Mixed Race Studies

Trace: Memory, History, Race, and the American Landscape

Counterpoint Press
2015-11-10
240 pages
5.5 x 8.25
Hardcover ISBN: 9781619025738

Lauret Savoy, Professor of Environmental Studies and Geology
Mount Holyoke College, South Hadley, Massachusetts

An environmental historian traces her mixed ancestry by reading both the land and the blistering record of race in America

Sand and stone are Earth’s fragmented memory. Each of us, too, is a landscape inscribed by memory and loss. One life-defining lesson Lauret Savoy learned as a young girl was this: the American land did not hate. As an educator and Earth historian, she has tracked the continent’s past from the relics of deep time; but the paths of ancestors toward her—paths of free and enslaved Africans, colonists from Europe, and peoples indigenous to this land—lie largely eroded and lost.

In this provocative and powerful mosaic of personal journeys and historical inquiry across a continent and time, Savoy explores how the country’s still unfolding history, and ideas of “race,” have marked her and the land. From twisted terrain within the San Andreas Fault zone to a South Carolina plantation, from national parks to burial grounds, from “Indian Territory” and the U.S.-Mexico Border to the U.S. capital, Trace grapples with a searing national history to reveal the often unvoiced presence of the past.

In distinctive and illuminating prose that is attentive to the rhythms of language and landscapes, she weaves together human stories of migration, silence, and displacement, as epic as the continent they survey, with uplifted mountains, braided streams, and eroded canyons.

The Audacity to be Black

The Chicago Maroon: The independent student newspaper of The University of Chicago since 1892.
2016-01-18

Vincente Perez

The word African American masks the political strife and oppression that comes with the word Black.

“Black is hurt.
Black is pain.
Black is strong.
Black is Love
Worked hard and long
Black is deserving
Black is unnerving
Because it is so Goddamn powerful
No matter what side of Blackness you represent
Remember
Always
Black is beautiful.”

—excerpted from B(lack)NESS & LATINI(dad)

I remember the first time I was teased for being Black. I was trying to fit in with the kids—all Mexican—so I wore my hair gelled down, but no amount of mousse or gel could hide my nappy curls. It was my turn to get roasted. They threw out the word Mayate (a slur for Black people) and laughed at how much product my hair required. I wasn’t “really” Mexican like they were. My father was Black and my mother Mexican, so I was something caught in between. “Mayate.” The word rang in my ears. For some reason, it hurt just like n***er did, but more than that, it threw me into a state of alienation. This word was flung at me from a language that shouldn’t be foreign to me, but is.

So where did I fit in? African American didn’t feel right. My mestizo family migrated to the U.S. in the 20th century and my mother didn’t meet my father until the 1990s. I’d never felt American. So what was I then? My mom told me: “You’re Black. There’s no need to be ashamed of it, it just is what it is.”…

Read the entire article here.

Preview of DREAM OF THE WATER CHILDREN by Wendy Cheng

2Leaf Press: A Small Press with Big Ideas!
New York, New York
2016-01-18

Wendy Cheng, Assistant Professor
School of Social Transformation Faculty
Arizona State University

A Black-Japanese Amerasian reflects on life in the present, with the traces of wars and their aftermaths.

In Dream of the Water Children, Fredrick Kakinami Cloyd delineates the ways imperialism and war are experienced across and between generations and leave lasting and often excruciating legacies in the mind, body, and relationships. The book is particularly good in detailing these costs as experienced by women and children, most vividly in cataloguing the life and emotions of Cloyd’s mother, and of Cloyd himself as a child and young man.

In incident after incident of military violence, sexual violence, social ostracism, intrafamilial cruelty, self-harm, and bullying, Cloyd shows how the social conditions created by war reverberate in our most intimate relationships. At the same time, Cloyd and his mother are never just victims: Cloyd’s spirited mother in particular defies stereotypes of Asian women and war brides as passive and silent. Throughout, Cloyd also traces moments of friendship and communal support among women and children of other mixed-race military families, as they navigated the conditions of multiple societies and cultural norms…

Read the entire preview here.

When Ancestry Search Led To Escaped Slave: ‘All I Could Do Was Weep’

Fresh Air (From WHYY in Philadelphia)
National Public Radio
2016-01-18

Terry Gross, Host

When she was in fifth grade, Regina Mason received a school assignment that would change her life: to connect with her country of origin. That night, she went home and asked her mother where they were from.

“She told me about her grandfather who was a former slave,” Mason tells Fresh Air’s Terry Gross. “And that blew me away, because I’m thinking, ‘Slavery was like biblical times. It wasn’t just a few generations removed.’ ”

But for Mason, slavery was a few generations removed. She would later learn that her great-great-great-grandfather, a man named William Grimes, had been a runaway slave, and that he had authored what is now considered to be the first fugitive slave narrative.

“William Grimes’ narrative is precedent-setting,” Mason says. “[It] was published in 1825, and this was years before the abolitionist movement picked up slave narrative as a propaganda tool to end slavery. It sort of unwittingly paved the way for the American slave narrative to follow.”

