The Old Problems of “New People”

Posted in Articles, Book/Video Reviews, Media Archive, Passing, United States on 2017-06-22 14:29Z by Steven

The Old Problems of “New People”

New Republic
2017-06-22

Morgan Jerkins


Courtesy Riverhead Books.

Danzy Senna’s new novel examines the ambivalent privileges of passing.

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

It is 1996 in Brooklyn. The crime rate is on the decline, artists are fleeing Manhattan and its staggering rents for neighborhoods such as DUMBO, Williamsburg, and Greenpoint, immigrants are flocking to the borough, and you could still buy a brownstone for under $500,000. This is also the year of the Fugees’s iconic album The Score, Lil Kim’s Hardcore, Foxy Brown’s Ill Na Na, and Jay-Z’s Reasonable Doubt. The era was one of creativity, movement, and rapid innovation, making it fertile ground for the racial dynamics explored in Danzy Senna’s highly anticipated third novel, New People. In a decade when the country had witnessed the Rodney King beating, the Los Angeles Riots, and the O.J. Simpson trial, racial tension were at an all-time high. This is not the time to try and escape one’s race. But there are Black Americans whose trauma from decades of racism leads them to cultivate themselves into a world of the light-skinned elite, and a world where they hope they will be safer, more compatible with the American Dream.

This is the world in which we meet Maria Pierce and Khalil Mirsky, two light-skinned, mixed race black people who want it all and are on track to get it: a Brooklyn brownstone, a wedding at a lighthouse in Martha’s Vineyard with nouveau soul food, a dog named Thurgood, and two children “with skin the color of burnished leather” and “hair the color of spun gold” named Indigo and Cheo. Maria and Khalil met at Stanford, where they fell in love over conversations about interracial dating and misogyny in hip-hop, Giovanni’s Room and Cosby episodes, chicken and waffles. Now, Khalil, a part-time technology consultant, is about to take advantage of the dot-com boom by creating an online community of black “modern tribalism” with his friend, while Maria spends her days finishing up her dissertation on the Jonestown Massacre. It’s perfect. Until it isn’t…

Read the entire review here.

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A boy caught between love and race

Posted in Arts, Book/Video Reviews, United States on 2017-06-22 00:28Z by Steven

A boy caught between love and race

Books
The Washington Post
2017-06-15

Ausma Zehanat Khan


Thrity Umrigar, the author (Robert Muller)

Thrity Umrigar, Everybody’s Son, A Novel (New York: HarperCollins, 2017)

The premise of Thrity Umrigar’s new novel, “Everybody’s Son,” is straightforward: a wealthy white family whose son has died adopts a black child from the projects. Through this disturbing yet evocative tale, Umrigar — best known for her books “The Space Between Us” and “The World We Found” — offers a troubling look at race and the conflicting desires of two families.

At the center of the story is Anton Vesper, a little boy whose mother, Juanita, is addicted to crack. She left Anton alone in a hot basement for days before he broke out and is rescued by the local police. Shortly thereafter, Anton meets a judge named David Coleman who happens to be struggling with the loss of his own child. In Anton, Coleman sees a charismatic child. He decides to bring Anton home, almost as a consolation prize for his grieving wife, Delores…

…Though Coleman is treated sympathetically throughout the novel, he is shadowed by his corrupt morality. There is no eluding it: Coleman destroyed a woman’s life by taking her child and using his wealth, power and whiteness against her. He has also robbed a child of his heritage, raising difficult questions for readers to ponder:

Would Coleman have wanted Anton if he were a dark-skinned black child, if he hadn’t been able to blend so effortlessly into his world? We later learn that Anton is bi-racial, perhaps explaining this. Would a black mother view blackness as a curse that a white man’s wealth and status could provide compensation for?…

Read the entire review here.

