Mixed Race Studies

Race and sovereignty, a story of the body

National Catholic Reporter
2017-05-03

La Reine-Marie Mosely, Assistant Professor of Religious Studies
Notre Dame of Maryland University, Baltimore, Maryland

Brian Bantum (Jessica Wood)

THE DEATH OF RACE: BUILDING A NEW CHRISTIANITY IN A RACIAL WORLD
By Brian Bantum
Published by Fortress Press, 182 pages, $16.99

In The Death of Race: Building a New Christianity in a Racial World, Brian Bantum explores the practical consequences of race in our world: Those who have inherited sovereignty have long organized the world according to the belief that whiteness is the paragon of existence, while black and brown bodies are deficient and suspect. It is this misconstrued and dangerous understanding of race that Bantum believes must die if followers of Jesus Christ want to live a meaningful embodied life in the spirit of their Savior.

Bantum is a biracial person who married a Korean-American woman. His life story is woven throughout the book as he explains the manner in which he came to racial consciousness.

It began with a choice. When the author was 6 years old, his mother was filling out a government document. Under the category of race, she asked her son to select the race that best captured his identity: white or black. Bantum selected “white” because of his love of his mother and the physical characteristics he shared with her. His brother, on the other hand, chose black because of the physical characteristics he shared with his father. Early in his life, Bantum began to realize the complexity of race in the U.S...

Read the entire review here.

Danzy Senna’s New People Explores Race, Love, and Gentrification

Elle
2017-08-03

Lisa Shea

The Caucasia author returns to her home ground: the personal and political dynamics of race.

In her latest novel, New People (Riverhead), Danzy Senna bores into the dynamics of race, identity, heritage, poverty, and privilege in contemporary America, exposing the pride and promises of change therein, as well as the pitfalls and pathologies. Agile and ambitious, the novel is also a wild-hearted romance about secrets and obsessions, a dramedy of manners about the educated black middle-class—the “talented tenth”—that is Senna’s authorial home ground. One critic, in reviewing Senna’s 2009 memoir, Where Did You Sleep Last Night?, about her writer parents’ marriage and divorce, and her father’s disappearance from her life, called her trenchant observations on America’s fixation with race “nod-inducingly brilliant.”

The female protagonist of New People, Maria, shares some of Senna’s biographical outlines: Maria refers to herself as a “quadroon” adopted and raised in Cambridge, Massachusetts, by a single mom, Gloria, who struggled for years but never was able to complete her dissertation at Harvard. Maria meets Khalil—who “grew up in a liberal, humanist, multiracial family, oblivious to his own blackness,” when they are students at Stanford—after he’d broken up with his white girlfriend. “Maria liked to joke that she was his transitional object,” Senna writes. “He was morphing into a race man before her very eyes.”

Now it is 1996, and they’re engaged and living together in a gentrifying Brooklyn neighborhood. “Interspersed among the old guard—the Jamaican ladies with their folding chairs, the churchy men in their brown polyester suits—are the ones who have just arrived. It is subtle, this shift, almost imperceptible. When Maria blurs her eyes right it doesn’t appear to be happening. They dance together at house parties in the dark. If I ruled the world they sing, their voices rising as one, Imagine that. I’d free all my sons.“…

Read the entire review here.

Identity Issues: The Passing Mulatto and the Politics of Representations

American Scientific Research Journal for Engineering, Technology, and Sciences (ASRJETS)
Volume 28, Number 1 (2017)
pages 296-305

Dr. Hayder Naji Shanbooj Alolaiw, Faculty of Letters
Department of Anglo-American and German Studies
University of Craiova Craiova, Romania

The transformation of the American nation into a multicultural society could result in a nation that voluntarily and openly accepts the benefits of contributing traditions, values, philosophies and behaviors. This trend, though, is struggling against a social structure that has been perceived to be grounded upon a dominant culture and value system. According to John A. Garcia, multiculturalism and difference are challenging cultural and ideological supremacy upsetting the sense of naturalness and neutrality that infused most peoples’ sense of modern society. The U.S. American ethos was characterized by individualism, egalitarianism, equality of opportunity and emphasis on Western cultures, among other things. All these characteristics have historically been turned into the perfect ingredients of a pervasive American tradition that serves as a cultural core that all members of society learnt to share and internalize ensuring societal stability and gradual change.

