A Second Look: “A Year of Dreams” by Sarah A. Chavez

Posted in Articles, Literary/Artistic Criticism, Media Archive on 2016-12-14 21:24Z by Steven

A Second Look: “A Year of Dreams” by Sarah A. Chavez

The Fourth River
2014-11-12

Kylie Walnoha, Assistant Poetry Editor

“From Waking to Dreaming”
–by Kylie Walnoha, The Fourth River Staff

The rarity of being on the end of publishing that involves making decisions for the journal has been a unique as well as a fun journey. I have enjoyed getting to see and experience what goes into putting an issue of The Fourth River together. Though I have read quite a bit of poetry in the last three months, I still come across poetry that I find to be especially engaging, different, and fresh. One such poem was “A Year of Dreams” by Sarah A. Chavez in issue 10 of The Fourth River. Though this poem definitely fits into The Fourth River’s spectrum, the poem’s unique and fresh approach to the idea of place was something that stuck out to me, and stayed with me even days after I had first read it…

Read the entire article here.

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What was the source of Krazy Kat’s comic genius?

Posted in Articles, Arts, Biography, Literary/Artistic Criticism, Media Archive, Passing, United States on 2016-12-12 16:52Z by Steven

What was the source of Krazy Kat’s comic genius?

The Washington Post
2016-12-06

Glen David Gold

Michael Tisserand, Krazy: George Herriman, a Life in Black and White (New York: HarperCollins, 2016)

Genius is simplicity. A dog, who is a policeman, loves a cat, who loves a mouse. The mouse throws bricks at the cat, and the policeman jails him. Some aspect of this, more or less every day, for more or less 30 years, was the comic strip Krazy Kat. In isolation it seems as though it dropped out of the sky, and when its creator died in 1944, to the sky it returned. It has since been recognized as one of the greatest American comic strips, a mix of surrealism, Socratic dialogue, low-rent vaudeville, jazz improvisation, Native American motifs and, as it turns out, a subtle — so subtle no one seems to have noticed at the time — commentary on the peculiar notion of race.

Krazy: George Herriman, a Life in Black and White,” by Michael Tisserand, skillfully returns context to “Krazy Kat,” revealing that it could have come from no other time or place than during the accelerated rise of the American media empire. To his peers, Herriman claimed to be French or Greek, among other things, to explain away his kinky hair and dark skin. But his New Orleans birth certificate called him “colored,” and Tisserand is especially good at parsing the politics of passé blanc, or “passively passing for white” in Creole culture.

Herriman had a longer apprenticeship than most, working on dozens of strips that never caught fire during the spectacular publication battles between Hearst and Pulitzer that led to the birth of full-color comics such as “The Yellow Kid” and “Little Nemo. ” He was learning his form at the same time that jazz, animation and slapstick comedy were likewise getting their cultural feet under them. Also boxing. Boxing had obeyed “the color line” until 1910, when, in defiance of racist attitudes, the country demanded that black Jack Johnson and white Jim Jeffries finally take the ring. (It’s of course ironic that overcoming racism involved allowing people of different races to beat each other up, but such is our way.)…

Read the entire review here.

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Award-winning author Danzy Senna speaks at The University of Toledo

Posted in Articles, Literary/Artistic Criticism, Media Archive on 2016-12-04 01:48Z by Steven

Award-winning author Danzy Senna speaks at The University of Toledo

The Independent Collegian: Serving the University of Toledo Community Since 1919.
Toledo, Ohio
2016-11-08

Meg Perry, Staff Reporter


Savannah Joslin / IC

Award-winning author Danzy Senna visited the University of Toledo to read from her memoir Where Did You Sleep Last Night? as well as answer questions, and hold a book signing. The event was held Thursday, Nov. 3 for the 27th annual Richard M. Summers Memorial Lecture presented by the English Department.

Kimberly Mack, assistant professor of English said, “I was blown away by Senna’s skillful and fearless exploration of the complicated topics of racial, class and gender identity. Ms. Senna’s portrayal of biracial sisters, Birdie and Cole Lee, two young girls who struggle to find their places in a society that is uncomfortable with racial gray areas is simultaneously beautiful and devastating.”