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Rising Star: The Making of Barack Obama and the Limitations of Liberal Criticism

Posted in Barack Obama, Biography, Book/Video Reviews, Communications/Media Studies, Interviews, Media Archive, Politics/Public Policy, United States, Videos on 2017-06-13 20:30Z by Steven

Rising Star: The Making of Barack Obama and the Limitations of Liberal Criticism

iMiXWHATiLiKE!
2017-06-07

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

Authors Dr. Todd Steven Burroughs and Paul Street discuss their reviews of David Garrow‘s Rising Star: The Making of Barack Obama.  We also discussed the liberal limitations of Garrow’s criticism and the omission of Left critiques by “alternative” and “Left” media outlets.

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A Long, Long Look at Obama’s Life, Mostly Before the White House

Posted in Articles, Barack Obama, Biography, Book/Video Reviews, Media Archive, Politics/Public Policy, United States on 2017-06-13 17:30Z by Steven

A Long, Long Look at Obama’s Life, Mostly Before the White House

Books of The Times
The New York Times
2017-05-01

Michiko Kakutani, Chief Book Critic

RISING STAR
The Making of Barack Obama

By David J. Garrow
1,460 pages. William Morrow. $45.

Rising Star,” the voluminous 1,460-page biography of Barack Obama by David J. Garrow, is a dreary slog of a read: a bloated, tedious and — given its highly intemperate epilogue — ill-considered book that is in desperate need of editing, and way more exhausting than exhaustive.

Many of the more revealing moments in this volume will be familiar to readers of Obama’s own memoir, “Dreams From My Father”; a host of earlier books about Obama and his family; and myriad profiles of the former president that have appeared in newspapers and magazines over the years. Garrow has turned up little that’s substantially new — save for identifying and interviewing an old girlfriend from Obama’s early Chicago years, who claims that by 1987, “he already had his sights on becoming president.”

In the absence of thoughtful analysis or a powerful narrative through line, Garrow’s book settles for barraging the reader with a cascade of details — seemingly in hopes of creating a kind of pointillist picture. The problem is that all these data points never connect to form an illuminating portrait; the book does not open out to become the sort of resonant narrative that Robert A. Caro and Ron Chernow have pioneered, in which momentous historical events are deftly recreated, and a subject’s life is situated in a time and a place. Instead, Garrow has expended a huge amount of energy — his bibliography, including interviews with more than a thousand people, runs to 35 pages — on giving us minutely detailed accounts of early chapters of Obama’s life, like his years at Harvard Law School, his time in Chicago as a community organizer, and his work in the Illinois State Senate. Garrow gets to Obama’s presidency only in an epilogue…

…It’s odd that Garrow should seize on one former lover’s anger and hurt, and try to turn them into a Rosebud-like key to the former president’s life, referring to her repeatedly in his epilogue. He even tries to turn her perception — about Obama’s having willed himself into being — into a pejorative, when the act of self-invention, as other biographers have noted, was the enterprising and existential act of a young man who essentially had been abandoned by both his black father and white mother, and who found himself caught between cultures and trying, as he wrote in “Dreams,” “to raise myself to be a black man in America.”…

Read the entire review here.

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A Chosen Exile: A History of Racial Passing in American Life, by Allyson Hobbs [Eggers Review]

Posted in Articles, Book/Video Reviews, History, Media Archive, Passing, United States on 2017-05-29 02:00Z by Steven

A Chosen Exile: A History of Racial Passing in American Life, by Allyson Hobbs

The Black Scholar: Journal of Black Studies and Research
Volume 47, 2017 – Issue 2: After Madiba: Black Studies in South Africa
Pages 73-76
DOI: 10.1080/00064246.2017.1295355

Fabian Eggers, MA candidate of North American Studies
John F. Kennedy Institute at Freie Universität, Berlin, Germany

Allyson Hobbs, A Chosen Exile: History of Racial Passing in American Life (Cambridge: Harvard University Press, 2014)

Read or purchase the review here.