Read the entire article here.

‘Yes, I’m Irish’

YouTube
The Journal.ie
2017-08-06

‘Yes, I’m Irish’ is a video series focusing on the experiences of mixed-race Irish people. They told us how the Ireland of today compares with the one they grew up in.

Watch the entire series here.

Danzy Senna’s New Black Woman

The New Yorker
2017-08-07

Doreen St. Félix

In Danzy Senna’s latest novel, “New People,” the ugliness of segregation has given way to a class of upwardly mobile light-skinned black people. Agence Opale / Alamy Stock Photo

In an essay published in 2006, the novelist Paul Beatty recalled the first book he’d ever read by a black author. When the Los Angeles Unified School Board—“out of the graciousness of its repressive little heart”—sent him a copy of Maya Angelou’s “I Know Why the Caged Bird Sings,” he made it through a few “maudlin” pages before he grew suspicious, he wrote. “I knew why they put a mirror in the parakeet’s cage: so he could wallow in his own misery.” Observing that the “defining characteristic of the African-American writer is sobriety,” Beatty described his own path toward a black literary insobriety, one that would lead to the satirical style of his novels “White Boy Shuffle” and “The Sellout.” Along the way, he discovered a select canon of literary black satire, including Zora Neale Hurston’s freewheeling story “The Book of Harlem” and Cecil Brown’s “The Life and Loves of Mr. Jiveass Nigger.”

Danzy Senna, Beatty’s friend and fellow novelist, makes an appearance in that essay, smiling “wistfully” as she shows him “the cover of Fran Ross’s hilarious 1974 novel, ‘Oreo.’” As Senna later wrote in the foreword to the novel’s reissue, “Oreo,” about a biracial girl searching for her itinerant white father, manages to probe “the idea of falling from racial grace” while avoiding “mulatto sentimentalism.” Since her 1998 début novel, “Caucasia,” a stark story about two biracial sisters, Senna, like Ross before her, has developed her own kind of insobriety, one focussed on comically eviscerating the archetype of the “tragic mulatto”—that nineteenth-century invention who experiences an emotional anguish rooted in her warring, mixed bloods. Both beautiful and wretched, the mulatto was intended to arouse sympathy in white readers, who had magnificent difficulty relating to black people in literature (to say nothing of life). Senna, the daughter of the white Boston poet Fanny Howe and the black editor Carl Senna, grew up a member of the nineties Fort Greene “dreadlocked élite”; her light-skinned black characters, who dodge the constraints of post-segregation America, provide an excuse for incisive social satire. Thrillingly, blackness is not hallowed in Senna’s work, nor is it impervious to pathologies of ego. Senna particularly enjoys lampooning the search for racial authenticity. Her characters, and the clannish worlds they are often trying to escape, teeter on the brink of ruin and absurdity.

Senna’s latest novel, the slick and highly enjoyable “New People,” makes keen, icy farce of the affectations of the Brooklyn black faux-bohemia in which Maria, a distracted graduate student, lives with her fiancé among the new “Niggerati.” Maria and Khalil Mirsky—the latter’s name a droll amalgamation of his black and white Jewish parentage—are the “same shade of beige.”…

Read the entire review here.

Afro-Palestinians talk heritage and resistance

Al Jazeera
2017-08-05

Jaclynn Ashly

Their lives are characterised by checkpoints, daily interrogations, night raids and incessant fears of detention [Jaclynn Ashly/Al Jazeera]

Palestinians of African descent describe their daily struggles against ‘double-racism’ and Israeli occupation.