Grimes’ original narrative tells the story of his 30 years spent in captivity, followed by his escape in 1814 from Savannah, Ga. He describes how his former owner discovered his whereabouts after the escape and forced him to give up his house in exchange for his freedom. (An updated version, published in 1855, includes a chapter about Grimes’ later life in poverty.)

Life of William Grimes, the Runaway Slave was again republished in 2008 by Oxford University Press. The latest edition was edited by Mason and William Andrews, a scholar of early African-American autobiography…

…Interview Highlights

On learning from her mother that her ancestors had been slaves

She talked about Grandpa Fuller, who was a mulatto slave. And I inquired about his parentage and she told me that his father, from what she knew, was a plantation owner, and his mother was an enslaved black woman. …

And I’m asking, “Well, that’s weird. Did his father own him?” … I mean, how do you explain … to children that slavery existed in freedom-loving America, No. 1; and No. 2, how do you explain to a child about an enslaved heritage shrouded in miscegenation? It’s not an easy thing to do…

Read the story highlights here. Listen to the interview (00:35:55) here. Download the interview here.

Life of William Grimes, the Runaway Slave

Oxford University Press
2008-07-28
192 pages
21 illus.
5 1/2 X 8 1/4 inches
Hardcover ISBN: 9780195343311
Paperback ISBN: 9780195343328

William L. Andrews, E. Maynard Adams Professor of English; Senior Associate Dean for Fine Arts and Humanities
University of North Carolina, Chapel Hill

Regina E. Mason, Grimes’s great-great-great-granddaughter

• The first fugitive slave narrative in American history
• A candid, unfiltered, and fully authenticated account of both slavery and so-called freedom in the antebellum U.S. before the advent of the American antislavery movement
• A unprecedented editorial partnership blending scholarship and family history to yield a unique modern edition of a neglected classic of antislavery literature
• No other slave narrative has been recovered, researched, and annotated by a slave’s descendent until now

Life of William Grimes, the Runaway Slave is the first fugitive slave narrative in American history. Because Grimes wrote and published his narrative on his own, without deference to white editors, publishers, or sponsors, his Life has an immediacy, candor, and no-holds-barred realism unparalleled in the famous antebellum slave narratives of the period. This edition of Grimes’s autobiography represents a historic partnership between noted scholar of the African American slave narrative, William L. Andrews, and Regina Mason, Grimes’s great-great-great-granddaughter. Their extensive historical and genealogical research has produced an authoritative, copiously annotated text that features pages from an original Grimes family Bible, transcriptions of the 1824 correspondence that set the terms for the author’s self-purchase in Connecticut (nine years after his escape from Savannah, Georgia), and many other striking images that invoke the life and times of William Grimes.

Table of Contents

• List of Illustrations
• Preface
• Acknowledgements
• Introduction by William L. Andrews
• Life of William Grimes, the Runaway Slave
• Chronology: the life and times of William Grimes
• Afterword by Regina E. Mason

Too Black to be Arab, too Arab to be Black

Media Diversified
2016-01-16

Leena Habiballa, Co-Editor
Qahwa Project

Edited by: Mend Mariwany, Middle East & North Africa Editor

Within every Sudanese diasporan is an unceasing internal dialogue about where we fit in the dominant racial order. Sudan is one of the most ethnically, culturally, linguistically and religiously diverse places on the African continent. It was also home to some of the most ancient civilisations in African memory. But today it suffers from the brutal legacy of Arab slavery, Ottoman imperialism and British colonialism.

My early childhood was spent living in various Arab countries, where I learnt from a young age that my darker skin tone threatened my claim to Arabness. To be authentically Arab, it wasn’t enough to speak Arabic or have facets of Arab culture syncretised into my own. My Blackness needed to be invisible. My identity as an Arab was, therefore, always contested and fraught, though nevertheless an important part of my being and, ultimately, self-evident. When others denied my Arabness I felt its existence affirmed, for how could something be stripped off if it didn’t exist?

It wasn’t until my mid to late teens that I was forced to see Blackness and Arabness as ontologically separate. This was the result of being introduced to the Western concept of race. Being racialised within this schema gave me a new sense of self, one which was innately linked to my skin colour and its difference to others. I had previously equated ‘Arab’ with Arab culture, and ‘Black’ with skin tone, not an identity. The concept of race, however, meant not only that I now saw Black and Arab as representing very different racial identities but also as invariably competing and mutually exclusive. I came to embody these two irreconcilable racial categories, and my body had become the site of a visceral and daily contradiction.

Too Black to be Arab, too Arab to be Black. This is the daily discourse that I grappled with. I was racially perplexed and traumatised…

Read the entire article here.

Bendición: The Complete Poetry of Tato Laviera

Arte Público Press
2014-11-30
346 pages
Paperback ISBN: 978-1-55885-800-8

Tato Laviera (1950-2013)

Introduction by: Laura Lomas
Preface by: Nicolás Kanellos

“i think in spanish / i write in english / i want to go back to puerto rico / but I wonder if my kink could live / in ponce, mayaguez and carolina.” Born in Puerto Rico but raised in New York City, Tato Laviera’s poetry reflects his bilingual, bicultural Nuyorican existence while celebrating the universality of the human condition and his European, indigenous and African roots.