Senna is most widely recognized for her novel Caucasia which has been awarded the Stephen Crane Award for Best New Fiction of the Year, American Library Association’s Alex Award, Finalist International IMPAC Dublin Literary Award, as well as several others…

Read the entire article here.

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Review: “Krazy” by Michael Tisserand

Posted in Articles, Biography, Book/Video Reviews, Literary/Artistic Criticism, Louisiana, Media Archive, Passing, United States on 2016-12-02 23:44Z by Steven

Review: “Krazy” by Michael Tisserand

Know Louisiana: The Digital Encyclopedia of Louisiana and Home of Louisiana Cultural Vistas
2016-12-02 (Winter 2016)

Lydia Nichols

There is nothing more American than passing, the act of projecting a racial identity other than that assigned. At no other time and place in American history have necessity and opportunity so dramatically conspired to create the possibility for passing as in late 19th century New Orleans. Reconstruction had failed to establish equitable institutions for those whom the Constitution had denied 2/5 of their personhood; and by 1877, the Southern Democrats (former Confederates) had reclaimed political and social dominion over the state. As W.E.B Du Bois writes in Black Reconstruction, Louisiana’s government was to be “a government of white people, made and to be perpetuated for the exclusive political benefit of the white race.” Though identifying as neither white nor black, New Orleans’ Afro-Creoles, who had enjoyed relative mobility prior to the Civil War, were kicked out of schools and churches, cut off from quality education, and pushed to “colored cars.” It became clear that hybridity was no longer acknowledged or welcome. Well-educated, multilingual and able to pass for white, unknown numbers of Creoles left to seek whatever security their ambiguity would allow. Among them was George Joseph Herriman, a ten-year old boy who in time would become a white man and a pioneering cartoonist.

Michael Tisserand provides a painstakingly well-researched analysis of Herriman’s life and work in Krazy: George Herriman, A Life in Black and White (HarperCollins, 2016). Herriman, a man of diverse interests and experiences, created comics laden with allusions to classical literature and philosophy; written in immigrant, black and southern vernaculars; and often incorporating foreign languages. The most famous and longest-running of his comics was Krazy Kat, a gender non-conforming, color-changing cat in the southwestern desert who regularly drops philosophical gems in his own dialect of English…

Read the entire review here.

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Pink and the Fancy Gal: White Slavery, the Abolitionists’ Crusade, and the Painter’s Canvas

Posted in Articles, History, Literary/Artistic Criticism, Slavery, United States on 2016-11-29 01:35Z by Steven

Pink and the Fancy Gal: White Slavery, the Abolitionists’ Crusade, and the Painter’s Canvas

Nineteenth-Century Art Worldwide: a journal of nineteenth-century visual culture
Volume 15, Issue 3, Autumn 2016

Naurice Frank Woods Jr., Assistant Professor of African American Art History; Director of Undergraduate Studies in the African American and African Diaspora Studies Program
University of North Carolina, Greensboro


Fig. 1, George Fuller, The Quadroon, 1880. Oil on canvas. The Metropolitan Museum of Art, New York, gift of George A. Hearn, 1910.

This article examines two paintings from the antebellum period, The Slave Market (ca. 1859) by an unidentified artist and The Freedom Ring (1860) by Eastman Johnson, which involve the purchase of nearly white slaves, and attempts to delineate the motivation for presenting these images before the public. These paintings functioned much as slave narratives, and abolitionists used them to provide visual evidence of an insidious, often sexually depraved side of “the peculiar institution.”

In late 1849, Massachusetts native George Fuller (1822–84) traveled throughout the Deep South in pursuit of portrait commissions.[1] Like many of his northern contemporaries, Fuller sought a receptive and less competitive climate below the Mason-Dixon Line. The artist’s journey placed him directly in the midst of a region addicted to the institution of slavery, and while it may not have been his intention to observe astutely the lives of human chattel, Fuller was increasingly aware of their plight and recorded his observations in a sketch diary. Fuller’s drawings and subsequent commentary revealed neither his political inclinations about the “great divide” that was gripping the nation nor his moral position on the subject. This was, however, his third trip to the region, and while his sketches remained dignified depictions of black plantation life, his words reflected growing concern over certain “rituals” conducted in the South.

