Mixed Race Studies

The 10 Best Black Books of 2013 (Non-Fiction)

The AFRO
2013-12-24

Kam Williams, Special to the AFRO

The 10 Best Black Books of 2013 (Non-Fiction)

1. (1)ne Drop: Shifting the Lens on Race Edited by Yaba Blay, Ph.D. with photography by Noelle Theard
2. Ebony & Ivy: Race, Slavery, and the Troubled History of America’s Universities by Craig Steven Wilder
3. David and Goliath: Underdogs, Misfits, and the Art of Battling Giants by Malcolm Gladwell
4. The African Americans: Many Rivers to Cross by Dr. Henry Louis Gates, Jr. and Dr. Donald Yacovone…

Read the entire list here.

Becoming Mexipino: Multiethnic Identities and Communities in San Diego [Floyd Review]

The Journal of San Diego History
Volume 59, Number 4 (Fall 2013)
pages 291-292

Carlton Floyd, Associate Professor of English
University of San Diego

Becoming Mexipino: Multiethnic Identities and Communities in San Diego. By Rudy P. Guevarra, Jr. New Brunswick, NJ: Rutgers University Press, 2012. Maps, photographs, tables, notes, and index. 256 pp. $25.95 paper.

Becoming Mexipino: Multiethnic Identities and Communities in San Diego by Rudy P. Guevarra Jr. deftly explores his Filipino and Mexican familial history from its origins in Spanish colonialism to its current Mexipino configurations in San Diego. Addressing a subject that has received little extended critical attention, Guevarra argues that Spain’s sixteenth-century colonial enterprises brought Mexicans and Filipinos together in ways that facilitated their intimate interaction. First, they shared or, more aptly, endured enslavement and indentured servitude as well as the interest in surviving these perilous conditions. Second, Mexicans and Filipinos took on a common language and religion: Spanish and Catholicism. Third, they discovered themselves in possession of a similar sense of familial arrangements—in the notions of godparents and in the practice of coming-of-age ceremonies for young women, to cite two examples. These various conditions facilitated intimate interethnic relationships then, and foreshadowed similar intimate interactions centuries later, particularly in the western parts of the United States…

Read the entire review here.

‘A Dreadful Deceit’ argues against a ‘racial’ past

The Los Angeles Times
2013-12-20

Robin D.G. Kelley, Distinguished Professor of History
University of California, Los Angeles

Jacqueline Jones in ‘A Dreadful Deceit’ aims to debunk the ‘myth of race’ and the ‘American creation story’ but for the most part is unconvincing in her argument.

Jacqueline Jones, A Dreadful Deceit: The Myth of Race from the Colonial Era to Obama’s America (New York: Basic Books, 2013).

Four years ago, Atty. Gen. Eric Holder called us a “nation of cowards” for refusing to confront our racial past. Jacqueline Jones’ “A Dreadful Deceit” dismisses the very idea that our past is “racial.”

What Holder identifies as our national burden, Jones calls the “American creation story”: the narrative that slavery was born of racial prejudice and that the election of a black president marked a triumph over the long shadow of race. Her objective is to debunk the “myth of race,” to relieve Americans of the specious belief that “race is real and that race matters.”

Jones is not the first. Franz Boas, W.E.B. DuBois and Ashley Montagu are among a veritable sea of scholars who have shown that “race” has no scientific basis. It is a socially created means of classifying and ranking humans based on any number of criteria. It is about power, not biology…

…”A Dreadful Deceit’s” insistence that race is not a factor leads Jones to ignore racism’s role in creating economic inequality. Today’s workforce, she asserts, is “defined less by skin color and history than by shared powerlessness within a global economy.” But if truly “shared,” how do we explain the widening wealth gap between whites and blacks or that the world’s cheap apparel is made in the global South by a non-white, super-exploited labor force?

Jones generally treats “race” (a means of classifying difference) as a proxy for “racism” (a hierarchical system of subjugation based on race). The point is not that race explains everything but that racism is built into the very structure of the economy. Race may be a myth, but racism survives…

Read the entire review here.

