Mixed Race Studies

Mixed Ethnicity, Hidden Identity

The New York Times
2013-05-24

Kathryn Shattuck

With his long-lashed chocolate eyes and inviting lips, used to seductive effect in “Rescue Me,” “Grey’s Anatomy” and “The Devil Wears Prada,” Daniel Sunjata has the kind of face not easily forgotten, or so you’d think

“If I’m exposed to crowds repeatedly, I could count on my hands the number of times people are going to say, ‘Hey, aren’t you Adam Rodriguez from “CSI: Miami”?’ ” he said, his laughter tinged with what might have been a touch of ruefulness. Especially since Mr. Sunjata, 41, a high school linebacker in Chicago who traded in dreams of business school for the stage, has supported himself by acting ever since he earned an M.F.A. from New York University’s Tisch School of the Arts in 1998. No waiting tables. No tending bar.

He might finally kiss Mr. Rodriguez’s ghost goodbye with “Graceland,” a new series that premieres on June 6 at 10 p.m. on the USA Network. Mr. Sunjata stars as Paul Briggs, a legendary undercover agent with the Federal Bureau of Investigation living in a Southern California beach palace with a motley crew from the F.B.I., the Drug Enforcement Agency and Immigration and Customs Enforcement. Then Mike Warren, a rookie played by Aaron Tveit, arrives from Quantico where, like Briggs, he graduated at the top of his class. Soon Mike discovers that his assignment — to infiltrate the local underworld with his housemates — is camouflage for a more important task: to investigate Briggs himself.

Recently Mr. Sunjata — his casual outfit in contrast to his elegant, thinking-man’s demeanor — spoke with Kathryn Shattuck about living large and letting it all hang out. These are excerpts from their conversation…

….With roles ranging from a Nuyorican firefighter on “Rescue Me” to a fashion designer in “The Devil Wears Prada,” you seem to have defied stereotyping.

When I was coming out of graduate school, I wasn’t really sure if my ethnic ambiguity [Irish, German and African-American] was going to be a help or a hindrance, but I think that ultimately it has helped me. It’s set me apart from other guys who might be considered leading-man types in the sense that I don’t necessarily look like everybody else. But a lot of it depends on the open-mindedness of the casting director…

Read the entire interview here.

Aisha Sabatini Sloan

Trop
2013-05-14

Zoe Ruiz, Saturday Editor for The Rumpus and staff member of FOUND

In The Fluency of Light, Aisha Sabatini Sloan’s essays read like meditations on themes of identity, race, and family. Her writing is sharp—one might say spare—and her descriptions, clear and beautiful. Her essays are a guide that help me navigate my way through my own writing. I study her essays in terms of their structure, I study her craft. Her essays sparked memories of my father, of my mother, and of growing up biracial in Los Angeles, memories that were once buried. Her work is a map to my memory.

I felt grateful and delighted to have the opportunity to talk to Aisha about her writing. I found her to be sensitive, smart, and sincere, and I appreciated that after I asked a question, she would take a long pause and then respond in a way that seemed thoughtful. We met at LACMA on a weekday afternoon; the day was dry and sunny, a typical LA day. We sat in the middle of the courtyard surrounded by people and art.

ZOE RUIZ: Why did you decide to write a book of essays and how did you decide to organize the essays by location?

AISHA SABATINI SLOAN: In college I started interviewing people. I did interviews in Los Angeles, Paris, London, New York, Northfield, Detroit, and eventually South Africa. The project had different manifestations of “doneness” over the years. I wrote a lot to make that project coalesce, including these essays that attempted to capture the cultural/emotional/historical backdrop in each city. But one day, I sat down at my desk, and the interview portion of the project just slumped out of my arms and onto the floor. I took a deep breath, and I weeded out the portraits of my interviewees just to see what was left, and it was the essays about place. I felt like I was seeing the framework of a coherent project for the first time. Maybe ever…

Read the entire interview here.