One of these rituals, a slave auction involving a beautiful quadroon, affected him profoundly. Fuller had witnessed slave auctions before, but the sight of men bidding over a nearly white slave like a farm animal caused him to write:

Who is this girl with eyes large and black? The blood of the white and dark races is at enmity in her veins—the former predominated. About ¾ white says one dealer. Three fourths blessed, a fraction accursed. She is under thy feet, white man. . . . Is she not your sister? . . . She impresses me with sadness! The pensive expression of her finely formed mouth and her drooping eyes seemed to ask for sympathy. . . . Now she looks up, now her eyes fall before the gaze of those who are but calculating her charms or serviceable qualities. . . . Oh, is beauty so cheap?…

Read the entire article here.

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Blackness, Science, and Circulation of Knowledge in the Eighteenth-Century Luso-Brazilian World and the United States

Posted in Articles, Brazil, Caribbean/Latin America, Europe, History, Literary/Artistic Criticism, Media Archive, United States on 2016-11-26 21:54Z by Steven

Blackness, Science, and Circulation of Knowledge in the Eighteenth-Century Luso-Brazilian World and the United States

The Eighteenth Century
Volume 57, Number 3, Fall 2016
pages 303-324
DOI: 10.1353/ecy.2016.0020

Bruno Carvalho, Associate Professor of Spanish and Portuguese
Princeton University

It has become increasingly common for scholars to locate the eighteenth century as a turning point in what Nell Irvin Painter calls the “now familiar equation that converts race to black and black to slave.” Recent studies explore how scientific racism, which flourished in the nineteenth century, emerges in debates involving Enlightenment savants like Voltaire, David Hume, Immanuel Kant, and several less prominent authors. European anatomists, natural historians, and philosophers devised racial classification schemata, frequently relying on erroneous travel narratives as their main source of knowledge. The voices of “non-whites” are predictably muted in debates that took place almost exclusively among Europeans, but that also included well-connected North Americans, chief among them Thomas Jefferson (1743–1826). Although “race”—by no means a stable concept in the eighteenth century—included myriad categories besides “blackness,” this article will discuss how intellectuals in the Americas wrote about black Africans and their descendants in the context of Enlightenment-era science.

Given how the Portuguese and British Americas received the majority of Africans taken to the New World as slaves, it is not surprising that there is a longstanding tradition of comparative approaches to racial relations in Brazil and the United States. Sparse attention, however, has been paid to how the transatlantic circulation of eighteenth-century scientific discourses, especially in natural history, might have impacted the later development of different forms of racism across the hemisphere. This study brings to the fore texts from the Luso-Brazilian world that have been largely overlooked, and aims to add to the vast literature on Jefferson’s Notes on the State of Virginia (1781). Although the analysis here does not pretend to be comprehensive or exhaustive, by investigating connections between a group of would-be revolutionaries in the Brazilian captaincy of Minas Gerais and the United States independence movement, it attempts to be connective as much as comparative. This hemispheric approach evinces the disparate roles and station of Luso-Brazilian and United States lettered elites in transatlantic circulation of knowledge, while seeking to contribute to an understanding of how they produced divergent texts about blackness in the period preceding the French and Haitian revolutions.

The Luso-Brazilian eighteenth century has generated an outstanding body of scholarship, but it does not often appear prominently in panoramic studies of the period—despite the fact that the Portuguese empire remained one of Europe’s most extensive, and that gold from its Minas Gerais possessions had a significant impact on the global economy. Perhaps it is so because Brazil does not easily fit within the Age of Revolutions paradigm: in 1822, it was the Portuguese monarch’s son, rather than a republican revolutionary, who declared independence. Brazil was an empire through most of the nineteenth century, and became a republic in 1889, later than its Spanish-speaking neighbors. Eighteenth-century movements that might have become comparable to the United States and Haitian Revolutions were thwarted by the Crown. Likewise, although by some estimates mining in the Portuguese Americas alone propelled about ten percent of all slave trade in the eighteenth century, the Luso-Brazilian world remains largely absent from scholarship on the connections between slavery and the “Sciences of Man” during the Enlightenment: one aspect of what Charles Withers calls “geographies of human difference.”

