Mixed Race Studies

Bridging the Divide: My Life

Rutgers University Press
2006-11-09
352 pages
16, 5.75 x 8.75
Cloth ISBN: 978-0-8135-3905-8

Senator Edward W. Brooke (1919-2015)

President Lyndon Johnson never understood it. Neither did President Richard Nixon. How could a black man, a Republican no less, be elected to the United States Senate from liberal, Democratic Massachusetts-a state with an African American population of only 2 percent?

The mystery of Senator Edward Brooke’s meteoric rise from Boston lawyer to Massachusetts attorney general to the first popularly elected African American U.S. senator with some of the highest favorable ratings of any Massachusetts politician confounded many of the best political minds of the day. After winning a name for himself as the first black man to be elected a state’s attorney general, as a crime fighter, and as the organizer of the Boston Strangler Task Force, this articulate and charismatic man burst on the national scene in 1966 when he ran for the Senate.

In two terms in the Senate during some of the most racially tormented years of the twentieth century, Brooke, through tact, personality, charm, and determination, became a highly regarded member of “the most exclusive club in the world.” The only African American senator ever to be elected to a second term, Brooke established a reputation for independent thinking and challenged the powerbrokers and presidents of the day in defense of the poor and disenfranchised.

In this autobiography, Brooke details the challenges that confronted African American men of his generation and reveals his desire to be measured not as a black man in a white society but as an individual in a multiracial society. Chided by some in the white community as being “too black to be white” and in the black community as “too white to be black,” Brooke sought only to represent the people of Massachusetts and the national interest.

His story encompasses the turbulent post-World War II years, from the gains of the civil rights movement, through the riotous 1960s, to the dark days of Watergate, with stories of his relationships with the Kennedys, Martin Luther King Jr., Lyndon Johnson, Richard Nixon, Henry Kissinger, Colin Powell, and future senator Hillary Clinton. Brooke also speaks candidly of his personal struggles, including his bitter divorce from his first wife and, most recently, his fight against cancer.

A dramatic, compelling, and inspirational account, Brooke’s life story demonstrates the triumph of the human spirit, offering lessons about politics, life, reconciliation, and love.

As a brown-skinned Dominican, the idea that I was somehow Black never crossed my mind. But what does it mean to be Black? Who is considered Black, and who is not? Am I Black? If I’m Dominican, can I be Black too? Am I Black enough? These are questions I struggled to answer as I embarked on a journey to come to terms with my European, Indigenous, and African ancestry and define my racial and cultural identity. Eventually, after deep study and reflection, I had discovered a racial and cultural fusion and finally admitted that I am the following: an Afro-Latino, or a Latino of African-descent, who identifies with their African roots; and an Afro-Dominican, which is simply a nationalized Afro-Latin@ identity. An Afro-Latin@ embraces four elements of African identity: their racial African features, like my thick, Black, curly afro; their cultural traits, which descend from African traditions such as music, food, language, and dance; their political identity, which is molded by their shared experience within a racist, anti-Black, system of white supremacy; and their social characteristics and personalities, which are African in nature. A Latin@ is simply someone mixed with African, European, and Indigenous blood.

Jonathan Bolívar Espinosa (Jay Espy), “Dominican, Black, and Afro-Latino: A Confession/Dominicano, Negro, y Afro-Latino: Una Confesión,” La Galería Magazine: Voices of the Dominican Diaspora, April 10, 2015. http://www.lagaleriamag.com/dominican-black-and-afro-latino-a-confessiondominicano-negro-y-afro-latino-una-confesion/.

What happened to black Germans under the Nazis?

The Conversation (US Pilot): Academic rigor, journalistic flair
2016-01-26

Eve Rosenhaft, Professor of German Historical Studies
University of Liverpool

The fact that we officially commemorate the Holocaust on January 27, the date of the liberation of Auschwitz, means that remembrance of Nazi crimes focuses on the systematic mass murder of Europe’s Jews.

The other victims of Nazi racism, including Europe’s Sinti and Roma are now routinely named in commemoration, but not all survivors have had equal opportunities to have their story heard. One group of victims who have yet to be publicly memorialised is black Germans.

All those voices need to be heard, not only for the sake of the survivors, but because we need to see how varied the expressions of Nazi racism were if we are to understand the lessons of the Holocaust for today.

When Hitler came to power in 1933, there were understood to have been some thousands of black people living in Germany – they were never counted and estimates vary widely. At the heart of an emerging black community was a group of men from Germany’s own African colonies (which were lost under the peace treaty that ended World War I) and their German wives…

Read the entire article here.

3 Ways to Boost Your Self Esteem About Multiracial Hair

Just Analise: Exploring and Embracing Authenticity in Life, Culture + Business
2016-01-31

Analise Kandasammy

My multiracial hair.

Sometimes it’s admired. Sometimes it’s a source of contention.

Loved or hated, my hair undeniably me…

Read the entire article here.

Daniel Lind Ramos and the Visual Politics of Race in Puerto Rican Art

Theory and Critique of Art in the Caribbean
2015-11-11

Fabienne Viala, Associate Professor; Director of the Year Abroad; Director of the Yesu Persaud Centre for Caribbean Studies
School of Modern Languages and Cultures
University of Warwick, Coventry, United Kingdom

This article discusses the work of the painter and installation artist Daniel Lind-Ramos. The Puerto Rican artist explores the complex relationships that exist between historical memory, national identity and racial identities in Puerto Rico; more specifically, he shows the taboos that weigh on African cultural heritage in the Estado Asociado Libre, through a style of painting that is always symbolic, sometimes allegorical and containing “keys” that bring the political and the metaphysical into a dialogue on canvas and in space. For Lind-Ramos, art is the expression of an Afro-Puerto Rican hyper-consciousness that claims the right to redefine the codes of representation and visual perception of a Caribbean socio-political reality that addresses its colonial status.

Read the entire article here.