Mixed Race Studies

Thrall, Poems

Houghton Mifflin Harcourt
2012-08-28
96 pages
6 x 9
Hardcover ISBN-13/ EAN:9780547571607; ISBN-10:0547571607
E-Book ISBN-13/ EAN:9780547840420; ISBN-10:054784042X

Natasha Trethewey, Charles Howard Candler Professor of English and Creative Writing
Emory University

By unflinchingly charting the intersections of public and personal history, Thrall explores the historical, cultural, and social forces—across time and space—that determine the roles consigned to a mixed-race daughter and her white father. In a vivid series of poems about interracial marriage depicted in the Casta Paintings of Colonial Mexico, Trethewey investigates the philosophical assumptions that underpin Enlightenment notions of taxonomy and classification, exposing the way they encode ideas of race within our collective imagination. While tropes about captivity, bondage, inheritance, and enthrallment permeate the collection, Trethewey, by reflecting on a series of small estrangements from her poet father, comes to an understanding of how, as father and daughter, they are part of the ongoing history of race in America.

Thrall not only confirms that Natasha Trethewey is one of our most gifted and necessary poets but that she is also one of our most brilliant and fearless.

Native Guard: Poems

Mariner Books an Imprint of Houghton Mifflin Harcourt
2007-04-03
64 pages
Trim Size: 5.50 x 8.25
Paperback ISBN-13/EAN: 9780618872657; ISBN-10: 0618872655

Natasha Trethewey, Charles Howard Candler Professor of English and Creative Writing
Emory University

Winner of the Pulitzer Prize

Through elegiac verse that honors her mother and tells of her own fraught childhood, Natasha Trethewey confronts the racial legacy of her native Deep South—where one of the first black regiments, the Louisiana Native Guards, was called into service during the Civil War. Trethewey’s resonant and beguiling collection is a haunting conversation between personal experience and national history.

Excerpt:

Miscegenation

In 1965 my parents broke two laws of Mississippi;
they went to Ohio to marry, returned to Mississippi.

They crossed the river into Cincinnati, a city whose name
begins with a sound like sin, the sound of wrong – mis in Mississippi.

A year later they moved to Canada, followed a route the same
as slaves, the train slicing the white glaze of winter, leaving Mississippi.

Faulkner’s Joe Christmas was born in winter, like Jesus, given his name
for the day he was left at the orphanage, his race unknown in Mississippi.

My father was reading War and Peace when he gave me my name.
I was born near Easter, 1966, in Mississippi.

When I turned 33 my father said, It’s your Jesus year – you’re the same
age he was when he died. It was spring, the hills green in Mississippi.

I know more than Joe Christmas did. Natasha is a Russian name –
though I’m not; it means Christmas child, even in Mississippi.

Race

Poem via Poetry Foundation from:

Antebellum Dream Book
Graywolf Press
2001
72 pages
Paperback ISBN: 1-55597-354-X

Elizabeth Alexander, President
The Andrew W. Mellon Foundation, New York, New York

Sometimes I think about Great-Uncle Paul who left Tuskegee,
Alabama to become a forester in Oregon and in so doing
became fundamentally white for the rest of his life, except
when he traveled without his white wife to visit his siblings—
now in New York, now in Harlem, USA—just as pale-skinned,
as straight-haired, as blue-eyed as Paul, and black. Paul never told anyone
he was white, he just didn’t say that he was black, and who could imagine,
an Oregon forester in 1930 as anything other than white?…

Read the entire poem here.

Brown Eyes: A Selection of Creative Expressions by Black and Mixed Race Women

Troubador Publishing
2006
292 pages
5 x 0.6 x 8 inches
ISBN 10: 1905237146; ISBN-13: 978-1905237142

Edited by:

Nicole Moore

Brown Eyes is a rare collection of poetry and autobiographical writing from a diverse group of black and mixed-race women—everyday women expressing themselves in their own unique and readable style. One of the first anthologies of its kind, Brown Eyes offers a fresh and challenging insight into the lives of black and mixed-race women in 21st century Britain.