The Joys and Challenges of Becoming a Transracial Family Through Adoption

Your Adoption Coach with Kelly Ellison
2013-04-20

Kelly Ellison, Host

If you are considering adopting a child of a different culture or race than your family, or you are already a transracial family formed through adoption, don’t miss this show. Our host this week is Amanda Grant, President of USAdopt, and an adoptive mother in a transracial family, who is joined by guest Tiffany Rae Reid, expert in a racial identity development and host of Mixed Race Radio. Contemplating the adoption of any child takes courage and honesty. The adoption of a child of a different cultural or racial heritage adds another layer of both complexity and celebrations. Learn the realities of transracial adoption, how to prepare your family for the change in its composition, what to do to support the healthy development of your child’s identity and what resources are available to support your child and your family in every aspect of living as a transracial family.

Listen to the episode here.  Download the episode here.

A Conversation with Lawrence Hill

Callaloo
Volume 36, Number 1, Winter 2013
pages 5-26
DOI: 10.1353/cal.2013.0072

Winfried Siemerling, Professor of English
University of Waterloo, Ontario, Canada

When Paul Gilroy in The Black Atlantic offered an alternative account of modernity that placed transnational, black transatlantic lives and cultures at the center, Canada was not on his map. Slavery, however, did not stop at the borders first of New France and then the Canada’s until it was abolished in the British Empire in 1834, and the Underground Railroad made Canada an important site of black writing especially after the Fugitive Slave Act of 1850. To be fair, the current surge of impressively strong African Canadian writing, heralded by some authors and anthologies since the 1960s and 1970s, was still gathering steam in the early 1990s.

Lawrence Hill, a novelist and nonfiction writer whose parents immigrated to Canada from the United States after WWII, has become one of the most important contributors to black culture here. His first novel, Some Great Thing (1992), was followed by Any Known Blood (1997), a multi-generational border-crossing novel in which the allusively named Langston Cane V explores his own mixed race and family. In the process, he uncovers a forebear’s slave narrative that recounts his involvement in John Brown’s raid on Harpers Ferry. Hill’s third novel, The Book of Negroes (2007), is a neo-slave narrative in its entirety that redraws the map of Gilroy’s black Atlantic. The protagonist Aminata, abducted in West Africa, flees first from slavery in South Carolina, then from Americans taking control of New York in 1783, and finally from Nova Scotia to return to Africa. She travels to Sierra Leone in 1792, and from there sails to London to support the abolition of the slave trade. In Hill’s transfiguration of these historical events, Aminata herself becomes a scribe of Guy Carleton’s “Book of Negroes,” recording the 1783 black exodus from New York. The use of the word “Negroes” in Hill’s title, although taken from that historical document, has proven controversial, and the novel appeared in the United States, New Zealand, and Australia as Someone Knows My Name. A breakthrough for Hill internationally, the novel won among other awards the Commonwealth Writers’ Prize and the Rogers Writers’ Trust Fiction Prize.

Hill’s work offers United States readers an especially inviting entrance into contemporary black Canadian literature, not only because of his fiction’s frequent transborder thematic but also since his nonfiction—€”for example Black Berry, Sweet Juice: On Being Black and White in Canada—often speaks to issues of race from a United States-Canadian comparative perspective. The following interview conversation, though concentrating on the novels, seeks to provide an introduction to his entire career, including his formative travels in Africa. It is divided by short subtitles for orientation and ease of reading.

Early Writing and Travels in Africa

Siemerling:

In your last novel, The Book of Negroes (named after a historical document but published in the United States as Someone Knows My Name), you thematize the back-to-Africa journey of 1,200 people from Nova Scotia to Sierra Leone in 1792, and you talk about the fact that it is the first one historically. We also know that for many people still today it is a very emotional and important event, to “go back” to Africa.

Hill:

Yes, and many people of African American or African Canadian origin are seeking some sort of validation from or connection with the motherland. It’s a connection with one’s extended family, metaphorically. Of course, why should a typical African who is selling coffee in his street stand in Niamey, Niger, look at some kid from Toronto and say “hey, here’s my brother.” Sorry, that’s just not going to happen, especially with the way I look, which to many of them was white. Many African Americans and African Canadians have observed this kind of rocky reception that they received. When I went there, I wanted to be welcomed as one of the race and have my blackness celebrated. I wanted to be brought into the arms of my people, in a way. And it’s a natural thing for a twenty-two-year-old to…

