Scholarly perspectives on the mixed race experience.
…This depiction of Alice [Jones Rhinelander] fell squarely into a white tradition of depicting mulatto women as sexually available, sexually victimized, and/or sexually predatory. By the 1920s many white Americans, particularly northern whites, joined African Americans in blaming southern white men for the existence of the substantial mulatto population that now (supposedly) threatened the racial purity of white America both by its very presence and by the behaviour—particularly the sexual behavior—of its members. Indeed, northern white writers continued to be fascinated with the supposed rituals of white-male-controlled interracial sex in the South, particularly exclusive “octoroon balls” at which light-skinned African American women competed to be the mistress of socially elite white men who would support them financially in return for sex and companionship, all in the name of romance. Such depictions, however, painted the women as desperately competing for their shared goal: a rich white lover. By the 1920 images of mulatto women focused even more directly on their supposed obsession with “landing,” either as a wife or a mistress, a rich white benefactor—and on using that liaison to appropriate white money, property, and even power…
Yusef Komunyakaa, Global Distinguished Professor of English New York University
Before her untimely death in 2010, Ai, known for her searing dramatic monologues, was hailed as “one of the most singular voices of her generation” (New York Times Book Review). Now for the first time, all eight books by this essential and uniquely American poet have been gathered in one volume.
from “The Cockfighter’s Daughter”
I found my father, face down, in his homemade chili and had to hit the bowl with a hammer to get it off, then scrape the pinto beans and chunks of ground beef off his face with a knife.
Fordham University Press
April 2012
78 pages
8 1/2 x 8 1/2
Hardcover ISBN: 9780823243044
Paperback ISBN: 9780823243051
Michelle Naka Pierce, Associate Professor
Jack Kerouac School of Disembodied Poetics Naropa University, Boulder, Colorado
Continuous Frieze Bordering Red documents the migratory patterns of an Other, as she travels between countries, languages, seasons, and shifting identities. A narrative on hybridity, the text explores [dis]location as a cultural swerve while it interrogates Rothko’s red: his bricked-in, water-damaged windows [floating borders], which reflect unstable cultural borders to the hybrid. A person of mixed race [hybrid, mongrel, mutt] traverses these “invisible” cultural borders repeatedly. Border identity comes with flux, instability, and vibrational pulls. An Other is marked as someone who does not belong. She is always a foreigner: when traveling and when at “home.” She is cast aside, bracketed from the dominant culture. She is [neither][nor][both]. She exists in a liminal space: in place and displaced simultaneously. That is, her identity and body are peripatetic, which is reflected in the continuous horizontal frieze. The reader must literally cross the borders of each page in order to navigate each line of text, leaving the reader in constant motion as well. The poem also functions as an ekphrasis of Rothko’s Seagram murals: Rothko writes that the paintings make the observers “feel that they are trapped in a room where all the doors and windows are bricked up.” The hybrid is confined and isolated. Even though the Other is estranged from herself and desires a sense of cultural belonging, she ultimately wants to “acknowledge this scar tissue and proceed” so that she is not held to false measures of “purity.” Continuous Frieze Bordering Red attempts to move away from pejorative definitions of “hybrid” and embrace the monstrous self.
University of Illinois Press
January 2004
280 pages
6 x 9 in.
1 black & white photograph
Paper ISBN: 978-0-252-07149-2
Translated by:
Norman R. Shapiro, Professor of French Wesleyan University, Middletown, Connecticut
A collection of the first published works of Creole poets of the 1800s, in French, appearing beside the new English translations by the award-winning translator Norman R. Shapiro
Creole poets have always eluded easy definition, infusing European poetic forms with Louisiana themes and Native American and African influences to produce an impressive variety of often highly accomplished and always strikingly engaging verses. The first major collection of its kind, Creole Echoes contains over a hundred of these poems by more than thirty different poets—Louisiana residents of European, African, and Caribbean origin.
The poems gathered here exhibit the Creole poets’ wide range of theme, tone, and sensibility. Somber elegies, whimsical verse, animal fables, love sonnets, odes to nature, curses, polemics, and lauds all find voices here.
Pauline Johnson was an unusual and unique presence on the literary scene during the late 19th and early 20th centuries. Part Mohawk and part European, she was a compelling female voice in the midst of an almost entirely male writing community. Having discovered her talent for public recitation of poetry, Johnson relied on her ancestry and gender to establish an international reputation for her stage performances, during which she appeared in European and native costume. These poems were later collected under the title of Flint and Feather (1912) and form the source of the selections appearing in this volume.