While the historiography on slavery and race relations in the Portuguese empire has for some time been vibrant, studies on Luso-Brazilian scientific representations of race in the eighteenth century are still lacking. This might be attributed to the perception that scientific racism was a phenomenon of the nineteenth century, or that Portugal remained mired in religious obscurantism, its writers therefore not attuned to Enlightenment-era debates. Through a transatlantic lens, Brazil’s place in eighteenth-century geographies of knowledge is usually further diminished by how, unlike the British and Spanish Americas, it had neither universities nor a printing press. Nonetheless, as we well know, central books and ideas of the Enlightenment circulated among lettered elites.

In Brazil and Portugal…

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Krazy racial rules: New biography of cartoonist George Herriman

Posted in Articles, Biography, Literary/Artistic Criticism, Louisiana, Media Archive, Passing, United States on 2016-11-25 23:08Z by Steven

Krazy racial rules: New biography of cartoonist George Herriman

The Times-Picayune
New Orleans, Louisiana
2016-11-25

Doug MacCash, Arts and Entertainment Writer


New Orleans-born Krazy Kat cartoonist George Herriman (Photo by Will Connell, courtesy Michael Tisserand)

Krazy: A Life in Black and White,” the biography of Crescent City-born newspaper cartoonist extraordinaire George Herriman (1880-1944) is an absorbing study of a genius with a secret.

Herriman’s equally compelling and confounding “Krazy Kat” cartoon is considered a milestone in modern art. As New Orleans author Michael Tisserand deftly points out in his 549-page volume, the illogic of Herriman’s ink-on-paper drawings mirror the absurdity of the racial divide in early 20th-century America.

After 10 years of scouring microfilm archives, yellowed newspapers and public records, Tisserand has pieced together Herriman’s journey from his humble birth in the Treme neighborhood to heights of fame in Jazz-era New York and Los Angeles. It wasn’t easy.

“I had to teach myself to be an historian,” Tisserand said. “I didn’t anticipate the amount of difficulty it would be finding Herman’s work.”

Like a snake handler, Tisserand uncoils the confusing racial politics of New Orleans in the Jim Crow era, where the descendants of slaves and the descendants of so-called free people of color suffered segregation, discrimination and violence at the hands of the white population.

As Tisserand explains, when Herriman was 10 years old, his parents fled the South for a new beginning in California, where personal reinvention was possible. As Tisserand wrote, “Herriman was a black man born in New Orleans.” But upon reaching the Pacific, Herriman’s parents “had obscured their identity and ‘passed’ for white.”…

Read the entire article here.

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A “Konversation” with George Herriman’s Biographer, Michael Tisserand (Part One)

Posted in Articles, Biography, Interviews, Literary/Artistic Criticism, Media Archive, Passing, United States on 2016-11-25 15:30Z by Steven

A “Konversation” with George Herriman’s Biographer, Michael Tisserand (Part One)

The Comics Journal
2016-11-14

Paul Tumey


Michael Tisserand in Krazy Kat territory (Photo credit: Cecilia Tisserand)

Herriman was talking about race and identity — as profoundly as anyone has, in my opinion — but I never see that as his big “Topic.” It was just part of his world, and the world he created, even if others were slow to recognize it.”Michael Tisserand

The first time I saw Michael Tisserand, he was walking up my doorstep, holding what appeared to be a red brick by his head, almost — but not quite– in a throwing pose. Turns out the red brick was the recently released Library of American Comics collection of Krazy Kat dailies for which he wrote the introduction, and it was a gift (aren’t all bricks gifts in [George] Herriman’s world?).

In early December 2016, HarperCollins will release Tisserand’s long-awaited book, Krazy: George Herriman, A Life in Black and White. The book, over 500 pages in length, offers the first detailed biography of the man many regard as the greatest cartoonist of the twentieth century. Chris Ware has spoken highly of the book, observing: “Michael Tisserand’s Krazy draws back the curtain on the one [Herriman] who’s been with us all along.” The book has drawn an early favorable review from Kirkus which states, in part: “Essential reading for comics fans and history buffs, Krazy is a roaring success, providing an indispensable new perspective on turn-of-the-century America.”…

Paul Tumey: Having that perspective from reading your biography on Herriman’s life massively expanded my understanding and appreciation of his work. I have to admit, I was a bit daunted at first when I realized there was a chunk of early family history to read before our man comes onto the scene. But you know what? After a page or two of pouty grumbling, I was totally captivated – the stories are great, and you did a nice job of telling them. And later, I realized how valuable that perspective is – it’s the foundation for understanding the deepest levels of Herriman’s work.