The Place in Between: An Interview with Esi Edugyan

Callaloo
Volume 36, Number 1, Winter 2013
pages 46-51
DOI: 10.1353/cal.2013.0070

Maaza Mengiste

Esi Edugyan’s 2011 Man Booker Prize finalist, Half-Blood Blues, opens with the lines, “Chip told us not to go out. Said, don’t you boys tempt the devil.” It is 1940 in Nazi-occupied Paris and the “boys” include Afro-German, Jewish, and African-American members of a jazz band who have recently fled an increasingly dangerous Berlin. They are living under a terrifying regime, trapped as much by the color of their skin as the curfews and constant presence of the Gestapo. Told from the perspective of Sid, an African-American bassist who left pre-civil rights era Baltimore to escape racial segregation, it is Hiero, the incomparably gifted trumpeter player, who holds the band together. But Half-Blood Blues is more than a book about music. Edugyan illuminates one of the forgotten victims of Nazi Germany’s ruthless quest for a racially “pure” state: the “Rhineland Bastards,” mixed-race Germans whose stories were lost when they went into hiding, fled, or disappeared into concentration camps. Hiero is one of those “mischlings,” and through him, we begin to understand how encompassing a denied history can be. But perhaps more than anything, this is a story about friendship, betrayal, loyalty, and the possibility of redemption through music. To read Half-Blood Blues is to hear jazz and the ache of regret through prose. Garnering nominations and awards internationally, the book has kept Edugyan on a busy, hectic schedule. It was my honor to have the chance to catch her in a quiet moment to talk about her book.

Mengiste:

I want to just jump right in and talk a little bit about the book’s setting and its characters. Part of the story takes place in 1940 Paris and Nazi Germany. What was your motivation for writing about this moment in history? What got you really interested in it, and these characters?

Edugyan:

I think I’ve always had a fascination with that period of history. It was such an extreme time in terms of what was happening everywhere, but especially in Europe, in those initial months when the Third Reich came to power. It was very fascinating for me. I had been living in Germany for about a year and a half, over two separate periods. The first time I was there for about thirteen months, learning German and really trying to immerse myself in the culture. And being a black woman living in Southern Germany, I started to wonder about the history of black people in Europe in general, but specifically in Germany. And so I did some research and discovered the story about the Rhineland Bastards—or the so-called “Rhineland Bastards.” That’s how I came to focus on this period that I had done quite a bit of reading on over my lifetime. It was interesting to me.

Mengiste:

When you were researching these Rhineland Bastards, these children born to black soldiers and German mothers in the period following WWI, what guided your decision to make your characters musicians?

Edugyan:

I have a very strong interest in music and grew up with a very strong interest in music even though I was never able to play the instruments very well. So, I’d been working on a project about a different kind of musician, a classical musician. And when I was in Germany, I started putting that aside and turning my sights to jazz musicians. And this was, in large part, because I quite love jazz. I’m not a huge expert on it, I’ll admit that, but what I’ve heard I really like. But also because I knew that Germany had gone through a big jazz age in the twenties, you know, there was a big avant-garde time after the First World War. So then you start to think about “well, what would happen to all of those musicians once the Third Reich took power?” And, you know, it was something that I certainly didn’t know anything about, so I just had to do…

Dr. Ralina Joseph and Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial

I Mix What I Like
2013-01-11

Jared A. Ball, Host and Associate Professor of Communication Studies
Morgan State University, Baltimore, Maryland

This is part one of our discussion with Dr. Ralina Joseph about her book, Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial.

Watch the video interview here.

Soledad O’Brien: ‘OK, white person, this is a conversation you clearly are uncomfortable with’

The Washington Examiner
2013-05-13

Paul Bedard

Soledad O’Brien, recently yanked from her morning show “Starting Point” on CNN, plans to continue her focus on racial issues and is charging that whites are afraid of dealing with the nation’s black-white division.

O’Brien, just named a distinguished visiting fellow at Harvard’s Graduate School of Education, told the school’s Institute of Politics that she’s often confronted by whites who want to take issue with her documentaries on race in America…

O’Brien is an award-winning correspondent who hosted and developed “Black in America,” one of CNN’s most successful international franchises.

Read the entire article here.

Slaves In The Family with Edward Ball

Research at the National Archives and Beyond
BlogTalk Radio
Thursday, 2013-05-16, 21:00-22:00 EDT, (Friday, 2013-05-17, 01:00-02:00Z)

Bernice Bennett, Host

Edward Ball, Lecturer in English
Yale University

If you knew that you were a descendant of a slave- owner, would you tell anyone?

