Mixed Race Studies

Why Chelene Knight wrote letters to the current occupants of the houses she lived in growing up

CBC Books
Canadian Broadcasting Corporation
2018-03-06

Ryan B. Patrick, Associate Producer

Chelene Knight is an author based in Vancouver. (Chelene Knight/BookThug)

Chelene Knight is a Vancouver-based writer and editor. Of Black and East Indian heritage, Knight’s Dear Current Occupant mixes poetry and prose to tell a story about home and belonging, set in the 1980s and 1990s of Vancouver’s Downtown Eastside.

The book plays with genre by way of a series of letters addressed to the current occupants now living in the 20 different houses she moved in and out of with her mother and brother. Knight tells CBC Books how she wrote Dear Current Occupant.

A bus ride beginning

“The first draft was originally all poetry, but my publisher suggested I rewrite it as creative nonfiction. I tried to write this book in generic memoir form. I sat down wanting to write about some of my childhood experiences. But it couldn’t come out. I thought maybe it’s not the right time.

“Then I was on the bus one snowy day and I passed by one of the houses that I lived in as a child and something sparked in me. I got off the bus and I stood in front of this house. I had a notebook with me and I started scribbling. The memories were coming back to me — flooding in — and it was this visceral thing where I needed to be in that place and then be transported back to those times.”…

…Writing for others

“We always hear people say there are no Black people in Vancouver, but there are. I identify as a Black woman. I know there was a larger Black community in Vancouver many years ago, but people have been displaced. I definitely want to reach people who not only are of mixed ethnicity but who also identify as Black.

“I’m writing this for the community that I wish were here now. So whether you are Black, of mixed race or can identify with the trauma parts of the book, I think there are different layers in the work where you can see something different every time. That’s what I like with the hybrid form, of poetry and prose.”

Read the entire article here.

Dear Current Occupant: A Memoir

BookThug
2018-04-01
132 pages
5 x 1 x 8 inches
Paperback ISBN-13: 978-1771663908

Chelene Knight

From Vancouver-based writer Chelene Knight, Dear Current Occupant is a creative nonfiction memoir about home and belonging set in the 80s and 90s of Vancouver’s Downtown Eastside.

Using a variety of forms including letters, essays and poems, Knight reflects on her childhood through a series of letters addressed to all of the current occupants now living in the twenty different houses she moved in and out of with her mother and brother. From blurry and fragmented non-chronological memories of trying to fit in with her own family as the only mixed East Indian/Black child, to crystal clear recollections of parental drug use, Knight draws a vivid portrait of memory that still longs for a place and a home.

Peering through windows and doors into intimate, remembered spaces now occupied by strangers, Knight writes to them in order to deconstruct her own past. From the rubble of memory she then builds a real place in order to bring herself back home.

My name is Joseph Boyden

Maclean’s
2017-08-02

Joseph Boyden

Joseph Boyden (Photograph by Jacob C Boynton)

Being Indigenous isn’t all about DNA. It’s about who you claim, and who claims you.

My name is Joseph Boyden. Late last December I had a hard time wrapping my head around what a Cree Elder I’ve known and respected for 25 years told me when we spoke about the firestorm that questions concerning my ancestry had sparked in Canada over the holidays. This elder told me that I was experiencing a rite of passage. I wanted to tell him that I’d not long ago turned 50, and weren’t rites of passage something geared more toward the teenage years? But I knew to listen and not interrupt. He told me that what I was experiencing was actually a gift.

A gift? People I did and didn’t know were questioning my family’s history, our creation stories, our ancestry. People were questioning me as a fiction writer and a journalist and a vocal activist for Indigenous rights in our country as an honorary witness of the Truth and Reconciliation Commission.

Now, from these months of hindsight, I understand it was the perfect storm brewing. Last October I’d spoken up publicly to demand accountability by a university and its conduct in the treatment of a friend—and the complainants— embroiled in an ugly and horribly mishandled controversy that ended up sending shockwaves beyond literary Canada…

Read the entire article here.

I’m Not My Mother’s Cleaning Lady

narratively: Human Stories, Boldy Told
2018-04-30

Lisa W. Rosenberg

Loveis Wise

People see an elderly white woman and her middle-aged black daughter and assume I must be the hired help.

“Who do you work for?” the maintenance man wants to know, eyes narrowed slightly. I register his accent just as he’s appraised my brown skin. English is not his first language. We’re alone in the laundry room of my mother’s condo, where I’ve been folding sheets. He’s just walked in, toolbelt at his hips, and stumbled upon an unfamiliar woman of color. I reason that, to him, brown skin plus housework means Help. Either I work for someone in the building, or else I’m an interloper from the housing project across the street.