Tato Laviera explores identity, community, urban life, oppression and much more in these multi-layered pieces that spanned his too-short life. Many deal with themes specific to the immigrant experience, such as the sense of alienation many feel when they are not accepted in their native or adopted land. In “nuyorican,” he writes about returning to his native island, only to be looked down upon for his way of speaking: “ahora regreso, con un corazón boricua, y tú / me desprecias, me miras mal, me atacas mi hablar.”

Music and dance, an integral part of Puerto Rican life, permeate Laviera’s verse and pay homage to the Caribbean’s African roots. “i hear merengue in french haiti / and in dominican blood, / and the guaracha in yoruba, / and the mambo sounds inside the plena.”

Including all of his previously published poems and some that have never been published, these are bold expressions of hybridity in which people of mixed races speak a combination of languages. He skillfully weaves English and Spanish, and frequently writes in Spanglish. The importance of language and its impact on his identity is evident in poems entitled “Español,” “Bilingue” and “Spanglish.” Known for his lively, energetic poetry readings, Bendición represents an internationally recognized poet’s life work and will serve to keep Tato Laviera’s words and the issues he wrote about alive long after his death.

Women Warriors of the Afro-Latina Diaspora

Arte Público Press
2012-04-30
248 pages
Paperback ISBN: 978-1-55885-746-9

Edited by: Marta Moreno Vega, Alba Marinieves and Yvette Modestin

Afro-Latina women relate their personal stories and advocacy for racial equality

“My housewife mother turned into a raging warrior woman when the principal of my elementary school questioned whether her daughter and the children of my public school had the intelligence to pass a citywide test,” Marta Moreno Vega writes in her essay. She knew then she was loved and valued, and she learned that to be an Afro-Puerto Rican woman meant activism was her birth right.

Hers is one of eleven essays and four poems included in this volume in which Latina women of African descent share their stories. The authors included are from all over Latin America—Brazil, the Dominican Republic, Haiti, Panama, Puerto Rico and Venezuela—and they write about the African diaspora and issues such as colonialism, oppression and disenfranchisement. Diva Moreira, a black Brazilian, writes that she experienced racism and humiliation at a very young age. The worst experience, she remembers, was when her mother’s bosses told her she didn’t need to go to school after the fourth grade, “because blacks don’t need to study more than that.”

The contributors span a range of professions, from artists to grass-roots activists, scholars and elected officials. Each is deeply engaged in her community, and they all use their positions to advocate for justice, racial equality and cultural equity. In their introduction, the editors write that these stories provide insight into the conditions that have led Afro-Latinas to challenge systems of inequality, including the machismo that is still prominent in Spanish-speaking cultures.

A fascinating look at the legacy of more than 400 years of African enslavement in the Americas, this collection of personal stories is a must-read for anyone interested in the African diaspora and issues of inequality and racism.

A Mixed Race Feminist Blog Interview with Isabel Adonis

A Mixed Race Feminist Blog
2016-01-15

Nicola Codner
Leeds, Yorkshire, United Kingdom

About Isabel Adonis

I’m a private tutor, artist and writer and I live in Wales. My mother was a white Welsh woman and my father was a black man from Georgetown in Guyana. He was quite a well-known writer and artist. I was born and brought up in London until I was six when my father began working in Khartoum in the Sudan. I lived and went to school there until I was nine when my parents bought a house in Wales. For the next nine years I lived and went to school in Wales and travelled to Africa in the holidays. After five years in the Sudan my father worked in different universities in Nigeria. My parents split up when I was seventeen and my father returned to the Caribbean. My mother did not remarry. In my twenties I trained as a teacher but because of an incident at the school, which I think was race related I decided I would never teach. I have four grown up children.

Do you remember when you first came to understand that you are mixed race?

Yes, around the time that ethnic monitoring was introduced in the UK in the early nineties. I had no notion of being mixed race prior to that. I was not brought up to call myself anything. However I do not call myself mixed race now. I leave it to others to do that kind of thing. I resist being categorised in this way, since it is problematic. Identification functions by inclusion and therefore exclusion. I’m not happy with that…

Read the entire interview here.

Meet Team One Drop: Dr. Chandra Crudup

Fanshen Cox
2016-01-12

Meet One Drop of Love’s Production Manager, Dr. Chandra Crudup. She makes sure all technical aspects of the show are in place and lends lots of other support to Fanshen when we travel. She also often calls the show and hosts our Q&A talkbacks. She has her PhD in Social Work and is an experienced actor, choreographer and theatre producer. She’s also on the Boards of Mixed Roots Stories and MAViN. We are so grateful to have her on the team!

One Drop of Love is a multimedia one-woman show exploring the intersections of race, class, gender, justice and LOVE.

For more information, click here.