Occupied East Jerusalem – “It’s hard not to get detained here,” 16-year-old Abdallah Balalawi, an Afro-Palestinian from Chad, told Al Jazeera from his home in the Old City. “I have to be aware of the way I look and even the way I walk to avoid making the Israelis suspicious.”

Abdallah is one of at least 350 Afro-Palestinians from Nigeria, Chad, Senegal and Sudan residing in the Muslim Quarter of the Old City, adjacent to the Al-Aqsa Mosque compound. The Afro-Palestinian neighbourhood is not the easiest to find, accessible only through an Israeli police checkpoint where officers interrogate anyone who is not from the local community.

On a nearly hidden road straddled between two police blockades, third generation Afro-Palestinian teenagers tell Al Jazeera about the world they inherited, characterised by checkpoints, daily interrogations, night raids and incessant fears of detention by Israeli forces.

Most Afro-Palestinians in this tight-knit community came to the region as religious pilgrims during the British Mandate for Palestine, and many have been part of the Palestinian resistance movement since Israel’s establishment in 1948. Others arrived as volunteers with the Egyptian army to fight against Zionist militias taking control of historic Palestine during the Arab-Israeli war…

Read the entire article here.

The limits of affirmative action in Brazil

Focus
France 24
2017-07-26

Brazil has the highest proportion of so-called “mixed race” people in the world. Yet only 13% of people aged 18 to 24 in that category are enrolled at university. Back in 2012, the government decided to introduce quotas for universities. But recently, the system appears to have stalled. Black student groups have denounced students they say are “too white” to benefit from this affirmative action policy, while universities have set up committees to examine skin color and ethnic background.

A programme prepared by Patrick Lovett and Aline Schmidt.

Watch the entire program here.

Danzy Senna Doesn’t Mind If Her New Novel Makes You Uncomfortable

Vogue
2017-08-03

Julia Felsenthal, Senior Culture Writer

“I feel my role as a writer is to complicate, to leave more questions, to destabilize whatever seems set in stone,” says novelist Danzy Senna. “There’s been this whole conversation about trigger warnings. My half-joking thing is: I really want to trigger people. I want to read work that’s going to trigger me. I’m very committed to writing things that move people to a more uncomfortable place.”

Uncomfortable—and I mean this in the best way possible—is a pretty good descriptor of Senna’s latest novel, New People. The year is 1996. The place is Brooklyn. Our protagonist is Maria, a Columbia University doctoral student struggling to finish her dissertation on modes of resistance in the hymns and songs recorded by the Peoples Temple, the religious cult led by Jim Jones (and ultimately wiped out in 1978, when its leader ordered nearly 1,000 of those who had followed him to the Guyanese settlement of Jonestown to drink cyanide-laced Kool-Aid).

Maria is biracial, adopted at birth by a single black mother, a graduate student who brought her daughter up on a steady diet of Audre Lorde and Roots, and bemoaned that the light skin and straight hair with which Maria was born never darkened or kinked. (The baby was a “one-dropper,” writes Senna, “that peculiarly American creation, white in all outside appearances but black for generations to come.”) Now Maria is engaged to her college boyfriend, Khalil, whose skin is her exact same “shade of beige,” but who was raised by globe-trotting mixed parents in upper-middle-class bourgeois bohemian splendor, brought up to think of himself as a citizen of the world. Khalil is launching a company, Brooklyn Renaissance, a sort of proto-Facebook for “like-minded souls,” and happily planning his life with Maria: their Martha’s Vineyard wedding; the Brooklyn brownstone they’ll eventually buy and fill with artwork by Lorna Simpson, with children named Indigo and Cheo, with a dog named Thurgood…

Read the entire review here.