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Youth and Empire: Trans-Colonial Childhoods in British and French Asia by David Pomfret (review)

Posted in Articles, Asian Diaspora, Book/Video Reviews, History, Media Archive on 2017-05-14 22:16Z by Steven

Youth and Empire: Trans-Colonial Childhoods in British and French Asia by David Pomfret (review)

The Journal of the History of Childhood and Youth
Volume 10, Number 2, Spring 2017
pages 271-273

Molly J. Giblin, Instructor
University of Memphis, Memphis, Tennessee

Youth and Empire: Trans-Colonial Childhoods in British and French Asia.
By David Pomfret.
Stanford, CA: Stanford University Press, 2015. 416pp. Cloth $65.

While colonial cities like Singapore, Hong Kong, Saigon, and Hanoi were home to relatively small numbers of Europeans in comparison to the settler colonies of Algeria, Australia, or New Zealand, David Pomfret’s Youth and Empire argues that childhood in these spaces served as a touchstone upon which regimes of race and hierarchies of power were negotiated. Pomfret’s sociocultural history explores the role of childhood in British and French colonial urban centers in Asia. Because youth epitomized both the physical and figurative vulnerability of Europeans in the tropics, attempts to regulate childhood mirrored the efforts of French and British colonial authorities to safeguard the future of a European project in the East. Colonial subjects used childhood, children, and child-rearing to delineate boundaries of identity, thus bringing together everyday life and high-level policymaking.

Pomfret builds upon work by such scholars as Ann Laura Stoler, Elizabeth Buettner, Julia Clancy Smith, and Frances Gouda, who have articulated how imperial authority pivoted around constellations of sex, gender, domesticity, and the family. He unites the children of the colonized and of colonizers within a single but capacious analytical framework that allows him to contrast the productive (but potentially dangerous) malleability of the European child with the perpetual infantilization of Asian colonial subjects. Pomfret examines how childhood itself was at the fulcrum of the European colonial project in Asia because it worked in tandem with parallel hierarchies of race, gender, and civilization. The scope of the project—stretching between two empires and across spaces within them—creates a challenge that Pomfret rises to meet. He recognizes that conceptions of childhood were constructed and shifting within Europe as well as in its overseas territories. Nonetheless, he manages to draw broad conclusions across imperial lines while pointing to moments of divergence, showing how local cultures weighed differently upon the demands of colonial prestige, expectations of age, and racial seclusion. In an anthropologically informed argument, he demonstrates that confluences in policy and perception were due in part to cross-cultural perceptions of youth, but more importantly, grew out of pan-imperial conversations about whiteness, race, and cultural hygiene.

Pomfret’s wide-ranging study is based upon artful readings of published and archival sources that span the globe and two centuries of colonial history. Because Pomfret evaluates childhood from the standpoint of colonial management, potential paths of inquiry remain somewhat underdeveloped. Perhaps due to constraints of language, most of Pomfret’s historical informants are European. He demonstrates that “local pressures ensured that colonial childhoods developed quite different meanings and parameters on the ground” (53). However, such pressures seem to be grounded in administrative exigencies or national prejudices. What of indigenous ones? While he does attempt to draw indigenous voices out of European sources and is alert to trans-racial physical and emotional connections expressed within them, only in the last third of the book does the reader encounter substantive discussions of any of the non-European participants involved in ordering childhood. Though he refers many times to interaction with Asian wives, amahs, wet nurses, students, and medical practitioners, they are for the most part spectral, serving as foils against which the subjectivities of European childhood were assembled. His sophisticated analysis of the twin discourses of childhood and infantilization becomes somewhat muted by too-neat distinctions between early assimilationist and later associationist French policy, and he overly insists on the pervasiveness of the “decivilizing” critiques that Europeans leveled against Chinese in the nineteenth century (28). Moreover, Pomfret’s tendency to ventriloquize Asian responses risks replicating the discourses that he claims to analyze. Likewise, Pomfret’s multicentered approach shows how people and ideas moved across imperial spaces. Yet he does not linger upon existing codes of kinship (Confucian and otherwise) that would likely have coexisted in the multiethnic cities of Southeast Asia and the Pacific. Pomfret does touch upon widespread European ideas about the antiquity of East Asian cultures. However, he argues, that narrative contributed to an emphasis on how cultural failings (such as a lack of…