As well as being an important contribution towards Black British literature, the book celebrates, reflects upon and embraces our diverse female identities and the common-thread that unites all of us living the UK experience.

Some of the contributions explode with energy, others speak with softness, many discuss childhood, motherhood, love, while others deal with loss and historical betrayal. The voices collected in Brown Eyes range from teenage to mature, rural and urban, from mothers and daughters, and countless others, all contributing to this anthology’s diverse creativity.

The Lost Country of Sight

Anhinga Press
2008
90 pages
Paper ISBN 978-1-934695-06-7

Neil Aitken

Winner: 2007 Philip Levine Prize for Poetry

It’s difficult to believe that Neil Aitken’s The Lost Country of Sight is a first book, since there is mastery throughout the collection. His ear is finely tuned, and his capacity for lyricism seems almost boundless. What stands out everywhere in the poems is his imagery, which is not only visually precise but is also possessed of a pure depth. The poems never veer off into the sensational; they are built from pensiveness and quietude and an affection for the world. “Traveling Through the Prairies, I Think of My Father’s Voice” strikes me as a perfectly made poem, but poems of similar grace and power are to be found throughout the book. This is a debut to celebrate. — C.G. Hanzlicek, Judge, 2007 Philip Levine Prize Prize for Poetry

Fueled by motion and emotion, Neil Aitken’s The Lost Country of Sight is literally and figuratively a moving collection. His winding roads and “ghost cars” move us over the landscapes of identity and personal history with stirring meditative grace. “There is a song at the beginning of every journey,” Aitken tells us in one poem even as he says in another, “these are journeys we never take.” This poet is both our wise, wide-eyed tour guide and our dazed, day-dreaming companion in this rich, mature debut. — Terrance Hayes

The voice in these poems is that of a sighted, awake heart discovering its home in language and its homelessness in the world. Steeped in longing, the imagination here is concrete, vivid, sensuous, and ultimately erotic, even as it perceives that meaning and beauty are evanescent. This book is a full helping from the world’s infinite fund of tears. — Li-Young Lee

Doubters and Dreamers

University of Arizona Press
2011
96 pages
5.50 in x 8.50 in
Paper ISBN: 978-0-8165-2927-8

Janice Gould

Doubters and Dreamers opens with a question from a young girl faced with the spectacle of Indian effigies lynched and burned “in jest” before UC Berkeley’s annual Big Game against Stanford: “What’s a debacle, Mom?” This innocent but telling question marks the girl’s entrée into the complicated knowledge of her heritage as a mixed-blood Native American of Koyangk’auwi (Concow) Maidu descent. The girl is a young Janice Gould, and the poems and narrations that follow constitute a remarkable work of sustained and courageous self-revelation, retracing the precarious emotional terrain of an adolescence shaped by a mother’s tough love and a growing consciousness of an ancestral and familial past.

In the first half of the book, “Tribal History,” Gould ingeniously repurposes the sonnet form to preserve the stories of her mother and aunt, who grew up when “muleback was the customary mode / of transport” and the “spirit world was present”—stories of “old ways” and places claimed in memory but lost in time. Elsewhere, she remembers her mother’s “ferocious, upright anger” and her unexpected tenderness (“Like a miracle, I was still her child”), culminating in the profound expression of loss that is the poem “Our Mother’s Death.”

In the second half of the book, “It Was Raining,” Gould tells of the years of lonely self-making and “unfulfilled dreams” as she comes to terms with what she has been told are her “crazy longings” as a lesbian: “It’s been hammered into me / that I’ll be spurned / by a ‘real woman,’ / the only kind I like.” The writing here commemorates old loves and relationships in language that mingles hope and despair, doubt and devotion, veering at times into dreamlike moments of consciousness. One poem and vignette at a time, Doubters and Dreamers explores what it means to be a mixed-blood Native American who grew up urban, lesbian, and middle class in the West.