Later, suffering from ill health, Pauline Johnson retired from the stage and devoted herself to the writing of prose, collected in Legends of Vancouver, The Moccasin Maker (1913), and The Shagganappi (1913), gleanings from which form part of this collection.
As three worlds collide, a mother’s Philippines, a father’s India, and the poet’s contemporary America, the resulting impressions are chronicled in this collection of incisive and penetrating verse. The writer weaves her words carefully into a wise and affecting embroidery that celebrates the senses while remaining down-to-earth and genuine.
Jackie Kay, Professor of Creative Writing Newcastle University
Humour, gender, sexuality, sensuality, identity, racism, cultural difference: when do any of these things ever come together to equal poetry? When Jackie Kay’s part of the equation. Darling brings together into a vibrant new book many favourite poems from her four Bloodaxe collections, The Adoption Papers, Other Lovers, Off Colour and Life Mask, as well as featuring new work, some previously uncollected poems, and some lively poetry for younger readers.
Kay’s poems draw on her own life and the lives of others to make a tapestry of voice and communal understanding. The title of her acclaimed short story collection, Why Don’t You Stop Talking, could be a comment on her own poems, their urgency of voice and their recognition of the urgency in all voice, particularly the need to be heard, to have voice. And what voice – the voices of the everyday, the voices of jazz, the voices of this many-voiced United Kingdom.
Jackie Kay reads from Darling
Jackie Kay reads three poems, ‘In My Country’, ‘Somebody Else’ and ‘Darling’, from Darling: New & Selected Poems (Bloodaxe Books, 2007). This film is from the DVD-book In Person: 30 Poets filmed by Pamela Robertson-Pearce, edited by Neil Astley, which includes eight poems from Darling read by Jackie Kay. Jackie Kay was an adopted child of Scottish/Nigerian descent brought up by Scottish parents. With humour and emotional directness, her poetry explores gender, sexuality, identity, racism and cultural difference as well as love and music. Her poems draw on her own life and the lives of others to make a tapestry of voice and communal understanding. We filmed her at her home in Manchester in 2007.
A short biography of Jackie Kay written by Elizabeth Shostak can be read here. An excerpt is below.
Unconventional Upbringing
Kay’s fascination with themes of identity can be traced to an upbringing that set her apart, in many ways, from the majority culture in her native Scotland. Born in Edinburgh to a Scottish mother and a Nigerian father, she was adopted by a white family and raised in Glasgow, where she often accompanied her communist parents to antiapartheid demonstrations and peace rallies. Life wasn’t easy for a biracial child in mostly–white Glasgow. “I still have Scottish people asking me where I’m from,” she told Guardian writer Libby Brooks. “They won’t actually hear my voice, because they’re too busy seeing my face.”…
Early Works Explored Identity When Kay was twelve, she wrote One Person, Two Names, an eighty–page story about an African–American girl who pretended to be white. The question of how we define ourselves, and why, has intrigued Kay in all her subsequent work…
Last Thursday, Emory University Professor Trethewey gave her inaugural reading as the 19th U.S. Poet Laureate Consultant in Poetry in the Coolidge Auditorium of the Jefferson Building at the Library of Congress. After a warm introduction by the Librarian of Congress James H. Billington, Ms. Trethewey arrived on stage for a handshake from Mr. Billington and a standing ovation by a packed and enthusiastic audience of 5oo (plus an extra 100 outside the auditorium).
Ms. Trethewey is the first Southerner to hold the post since Robert Penn Warren, the original laureate, and she is the first African-American since Rita Dove in 1993. Ms. Trethewey is also the Mississippi Poet Laureate (2012-2016); winner of the 2007 Pulitzer Prize for her book of poetry Native Guard; winner of fellowships from the Guggenheim Foundation and the National Endowment for the Arts; four Mississippi Institute of Arts and Letters Book Prizes; The Lillian Smith Book Awards for Poetry; fellowships from the Rockefeller Foundation Bellagio Study Center and the Bunting Fellowship Program of the Radcliffe Institute for Advanced Study at Harvard University; 2008 Georgia Woman of the Year; 2009 inductee into the Fellowship of Southern Writers; and 2011 inductee into the Georgia Writers Hall of Fame. And she is the Charles Howard Candler Professor of English and Creative Writing at Emory University.
Ms. Trethewey read a selection of poems from her recently released book of poems dedicated to her poet father, titled Thrall.