50th Narrative: Michelle La Flamme, Associate Professor, English, University of the Fraser Valley

TRaCE: Track Report Connect Exchange
Narrative
2017

Michelle La Flamme, Professor of English
University of the Fraser Valley, Abbotsford, British Columbia, Canada

Editor’s note: This is TRaCE’s 50th narrative, and we’re excited to feature Michelle La Flamme’s story! Our past narratives are all available in our archive. See also our reflection posts on the process of writing narratives, the quantitative data collection and analysis, and the experiences of our student interviewers.

Being asked to reflect upon my experiences as a graduate student flashes me back to a time that had some serious practical and financial constraints. As a woman of color with Aboriginal ancestry, the idea of going to university necessitated an engagement with the negative stigma that universities represented to me. It was a struggle for me to feel a sense of belonging and to find the right to express my own voice in such a space. I experienced the typical loneliness that comes from doing focused graduate studies, but there was also an extra loneliness I felt by not seeing people who looked like me, or professors who looked like me, and never being exposed to texts which resonated with my own experience as a mixed blood woman of color. My love of literature, the guidance of some very supportive mentors, and the knowledge that I was the first in my family to complete a doctoral degree were the forces which drove me forward. Here is a little bit of my story that I have been asked to share in the hope that it will make the path a bit easier for others…

…I finished my doctoral degree in four years due to the support of my supervisor and my committee, as well as the cultural supports that I experienced through the Longhouse at UBC. When I graduated, my dissertation, Living, Writing and Staging Racial Hybridity, won the departmental prize for the best dissertation in 2006. It was a very proud moment for me, made especially noteworthy as I am the only one in my family ever to complete a terminal degree! Though my niece exclaimed that the doctoral defense was the most boring day of her life, I hope she will realize the significance and impact that this moment had on our whole family when she is mature enough to reflect on it…

Read the entire article here.

The Ineradicable Color-Line: Danzy Senna’s “New People”

Los Angeles Review of Books
2017-08-01

Gabrielle Bellot

Danzy Senna, New People, A Novel (New York: Riverhead, 2017)

IN LONDON IN JULY, at the dawn of a new century, W. E. B. Du Bois spoke in front the Pan-African Conference about the challenges of the era to come. “[T]he problem of the Twentieth Century,” he said, in a statement that would later appear in and come to define his epochal collection of essays, The Souls of Black Folk, “is the problem of the color-line.” The idea of describing American antiblack racial segregation by the simple, if not even deceptively charming, term color-line, had appeared two decades earlier in the title of Frederick Douglass’s 1881 essay, “The Color Line,” but it would come to be associated particularly with The Souls of Black Folk. So seductive was the phrase for Du Bois that he used it two more times to bookend an essay in the book, “Of the Dawn of Freedom,” but it was, of course, more than a memorable line. The color-line was as explicit as it was psychic, delineated in signs, denials, and public executions as much as it was in one’s choice of path, one’s footfalls, one’s bones and dreams. Racism is merely obvious when it becomes visible; its potential existence follows us, invisibly and phantasmally, when we’ve come to expect it…

…New People is a paean to the psychosocial complexities of being racially mixed, and, as a result, color-lines, passing, and double-consciousness are everywhere. The book follows Maria, who is on the cusp of marriage to her college love, Khalil. Obsessive and unreliable herself, she is doing her dissertation on Jonestown, a notorious historical example of fanaticism and deception. It is 1996 in Brooklyn, though much of it still feels atmospherically like 2017, only without social media. In her past, “Maria could honestly say she hated white people”; her mother, Gloria, astutely notes that Maria possesses “that particular rage of the light-skinned individual.” Khalil is Jewish and black with light skin; the first time Maria sees him, he looks “both entirely black and entirely white.” Like Maria, but with less self-torment, Khalil learns to embrace his mixed-race status shortly after beginning to date Maria. However, Maria does not feel any fire in her when she is with Khalil. (So cold is their romantic relationship, at least to her, that she wonders as she kisses him if she is really more attracted to women than Khalil.) The one who bewitches her is the black man who opens the book: an unnamed poet whose show she and Khalil have gone to see…

Read the entire review here.