Read an excerpt here.

Faking It: Poetics & Hybridity: Critical Writing 1984-1999

NeWest Press
Spring 2000
288 pages
Paperback ISBN 13: 978-1-896300-07-8

Fred Wah

According to Fred Wah, the act of thinking critically is one of exploration and discovery. In Faking It, Wah demonstrates how writing poetry is writing critically. This scrapbook of Wah’s work—collected from fifteen years of his writing—contains essays, reviews, journals, notes and, most importantly, poetic improvisations on contemporary poetry and identity. Faking It was written between 1984 and 1999—during major shifts in critical thinking and cultural production—and the hybrid style of the book is an apt reflection of these changing times, as well as a reflection and study of Wah’s own hybrid identity.

Desdemona’s Fire

Lotus Press/Wayne State University Press
1999
61 pages
5.5 x 8.5
Paper ISBN: 9780916418830

Ruth Ellen Kocher, Associate Professor of English
University of Colorado, Boulder

This is the author’s first book and winner of the 1999 Naomi Long Madgett Poetry Award. While miscegenation has always been more a part of American history than many want to admit, Desdemona’s Fire journeys through this often forbidden landscape in poems that are sometimes painfully poignant, yet fresh in their imagery and detail.

The Writer’s Almanac Podcast with Garrison Keillor [Charles Wadell Chesnutt]

The Writer’s Almanac
2011-06-20

Garrison Keillor, Host

Today in history and a poem or two.

It’s the birthday of Charles Waddell Chesnutt (books by this author), born on this day in Cleveland (1858). His parents were free mixed-race Southerners who left Fayetteville, North Carolina, for Ohio. One of his grandfathers had been a slaveholder, and Chesnutt looked white, but he always identified as black. His family moved back to Fayetteville when Charles was eight, and the boy went to a Freedmen’s Bureau school for the children of freed slaves. He became a teacher, and then principal of the State Colored Normal School in Fayetteville, which trained black teachers.

In 1880, when he was 22 years old, he wrote in his journal: “I think I must write a book. I am almost afraid to undertake a book so early and with so little experience in composition. But it has been a cherished dream, and I feel an influence that I cannot resist calling me to the task.”
 
It took Chesnutt a few years to get there. He was an established and respected citizen in Fayetteville, but in 1883 he decided that he didn’t have much of a future as a black writer in the hostile post-Civil War South. So he moved back to Cleveland with his wife and children. He passed the state bar exams and set up a stenography business, and in his spare time he wrote stories. In 1887, he published his first short story, “The Goophered Grapevine,” in The Atlantic Monthly. He was the first black fiction writer to be published in The Atlantic—although the magazine assumed that he was white until he informed them several years, and many stories, later…

Read the text here. Listen to the podcast here.  Download the podcast here.

Les Cenelles

Centenary College of Louisiana Press / Editions Tintamarre
January 2003
208 pages
ISBN: 0-9723258-9-1

Armand Lanusse

The text is in French.

With few exceptions, the poets of Les Cenelles–the very first collection of poetry by Creoles of color–do not directly address their precarious situation in a South that was ever increasingly hostile to the racial caste to which they belonged. On the contrary, a naive reader might only discover the most pedestrian sorts of romantic subjects in these poems written by seventeen free men of color. However , why would Valcour B… refer to himself as an “unrecognized son of New Orleans?” What “cruel fate” might have forced P. Dalcour into exile? What is the source of the regret, the preoccupation with departure and the fear of betrayal that seeps from every line of these works?

However gifted and diligent they might have been, free people of color were forced to live within the constraints of their fate as second class citizens. May the modern reader delve into these “modest Cenelles” conscience of the troubling context that underpins their creation. Without this awareness, the profound depths of their melancholy spirit will escape him completely.