Race in a Bottle: The Story of BiDil and Racialized Medicine in a Post-Genomic Age by Jonathan Kahn (review)

Bulletin of the History of Medicine
Volume 87, Number 4, Winter 2013
pages 708-709
DOI: 10.1353/bhm.2013.0067

Anne Pollock, Assistant Professor of Science, Technology and Culture
Georgia Institute of Technology, Atlanta, Georgia

Jonatha Kahn, Race in a Bottle: The Story of BiDil and Racialized Medicine in a Post-Genomic Age. New York: Columbia University Press, 2013. xi + 311 pp. Ill. (978-0-231-16298-2).

When BiDil was approved by the U.S. Food and Drug Administration in 2005 for heart failure in black patients, it became the first ever drug to receive a racial indication. Race in a Bottle is likely to be the most in-depth book that will ever be written about BiDil’s controversial regulatory approval. Its author, Jonathan Kahn, has followed the case of BiDil’s approval at least as closely as anyone else, probably including those most directly involved (the clinicians, the pharmaceutical company, the FDA). Ever since he first heard about BiDil in 2002 (p. 4), Kahn has pursued the story doggedly. He became part of BiDil’s story through the articles he wrote about it, starting with a 2003 piece in Perspectives in Biology and Medicine, which debunked the statistic that blacks were twice as likely as whites to die of heart failure. These articles were read by regulators, among others, and in 2005 Kahn testified against BiDil’s race-specific indication at the FDA hearings on the drug (p. 94). Kahn notes that material in this book has previously been published in sixteen different journal articles and book chapters (pp. ix–x); Race in a Bottle is the definitive compilation of that body of work.

Regulatory processes are at the center of Kahn’s account. According to Kahn, “Race enters biomedicine through many pathways. Foremost among these are federal initiatives that shape the production and use of racial categories in biomedical research” (p. 25). Kahn carefully traces the ways in which the terrain of BiDil was laid by mandates at the FDA and NIH to use OMB categories and, especially, by patent law. This regulatory focus is not inevitable as a way to approach how race enters biomedicine: we might start with lived experience in a structurally racist society, or with clinical encounters, or with social movements mobilized against health disparities, or elsewhere. But Kahn’s passion is for regulation, and this is where his expertise is on display.

Race in a Bottle is at its most effective in debunking two things: BiDil’s racialized indication and racialized medicine as a path toward pharmacogenomics. As Kahn fastidiously shows, the vasodilating drug combination that would become BiDil (isosorbide dinitrate and hydralazine) was originally conceived of as a treatment for anyone with heart failure, not just blacks, and it was commercial imperatives—specifically circumventing the fact that the patent on the drug without the racial indication was about to expire—rather than persuasive scientific evidence that led the pharmaceutical company to seek approval for it as a drug for blacks. Kahn also persuasively debunks the notion that racialized medicine is a step toward pharmacogenomics. Although many BiDil proponents argued that race was a “crude surrogate” but nevertheless useful “in the meantime” until more was known about the genetics of drug response (p. 157), Kahn shows that even when there are genetic tests available to indicate drug response (as in warfarin, the “poster child for pharmacogenomics” [p. 165]), “far from withering away, race is persisting and even proliferating as genetic information increases” (p. 168).

Race in a Bottle is less convincing as a window into “racialized medicine in a post-genomic age.” Situating BiDil in a “post-genomic age” is misleading. In Kahn’s own account, BiDil emerged from statistical signals in clinical trial data, not from genetic research. Related claims of racial differences in heart failure foregrounded pathophysiology, not genetics. BiDil’s FDA indication is for “self-identified black patients,” an explicitly social category rather than a genetic one. Yet the book opens by describing the White House ceremony on the occasion of the completion of the Human Genome Project (p. 1). This narrative choice is emblematic of a preoccupation with genetics in the account as a whole, and shows the intractable appeal of analyzing race in terms of genetics, even for those explicitly critiquing genetic understandings of race. Even if some (but not all) BiDil proponents simply slide the drug into a genetic frame, why should critique of BiDil do so?

Finally, because of the explicitness of its racialization, BiDil has become an obvious icon of racialized medicine, but it is actually not clear that BiDil is…

One Drop, but Many Views on Race

The New York Times
2013-12-16

Maurice Berger, Research Professor and Chief Curator
Center for Art, Design and Visual Culture
University of Maryland, Baltimore County

In the 2010 census — when respondents could check more than one racial group — President Obama, the son of a black African father and a white mother, checked a single box: “Black, African-American or Negro.” Mr. Obama himself was unequivocal about it: “I self-identify as African-American — that’s how I am treated and that’s how I am viewed. And I’m proud of it.”

