo Rivera-Weiss
  • Open Letter – Adebe DeRango Adem
  • Prism Woman – Adebe DeRango-Adem
  • Southern Gothic – Natasha Trethewey
  • The Drinking Gourd- Miranda Martini
  • Reflection – Jonina Kirton
  • “Untitled” White Sequence – Cassie Mulheron
  • “Untitled” Black Sequence – Cassie Mulheron
  • Mapping Identities – Gail Prasad
  • Whose Child Are You? – Amy Pimentel
  • From the Tree – Lisa Marie Rollins
  • My sister’s hair – ku’ualoha ho’omanawanui
  • I, too, hear the dreams – Peta Gaye-Nash
  • Learning to Love Me – Michelle Jean-Paul
  • A Conversation among Friends – Nicole Salter
  • The Combination of the Two – Rachel Afi Quinn
  • “Loving Series: Elena Rubin” – Laura Kina
  • On the Train – Naomi Angel
  • Coloured – Sheila Addiscott
  • Of Two Worlds – Christina Brobby
  • What is my Culture? – Karen Hill
  • mo’oku’auhau (Genealogy) – ku’ualoha ho’omanawanui
  • Siouxjewgermanscotblack [cultural software instructions] – Robin M. Chandler
  • “Loving Series: Shoshanna Weinberger” – Laura Kina
  • A Hairy Situation – Saedhlinn B. Stweart-Laing
  • “Pot Vida” – Margo Rivera-Weiss
  • Songs Feet Can Get – Rage Hezekiah
  • Opposite of Fence – Lisa Marie Rollins
  • Applique – Lisa Marie Rollins
  • Blanqueamiento – Adebe DeRango-Adem
  • The Land – Farideh de Bossett
  • Native Speaker: Daring to Name Ourselves – Nicole Asong Nfonoyim
• REVELATIONS
  • Colour Lesson I – Adebe DeRango-Adem
  • Concealed Things – Adebe DeRango-Adem
  • Serendipity – Priscila Uppal
  • “Ultramarine” – Margo Rivera-Weiss
  • before i was this – Katherena Vermette
  • Firebelly – Andrea Thompson
  • From Chopsticks to Meatloaf and Back Again – Jasmine Moy
  • My Power – Sonnet L’Abbe
  • Whitewashed – Kathryn McMillan
  • Actually, I’m Black – Marcelite Failla
  • “Self” – Lisa Walker
  • Grey (A Bi-racial Poem) – Sonya Littlejohn
  • Nubia’s Dream – Mica Valdez
  • both sides – Jonina Kirton
  • Mulatto Nation – Marika Schwandt
  • Colour Lesson II – Adebe DeRango-Adem
  • racially queer femme – Kimberly Dree Hudson
  • mypeople – Ruha Benjamin
  • My Life in Pieces – Jennifer Adese
  • Burden of Proof: From Colon-Eyes to Kaleidoscope – Angela Dosalmas
  • Recipe for mixing – Tomie Hahn
  • Metamorphosis – Gena Chang-Campbell
  • The Land Knows – Shandra Spears Bombay
  • Land in Place: Mapping the Grandmother – Joanne Arnott
  • “I am the leaf, you are the leaf” – Lisa Walker
  • Language and the Ethics of Mixed Race – Debra Thompson
  • Hybrid Identity and Writing of Presence – Jackie Wang
• Contributors Notes

Centuries of skin

Ragged Raven Press
2010
80 pages
ISBN: 978-0-9552552-9-8

Joanna Ezekiel

Some of the poems in Joanna Ezekiel’s first full poetry collection Centuries of skin engage imaginatively with her discoveries, in childhood and adolescence, of her dual Indian Jewish and Eastern European Jewish heritage. In the title poem, Centuries of skin, Ezekiel responds to overhearing in synagogue that, “She’s not a proper Jew”, with “Perhaps I’ll shout./Hurl my outlawed voice over wide hats…” and in “Rainbow”, she pictures her family in England and India connected by a rainbow, “our family tree of praying voices/murmuring the seven colours”. Economic imagery, raw honesty, and wry humour characterise Ezekiel’s poems.

Joanna blogs at delayed reactions.

Rainbow

Friday nights, stumbling Sabbath blessings
with my brothers and parents, I’d imagine a rainbow
that stretched from our home to Bombay,
our family tree of praying voices
murmuring the seven colours
radiant as peacock blessings
or precious stones, its arc transcending
timezones, continents, fractured partitions.
climbing through dense English cloud
to set in a haze of Eastern red.
I didn’t know then that over it
my father’s parents loomed, large
as Buddhas and angry as the sun.

A braid of words

I cling to the edge
of the roar of a lion,
it’s white-gold edge
like a coast at sunrise.
My feet hang clear
of the quicksand below
as it bubbles and sucks.
I will scramble up
to face the roar,
it’s mountains and valleys,
my breath a sirocco,
my pulse a landslide.
I will hear my calm voice
through the tremor,
a braid of words
like a pulley-cable
to haul myself across
until I fall off
into full noon sunlight,
blinking, my palms
stripped and raw.

Wild Cinnamon and Winter Skin

Peepal Tree Press: The Best in Caribbean Writing
2007-03-05
64 pages
ISBN: 9781845230500

Seni Seneviratne

Seni Seneviratne’s debut collection offers a poetic landscape that echoes themes of migration, family, love and loss and reflects her personal journey as a woman of Sri Lankan and English heritage.

The poems cross oceans and centuries. In ‘Cinnamon Roots’ Seni Seneviratne travels from colonial Britain to Ceylon in the 15th century and back to Yorkshire in the 20th Century; in A Wider View time collapses and carries her from a 21st century Leeds back to the flax mills of the 19th century; poems like ‘Grandad’s Insulin’, based on childhood memories, place her in 1950’s Yorkshire but echo links with her Sri Lankan heritage.