Michael Tisserand: When I learned more about his family, I understood a bit more not just the pressures he must have felt in passing for white, but also the strange, unsettling feeling it must have been to identify with a group of people historically known as Free People of Color, or Mulatto, or Creoles … a group that constantly was seeing its very identity being changed legally and linguistically and culturally. And then for Herriman to work in a genre so deeply influenced by the masks of minstrelsy! When I read a classic Krazy Kat line such as “lenguage is that we may mis-unda-stend each udda,” it seems pretty clear that Herriman had a deep understanding of what we now consider to be modern notions of the slipperiness of language and a sort of permeability of identity….

Read the entire interview here.

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Zadie Smith on Male Critics, Appropriation, and What Interests Her Novelistically About Trump

Posted in Articles, Interviews, Literary/Artistic Criticism, Media Archive, United States on 2016-11-24 21:54Z by Steven

Zadie Smith on Male Critics, Appropriation, and What Interests Her Novelistically About Trump

The Slate Book Review
Slate
2016-11-16

Isaac Chotiner

A wide-ranging conversation.

In an interview in 2000, Zadie Smith told the Guardian about the pressure she felt after the astonishing success of her debut novel, White Teeth. “I was expected to be some expert on multicultural affairs, as if multiculturalism is a genre of fiction or something,” she said. “Whereas it’s just a fact of life—like there are people of different races on the planet.” Whether it’s indeed a fact of life or, we now fear, a feature of American life that is at risk of erasure, multiculturalism in all its complexity is at the center of Smith’s books. From White Teeth to NW, which was published in 2012, Smith’s characters inhabit mixed urban communities, often in London. Her latest novel, Swing Time, is out this week; set in England and West Africa, the story concerns the friendship of two young girls who meet in a dance class (“our shade of brown was exactly the same”) and traces the paths of their lives over a quarter-century.

Smith, who grew up in London with a Jamaican mother and English father, has also established herself as one of her generation’s prolific essayists, weighing in energetically on such topics as Middlemarch and Brexit and E.M. Forster. (Her third novel, On Beauty, was an “homage” to Howards End.) She now lives with her husband and children in New York City. I had been trying to interview her for years, to no avail. When the chance finally presented itself, the date and time kept changing, usually a sign of a reluctant subject. But when we did eventually speak over the phone, the day before the election, Smith, now 41, seemed surprisingly at ease. (Weren’t we all in those innocent days?)

Over the course of our conversation, which has been edited and condensed for clarity, we discussed the vulnerability one feels writing fiction, the arrogance of male critics, and why she doesn’t have a smartphone…

Since your new book spans continents, from Europe to Africa, did you think about the target audience? Who are you writing for?

This time I was thinking very particularly about black girls. I’m very happy if other people read the book, but that’s who the book is for explicitly, and that’s who I wanted to write to…

Read the entire interview here.

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Loop of Jade: Sarah Howe visits Manchester Literature Festival

Posted in Articles, Asian Diaspora, Literary/Artistic Criticism, Media Archive, United Kingdom on 2016-11-24 01:58Z by Steven

Loop of Jade: Sarah Howe visits Manchester Literature Festival

Humanity Hallows
2016-11-04

Leigh Jones

2015 T.S. Eliot prize winner and author of A Certain Chinese Encyclopaedia, Sarah Howe made an appearance at the Manchester Literature Festival recently to discuss her novel Loop of Jade. Within her work, Howe takes her audience on a personal journey through her English-Chinese background, exploring, as the book’s blurb describes, both ‘migration and inheritance’. The novel contains many forms of writing, including poetry, narrative, free verse and short prose, all providing an insight into cultural upbringing and the journey to discover one’s place within society.

At the event, Howe read from her work. Opening with ‘Sirens’, inspired by Theodore Roethke’s ‘Elegy for Jane’, Howe showed how she became fascinated with the key word ‘pickerel’ from which she created a poem illustrating the true meaning of literature and how the perceptions of words continuously develop overtime. Howe emphasised the differences human beings share through literature and how it has encouraged us to think. She described her piece as, “very real and determinative”, as it does not seek to provide an answer but, more so, to enhance ideas…

Read the entire article here.

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