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Review: In ‘Little Boxes,’ a Biracial Family Meets a White Town

Posted in Articles, Book/Video Reviews, Family/Parenting, Media Archive, United States on 2017-04-23 18:14Z by Steven

Review: In ‘Little Boxes,’ a Biracial Family Meets a White Town

The New York Times
2017-04-13

Neil Genzlinger, Television Critic


From left, Nelsan Ellis, Armani Jackson and Melanie Lynskey in “Little Boxes,” about a biracial family’s move from Brooklyn to small-town America.
Credit Mark Doyle/Gunpowder & Sky Distribution

Little Boxes,” a mildly comic story about a biracial family that relocates to an exceedingly white town, feels a bit out of phase, but it’s delicately observed and does a nice job of staying within itself. It avoids the big confrontation or grand statement; doing so allows it to be an effective, if somewhat uneventful, study of the Brooklyn bubble effect.

Gina (Melanie Lynskey), who is white, and Mack (Nelsan Ellis), who is black, move from trendy and comfortably diverse Brooklyn so that she can take a new job in a small town in Washington State. Their son, Clark (Armani Jackson), is getting ready to start sixth grade…

Read the entire review here.

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Mixed race child zigzags through Shanghai world

Posted in Articles, Asian Diaspora, Book/Video Reviews, Media Archive on 2017-04-03 02:37Z by Steven

Mixed race child zigzags through Shanghai world

Otago Daily Times
2017-04-03

Jessie Neilson, Library Assistant
University of Otago

DRAGON SPRINGS ROAD
Janie Chang
William Morrow
(Harper Collins Publishers)

Janie Chang’s second novel, Dragon Springs Road, details a landscape of memories, where traditional spiritual beliefs coexist with more modern ways of living.

Author Janie Chang, a Taiwanese Canadian, draws on her own family heritage and ancestors’ beliefs in her second novel.

It is 1908, the Year of the Monkey, Dragon Springs Road, Shanghai. In a traditional, affluent Chinese housing complex, a young girl is abandoned by her mother, with little explanation.

The 7-year-old, Jialing, is Eurasian, or za zhong, as strangers insult her, and as such is treated with contempt by most of society. She has little chance of education or opportunity beyond prostitution, but fortunes look up when she is taken under the wing of the new family in residence…

Read the entire review here.

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We got diversity all wrong!!!

Posted in Articles, Book/Video Reviews, Europe, Media Archive on 2017-04-01 01:48Z by Steven

We got diversity all wrong!!!

Dirty Movies: Your platform for thought-provoking cinema
2017-03-30

Victor Fraga, Writer and Publisher
London, United Kingdom


Brigitte Mira and El Hedi ben Salem in Fear Eats the Soul (1974)

Liberals like myself like to embrace and demand diversity, but we often come up with flawed arguments; Fassbinder has taught me that this can backfire with catastrophic consequences – Victor Fraga reflects on the 1974 classic ‘Fear Eats the Soul‘, as the film reaches UK cinemas

Diversity is not as straight-forward as it seems. We liberals like to think that it is a mandatory requirement for a multicultural, modern and sophisticated society. Yet we often come up with arguments that only serve to perpetuate the most reactionary and short-sighted rhetoric. For example, during the Brexit debate, the discussion around immigrants was almost inevitably linked to their financial and social contribution, something along the lines: “EU citizens have been paying taxes for years, they don’t claim benefits, and so on”. This is a dangerous fallacy.

It’s as if our tolerance of foreigners was entirely contingent on money and, to a lesser extent, social functionality (“they are our nurses, our train drivers, etc”). We have thereby stripped tolerance of its fundamentally altruistic nature. It’s as if we suddenly decided that tolerance has nothing to do with kindness, hospitality or high-mindedness. I have learnt from Rainer Werner Fassbinder’s 1974 classic Fear Eats the Soul (which is out in cinemas this weekend) that this is a very serious mistake with very pernicious ramifications. Tolerance founded upon economic/ vested interests will develop into an ulcer and kill…

Read the entire article here.