As I consider the best response, my gaze takes in the name-tag pinned to his front pocket. “Tony.”

He’s subjugated me with his question, but I know his name. Should I use it and answer directly? With snark?

“I’m self-employed,” I might respond, telling the truth but playing dumb. “I have a private psychotherapy practice in New Jersey.” I could add, “I’m very fortunate. My work schedule allows me to visit my mother and do her laundry from time to time.”

“I’m visiting my mother,” I say benignly. “Just helping her out.” I smile as if it’s a quaint indulgence to do a loved one’s chores, as if I’ve sent the servants back to their families to enjoy a day of rest…

Read the entire article here.

Bedside Books: How Half-Breed by Maria Campbell connected musician Nick Ferrio to his grandmother

CBC Radio
Canadian Broadcasting Corporation
2018-04-16

Musician Nick Ferrio examines Maria Campbell’s autobiography, Half-Breed, and its depiction of race issues in Canada. (Jeff Bierk/Goodread Biography)

Musician Nick Ferrio is based in Peterborough, Ont., but his roots are in Saskatchewan. He recently read Maria Campbell’s memoir Half-Breed and its account of an Indigenous woman’s encounters with racism, and the book resonated with him, thanks to his own Cree ancestry.

Ferrio’s album Soothsayer also mixes several influences to create a personal style and sound.

Mapping internal conflict

“I think every Canadian should read Half-Breed. It’s an incredible story of a mixed woman whose ancestry is part Cree. She explains the racism she faced in Canada. It resonated with me as my paternal grandmother is Cree. Because of the Indian Act, her family was forced to leave the reserve. When she moved to Toronto, she had internal racism. She was ashamed of her identity. She passed as white, so she blended into white culture in Toronto. That’s a dark thing.”..

Listen to the story here. Read the story here.

A Furious Voice, Forged In The ‘Fire’ Of Prejudice

Book Review
National Public Radio
2008-10-10

Jessa Crispin, Founder and Editor
Bookslut.com

If I Could Write This in Fire
By Michelle Cliff
Hardcover, 104 pages
University of Minnesota Press
List price: $21.95

While on a tour of the University of Virginia, Jamaican-American novelist and short-story writer Michelle Cliff is informed by a doctoral student that Thomas Jefferson never owned slaves. “‘Villagers,’ as they’re affectionately known,” says the student, “built [this] university, Monticello, every rotunda, column and finial the great man dreamed of. They liked him so much they just pitched in, after their own chores are done.”

It’s one of many unsettling moments in If I Could Write This in Fire, a collection of essays that is Cliff’s first nonfiction book. Everywhere Cliff goes, she sees people treating history as if it were a story they could rewrite at will: women at cocktail parties uttering, “Pinochet was not so bad”; guests at a dinner party disbelieving that the blacks in Birth of a Nation were white actors in blackface.

Cliff, 61, has always been an outsider — a lesbian born on a homophobic Caribbean island, an immigrant in the U.K. (where she studied) and the U.S. (where she settled), a mixed-race intellectual trying to make sense of a black and white world…

Read the entire review here.

If I Could Write This in Fire

University of Minnesota Press
2008
104 pages
5 1/2 x 8 1/2
Cloth/jacket ISBN: 978-0-8166-5474-1

Michelle Cliff (1942-2016)

A deeply personal meditation on history and memory, place and displacement by a major writer

Born in a Jamaica still under British rule, the acclaimed and influential writer Michelle Cliff embraced her many identities, shaped by her experiences with the forces of colonialism and oppression: a light-skinned Creole, a lesbian, an immigrant in both England and the United States. In her celebrated novels and short stories, she has probed the intersection of prejudice and oppression with a rare and striking lyricism.

In her first book-length collection of nonfiction, Cliff displays the same poetic intensity, interweaving reflections on her life in Jamaica, England, and the United States with a powerful and sustained critique of racism, homophobia, and social injustice. If I Could Write This in Fire begins by tracing her transatlantic journey from Jamaica to England, coalescing around a graceful, elliptical account of her childhood friendship with Zoe, who is dark-skinned and from an impoverished, rural background; the divergent life courses that each is forced to take; and the class and color tensions that shape their lives as adults. The personal is interspersed with fragments of Jamaica’s history and the plight of people of color living both under imperial rule and in contemporary Britain. In other essays and poems, Cliff writes about the discovery of her distinctive, diasporic literary voice, recalls her wild colonial girlhood and sexual awakening, and recounts traveling through an American landscape of racism, colonialism, and genocide—a history of violence embodied in seemingly innocuous souvenirs and tourist sites.