The poems read were:
“Elegy (For my father)
Taxonomy:
“De Español y de India Produce Mestiso”
“De Español y Negra Produce Mulato”
“De Español y Mestiza Produce Castiza”
“The Book of Castas”
“Knowledge”
“Miracle of the Black Leg”
“The Americans” (“Help, 1968”)
“Mano Prieta”
“Torna Atrás”
“Mythology”
“Calling: Mexico, 1969”
“Fouled”
“Rotation”
“Enlightenment”
“Illumination.”
Born in 1966 to a black mother and white father in Mississippi—the tortured crucible of race relations in the United States—it is understandable that the topic of race would be a recurring theme in Trethewey’s writings. Yet we never grow tired reading her poems about race because of her innate ability to weave the personal with the historical. As a consequence, her stories are our stories. As in her poem, “Elightenment,” where she describes a trip to Monticello with her father, for a few brief moments we read how she conflates one of our founding fathers with her own father.
…I did not know then the subtext
of our story, that my father could imagine
Jefferson’s words made flesh in my flesh—
Without taking herself too seriously, Ms. Trethewey humorously described that the only surviving remnant of a family trip to Mexico in 1969 was a photograph of her sitting on a mule, as she began reading “Calling: Mexico, 1969.”
In her series of moving poems about casta paintings, Ms. Trethewey reveals her ability to not only compel the reader to contemplate the lives of the subjects of the paintings, but also to bring the subjects of the paintings to life as in her poem “Taxonomy: De Español y de India Produce Mestiso” (Which describes a series of casta paintings by Juan Rodríguez Juárez, c. 1715).
Spaniard and Indian Produce Mestizo. c. 1715. Oil on canvas. 81×105 cm. (Breamore House, Hampshire, United Kingdom).
The canvas is leaden sky
behind them, heavy
with words, gold letters inscribing
an equation of blood—…
…If the father, his hand
on her skull, divines—
as the physiognomist does—
the mysteries
of her character, discursive,
legible on her light flesh,
in the soft curl of her hair,
we cannot know it: so gentle
the eye he turns toward her.
The mother, glancing
sideways toward him—
the scarf on her head
white as his face,
his powdered wig—gestures
with one hand a shape
like the letter C. See,
she seems to say, what we have made…
After concluding her reading with her poem, “Illumination,” Ms. Trethewey received yet another standing ovation.
Head of the Poetry and Literature Center Robert Casper concluded the event, and Ms. Trethewey entered the Great Hall of the Jefferson Building for a reception and book signing.
Athabasca University Press
May 2012
144 pages
Paperback ISBN: 978-1-926836-69-0
eBook (PDF) ISBN: 978-1-926836-70-6
eBook (EPub) ISBN: 978-1-926836-71-3
Naomi McIlwraith
Through poems that move between the two languages, McIlwraith explores the beauty of the intersection between nêhiyawêwin, the Plains Cree language, and English, âkayâsîmowin. Written to honour her father’s facility in nêhiyawêwin and her mother’s beauty and generosity as an inheritor of Cree, Ojibwe, Scottish, and English, kiyâm articulates a powerful yearning for family, history, peace, and love.
This work is licensed under a Creative Commons License. It may be reproduced for non-commercial purposes, provided that the original author is credited.
In this collection of poetry, prose, and personal essay, both new and well-known women authors of mixed race ancestry examine history, culture, and identity using insight from the female psyche. Featured are writings by Ai, Cristina Bacchilega, Kathy Dee Kaleokealoha Kaloloahilani Banggo, Mei-mei Berssenbrugge, Debra Kang Dean, Kiana Houghtailing Davenport, Jessica Hagedorn, Kimiko Hahn, Velina Hasu Houston, Cathy Kanoelani Ikeda, Carolyn Lei-lanilau, Susan Miho Nunes, Sigrid Nunez, Mindy Eun Soo Pennybacker, Michelle Cruz Skinner, Cathy Song, Adrien Tien, Kathleen Tyau, and twenty-five other writers.
Hannah Lowe’s first book of poems takes you on a journey round her father, a Chinese-black Jamaican migrant who disappeared at night to play cards or dice in London’s old East End to support his family, an unstable and dangerous existence that took its toll on his physical and mental health. ‘Chick’ was his gambling nickname. A shadowy figure in her childhood, Chick was only half known to her until she entered the night world of the old man as a young woman. The name is the key to poems concerned with Chick’s death, the secret history of his life in London, and her perceptions of him as a father. With London as their backdrop, Hannah Lowe’s deeply personal narrative poems are often filmic in effect and brimming with sensory detail in their evocations of childhood and coming-of-age, love and loss of love, grief and regret.