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Krazy: George Herriman, A Life in Black and White by Michael Tisserand (review)

Posted in Articles, Arts, Biography, Book/Video Reviews, History, Media Archive, Passing, United States on 2017-03-30 01:48Z by Steven

Krazy: George Herriman, A Life in Black and White by Michael Tisserand (review)

Inks: The Journal of the Comics Studies Society
Volume 1, Issue 1, Spring 2017
pages 117-120

Christopher Jeansonne, University Fellow, Graduate Teaching Associate
Department of Arts Administration, Education and Policy
Ohio State University

Michael Tisserand, Krazy: George Herriman, A Life in Black and White. Harper, 2016. 550 pp, $35.

Michael Tisserand’s Krazy: George Herriman, a Life in Black and White, a work of passion and sagacity, not only gives a comprehensive overview of Herriman’s oeuvre but insightfully situates it in personal and socio-cultural context. Krazy Kat is perhaps one of the most lauded newspaper comic strips of all time, and yet this is the first book-length biography of its creator. Nine years in the making, Tisserand’s book has been much anticipated by scholars and fans of the artist. As suggested by the double meaning of the title, Tisserand argues that an awareness of Herriman’s complex racial background is central to reading both Herriman’s life and his work. Herriman was listed as “col.” (or “colored”) on his New Orleans birth certificate and “Caucasian” on his California death certificate—and these two arbitrary classifications form the frame to Tisserand’s study.

Tisserand’s prose has a lively clarity learned from a career working extensively as a journalist, and this comprehensive biography will certainly be sought out by both academic and lay audiences interested in newspaper comics, or comics in general. As an exhaustive historical account of Herriman’s life, it will be an indispensable resource for scholars working in sequential art; thanks to Tisserand’s meticulous research, even those deeply familiar with Krazy Kat will cull new insights from the details he has unearthed. Perhaps most importantly, this comprehensive and nuanced account of Herriman’s life and work in parallel in a single volume reveals new depths to the “komplexities” of the Krazy Kat with whose challenges many of us thought we had already grappled.

Part 1, “Watta Woil,” opens with an account of the posthumous uncovering of Herriman’s ambiguous racial heritage by scholars in the 1970s, and the debates that ensued: How reliable was this information? To what degree was Herriman aware of his racially mixed background? What is the relevance of racial identity for understanding Herriman’s work? Tisserand ends the opening chapter with a question that resonates throughout the rest of the book: “Did this revelation, whatever it was, find its way into his wondrous comics? Is it a source of the wonder?” Tisserand then describes in detail the complicated web of Herriman’s mixed-race ancestry and the challenges his ancestors faced during the post-Civil War and Jim Crow eras; some of the most powerful moments in this section are provided by the concrete, personal, and tragic features of the racist and reactionary post-slavery Deep South. These challenges finally led to his parents’ decision to move to California and pass as white. Throughout the remainder of Part 1, we follow Herriman’s early life and schooling, and his budding interest in a life of drawing comics—opportunities, Tisserand notes, that he may not have had as a “colored” youth in the New Orleans of the time.

Part 2, “The Greek,” traces Herriman’s development as a professional cartoonist. For many hectic years he lived like a bi-coastal yo-yo, moving from Los Angeles to New York and back again as he switched jobs from newspaper to newspaper. He worked in the macho world of first-generation newspaper comics, with cartooning greats such as Tad Dorgan and Jimmy Swinnerton, building a name for himself with his inventive sports and political comics even as he struggled to find an audience for his numerous daily strip comic ideas. In this period Herriman’s work became increasingly concerned with social pretense, language, and mistaken or fluid identities, and central motifs such as minstrelsy began to take hold. While careful to note that “at times his comics did not rise above the ugly stereotypes of the day,” Tisserand also provides insightful readings of the ways Herriman was already challenging racism and complicating notions of racial identity even in his early comics (188). Particularly memorable are Tisserand’s passages on the “impussanations” from Herriman’s short-lived Musical Mose strip (in which a black musician poses as a Scotsman), and his cartoon coverage of interracial boxing matches, most notably…

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