A profound meditation on place and displacement, If I Could Write This in Fire explores the complexities of identity as they meet with race, gender, sexuality, nationality, and the legacies of the Middle Passage and European imperialism.

Mizuko

Hapa Japan
2018-04-13

Fredrick Cloyd

Featured Image by Edward M. Haugh

During the years of gathering research and thoughts, memory and conversations into some sort of cohesive unit for a book–which would eventually become the forthcoming (Spring 2018 by 2Leaf Press) entitled: Dream of the Water Children: Memory and Mourning in the Black Pacific, I had not thought of a title, or a way to fit all the pieces together for the vast amount of links and connections I wanted to make in relation to world historical archive and a definite anti-colonial stance. Yet another story of a unique person in the world was not my goal, although it would also be taken that way. I wanted to reach those who were concerned with looking at the historical present.

In focusing on my mother and myself, it came one day in a dream. Just as the opening scene in my book presents, I am suddenly woken up in the middle of the night to write:　みずこ　水子　ミズコ (mizuko) on a notepad I pull out from the bedside drawer. It puzzled me because, at least consciously, I did not know what this word meant or what it was. Then, the next day, I looked it up on the internet. The term mizuko, was the postwar euphemism for aborted fetus, or dead fetus. An entire religious ceremonial ritual grew out of this when the U.S. Occupation lifted its ban on religious ceremonies in Japan. Many women flooded to the countless shrines and statues to pray for those babies gone. Some were so ashamed, they did it in secret. But most women, even after given “permission,” could now do prayers in the forest and write their babies names or burn their incense in the name of that baby they let go from their bodies…

Read the entire article here.

Multi-award nominated playwright Natasha Marshall talks about the return of her hit show, Half Breed!

Theater Full Stop
2018-03-29

Lucy Basaba, Founder & Editor

Debuting at last year’s Edinburgh Festival, Natasha Marshall’s Half Breed has sparked conversation about what it means to be of mixed heritage in Britain today and how this is viewed within society. A part autobiographical work, Marshall’s vital one woman show has received critical acclaim, picking up multiple award nominations in the process. Marshall credits the show’s success to the influential Talawa Theatre Company and Soho Writer’s Lab for allowing the show to reach its full potential.

Both companies are renowned for their support and championing of new writing, contributing to our contemporary canon of new voices. Read on to find out more about Marshall’s response towards the show’s success, what she’d like for audiences to take away from the show and what it was like performing the show to audiences in India!

You’ll be performing your critically acclaimed show Half Breed at Soho Theatre in April before embarking on a UK tour. How are you feeling ahead of the tour?

I’m nervous but mainly so excited to take this story to the places that need it the most. Schools/ rural areas… it’s going to be a journey. Feels very surreal to be doing this because I never imagined it would go this far, but very grateful it has.

Half Breed places focus on identity; growing up as the only mixed raced resident within a rural part of the UK. What drew you to write a piece on this particular subject?

It’s my experience on what it means to be black and I never saw that portrayed anywhere, so I decided to do it myself. Just wanted to see more variety onstage for people of colour, I was tired of seeing/performing the same old stereotypes…

Read the entire interview here.

A Standing Ovation for One Drop of Love

The Pilot Light: Official Blog of Naropa University
Boulder, Colorado
2018-04-19

Heather Hendrie, MA Transpersonal Wilderness Therapy student

Fanshen Cox Digiovanni Photo by David DeVine

It is my belief that the real magic in art arises in the space where the personal masterfully meets the universal. And mastery is what Fanshen Cox Digiovanni brought to us yesterday over the lunch hour at Naropa University with her one-woman show, “One Drop of Love”.

Fanshen Cox Digiovanni, an award-winning actor, producer, playwright, educator, and activist, was on campus performing as part of this year’s annual Bayard & John Cobb Peace Lecture. She wrote her show as her MFA thesis. In answer to the question, “How long did it take you to create this beautiful piece?” she laughs and says, “Oh, about 48 years!”

Using pieces from her father’s memoir and real images and recordings of conversations with family members, Fanshen created a masterpiece. She has performed the show across the country over the past five years. “One Drop of Love” is an interactive multimedia show that explores the intersections of race, class, and gender in pursuit of truth, justice, and love…

Read the entire article here.