If you had an opportunity to apologize to descendants of those enslaved by your family, would you?

Edward Ball is a writer of narrative nonfiction and the author of five books, including The Inventor and the Tycoon (Doubleday, 2013), about the birth of moving pictures. The book tells the story of Edward Muybridge, the pioneering 19-century photographer (and admitted murderer), and Leland Stanford, the Western railroad baron, whose partnership, in California during the 1870s, gave rise to the visual media.

Edward Ball’s first book, Slaves in the Family (1998), told the story of his family’s history as slave-owners in South Carolina, and of the families they once enslaved. Slaves in the Family won the National Book Award for nonfiction, was a New York Times bestseller, was translated into five languages, and was featured on Oprah.

Edward Ball was born in Savannah, raised in Louisiana and South Carolina, and graduated from Brown University in 1982. He worked for ten years as freelance journalist in New York, writing about art and film, and becoming a columnist for The Village Voice.

His other books, all nonfiction, include The Sweet Hell Inside (2001), the story of an African-American family that rose from the ashes of the Civil War to build lives in music and in art during the Jazz Age; Peninsula of Lies (2004), the story of English writer Gordon Hall, who underwent one of the first sex reassignments—in the South during the 1960s—creating an outrage; and The Genetic Strand, about the process of using DNA to investigate family history.

Edward Ball lives in Connecticut and teaches at Yale University.

‘The River Between Us’: A story of survival and transformation

The Kansas City Star
2013-04-12

Edward M. Eveld

It’s the eve of the Civil War in Richard Peck’s novel “The River Between Us,” and the country is rearranging itself for the coming conflict.

A prelude to the convulsion plays even in the tiny river-landing town of Grand Tower, Ill. That’s where 15-year-old Tilly Pruitt notices that the boys her age are taking sides and itching to fight, including her twin brother, Noah.

A riverboat heading north stops in their town, likely the last one on the Mississippi before the war, and deposits the elaborately adorned Delphine Duval and her mysterious companion, Calinda.

Peck’s book, a challenging historical novel for young adult readers, is the current selection of the FYI Book Club.

The Pruitt family takes in the newcomers, although it is barely surviving a hardscrabble life with no help from an absent father. From there the tale provides portals into multiracial politics and culture, the brutal reach of war and the confluence of family secrets and identity.

The multiple-award-winning Peck has written dozens of books for young readers. He will visit Kansas City May 3 for a Kansas City Public Library event with several other noted authors.

Here are edited excerpts of our conversation with Peck.

 Q. Why a Civil War story?

A. It’s a story that found me. I was trolling for whatever I might find in New Orleans historical museums, and I began to read about the real estate of the French Quarter. I learned that a majority of it before the Civil War was owned by women of mixed race who were called quadroons. They were the mistresses of white men, given homes and livings, and they were very fashionable and proud. They knew that if the South lost the war, they would lose their status. So they sent their daughters away. Those who were light enough to “pass” were sent north.

And you wondered what happened to them.

Yes, I chose a girl who could pass for white, particularly if she were among unsophisticated people who wouldn’t know. The story became about a girl who has to reinvent herself in an “alien” country. And, of course, it’s a love story. When she comes down the gangplank on the last riverboat to stop in Grand Tower before the war, Noah is there to see her. He’s lost in a dream of love, but he also wants to fight. He wants to be a Yankee soldier…

Read the entire interview here.

The Reading Life: Authors Emily Clark, Bill Loehfelm And Dennis Formento

The Reading Life
WWNO 89.9FM
University of New Orleans
2013-04-23

Susan Larson, Host

Emily Clark, Clement Chambers Benenson Professor of American Colonial History; Associate Professor of History
Tulane University, New Orleans, Louisiana

Emily Clark

This week on The Reading Life, Susan talks with Tulane professor Emily Clark, whose new book is The Strange History of the American Quadroon: Free Women of Color in the Revolutionary Atlantic World, and novelist Bill Loehfelm, whose amazing new thriller, set in New Orleans, is The Devil in Her Way.

Listen to the interview with Dr. Clark  (00:00:50-00:12:06) here. Download the interview here.