Yet the president’s words are nuanced: While he opts to classify himself as black, he implies that his racial identity is also contingent on how he is seen and treated by others in a nation prone to racial absolutes, no matter how he sees himself.

Those observations are among the provocative arguments presented by Yaba Blay in “(1)ne Drop: Shifting the Lens on Race” (BLACKprint Press), which examine what it means to be black. In it, she demonstrates how racial identity is not just biological or genetic but also a matter of context and even personal choice. It is revealing that the president’s definitive answer came after years of being dogged by outside doubters who questioned not just his race, but also his very nationality.

“(1)ne Drop” explores the intricate and fraught issue of race through the observations of 60 contributors from 25 countries who self-identify, at least partly, as black, even if they are not always seen as such because of light skin, facial features or interracial ancestry. Their words are accompanied by portraits by Noelle Théard and a team of photographers directed by her. The book challenges narrow conceptions about blackness, both as an identity and as an experience, and the stereotypes and rigid boundaries of color that continue to divide us…

…The books subject’s recount how their efforts to define themselves clashed with society’s imperative to assign neat racial categories in order to “make something that is fluid and uncertain more certain,” as a contributor, Deborah Thomas, noted. Some described the bewilderment and prying questions of acquaintances, co-workers and strangers attempting to discern their race. Others pointed to the social stigma of having complexions that are frustratingly — or insultingly — viewed as too dark or too light…

Read the entire review here.

“Dreadful Deceit”: Race is a myth

Salon
Sunday, 2013-12-15

Laura Miller, Staff Writer

A historian argues that one of the defining elements of American culture is merely a “social fiction”

Jacqueline Jones’ provocative new history, “Dreadful Deceit: The Myth of Race From the Colonial Era to Obama’s America,” contains a startling sentence on its 265th page. It comes after Jones quotes Simon Owens, the last of five African-Americans whose life stories she describes in the book. Owens — an auto worker, labor activist and writer who died in 1983 — stated, “I understood as a Negro first, in the South, the North, in the union, in the NAACP, in the C.P. [Communist Party] and in the S.W.P [Socialist Workers Party].” Jones adds, “Because generations of white people had defined him and all other blacks first and foremost as ‘Negroes,’ he had no alternative but to acknowledge — or, rather, react to — that spurious identity.”

That racial identities are “spurious” is the foundational argument of this fascinating book. Race is a cultural invention, rather than a biological fact (on this scientists widely agree), and Jones, a history professor at the University of Texas and recipient of a MacArthur Fellowship, wants to show how pernicious and persistent this falsity is. In the book’s epilogue, she points to an article from the 2012 edition of the New York Times titled “How Well You Sleep May Hinge on Race,” based on a study showing that living in high-crime neighborhood or having chronic conditions like diabetes or hypertension can cause insomnia. But, as Jones observes, these are problems deriving from poverty, not race, and so the article “blatantly conflated socioeconomic status with the idea of race.”

Of the five people whose life stories are told in “Dreadful Deceit,” the first is essentially voiceless: an enslaved man named Antonio, abducted from his homeland in Africa and murdered while being “corrected” by a colonial landowner in 17th-century Chesapeake. As Jones relates, Antonio’s race “had no practical meaning” to the man who purported to own him, Symon Overzee. Describing in well-researched detail the economic and political milieu of the time, she argues that what created Antonio’s vulnerability to Overzee was not his skin color or any other physical trait but his uprootedness, “without a tribe or a nation-state to protect and defend him in the Atlantic world.”…

…None of the life stories in the book supports this argument more forcefully than that of Richard W. White, a Civil War veteran elected to the office of clerk of the Chatham County Superior Court in Georgia. One of his opponents in the election filed suit against White, charging that he was ineligible to hold office in Georgia because he was “colored.” White, who was relatively new in town and “from unknown parts and of unknown lineage,” appeared to be “white.” The evidence marshaled to prove that White was not white consisted, as the judge freely admitted, of “the reputation of the person in his community, that is what he says of himself — what others say of him — his associates and his general reputation.” In other words, Jones underlines, a man’s race in this community “would be a matter not of ethnicity or heritage or appearance or biology. It would be, purely and simply, a social fiction — one without any appreciable basis in physical reality.”…

Read the entire review here.

Afro-Mexico: Dancing between Myth and Reality by Anita González (review)

Latin American Music Review
Volume 34, Number 2, Fall/Winter 2013
pages 288-291
DOI: 10.1353/lat.2013.0019

Alex E. Chávez, Visiting Assistant Professor
Latin American and Latino Studies Program
University of Illinois, Chicago

Anita González, Afro-Mexico: Dancing between Myth and Reality. With photographs by George O. Jackson and José Manuel Pellicer. Austin: University of Texas Press, 2011. 183 pp. ISBN 978-0-292-72324-5.

In a mixed-race country like Mexico, being “black” means being part of an ethnic group, but in addition to the unstable inhabitations of racial identities, the richness of expressive culture therein also has much to do with carving out senses of community. With this understanding, González explores the cultural negotiations of Afro-Mexican identity in terpsichorean traditions throughout Mexico—with specific focus on Veracruz and the Costa Chica of Guerrero and Oaxaca. She elaborates on various quotidian dance practices embedded with an African cultural subtext of influence that demonstrates how socially and historically constituted ethno-racial constructions are voiced through performance. Taking cues from methodologies in performance, theater, and dance studies, she homes in on the communicative potential of the gesticulant. Moreover, she incorporates ethnography and relies on photographs to illustrate the dance forms.

Although there is existing scholarship that privileges broader socio-historical questions concerning the African diaspora in Latin America, studies focused on African-derived expressive forms in Mexico are few (Cruz Carretero, Martínez Maranto, and Santiago Silva 1990; McDowell 2000; Pérez Fernández 1990). In her efforts to show how Afro-Mexicans have been instrumental in cultural life in that country, González skillfully attends to the mobile history of ethnic encounter and exchange among Africans, indigenous groups, and the Spanish that has informed the hybridity of expressive forms and subjectivities over time. This approach in some ways gestures toward the types of analyses offered in Robin Moore’s Nationalizing Blackness (1997) and John Chasteen’s National Rhythms, African Roots (2004) in their own interrogations of the complicated nexus of performance, nation, and racial formation in Cuba and South America, respectively.

Mexico’s own fraught ideologies of mestizaje and mexicanidad constitute an officialized discursive field that has promoted a unified national culture by way of de-emphasizing localized and pluri-ethnic productions of subjectivity; and as it pertains to González’s study, this ideological scaffolding has obfuscated—if not entirely excluded—the African component. In this regard, apart from considering phenotype, González suggests that racial identities are also defined by geographic locale to the extent that “most Afro-Mexicans are unaware of the historical circumstances that explain their presence in Mexico,” which places particular importance on the cultural negotiations of social location as such (37).

At the core of Afro-Mexico lies González’s ambition to present a “diversity of perspectives about blackness” (103). She succeeds in this ambition as it relates to the dance forms in question. And by returning to the issues of archetype and stereotype repeatedly, she opens the door for considering the iterative relationship between racialization and performativity. Yet bringing the implicit connections between everyday life and institutionalized racial knowledges to the surface early in the book would have served in demonstrating more clearly how expressive culture fits within the arch of broader racial ideologies with implications for understandings of embodiment, performance, and the viscosity of race.

Nonetheless, the unique contribution of the book emerges from González’s own position of expertise as an artist and dancer so that when she contends that “the bent body posture and looseness of the upper body” in certain forms have aesthetic roots in African dance (66), her own bodily knowledge is involved in making that statement. Dances, she argues, consist of gestures within musical phrases. Possibilities for storytelling exist therein that “express social outlooks” (46). These stories unfold at different levels, from personal to communal, from political to mythical—often simultaneously. Her analysis likewise operates on several levels—form and content of the dance, musicality, historical roots, and ultimately the playing out of contemporary politics, since many of the dances are “theatrical scenarios that include attacks, public whippings, sexual overtones, and other disreputable acts” (40). Still, her descriptions in some ways beg for a more in-depth ethnographic rendering of these expressive flows to illustrate how they communicate beliefs and ideas, the very representations that become myths about blackness over time and how they unfold in relation to larger and contested understandings of nation and racial formation. Afro-Mexico is premised on the contention that in a society where ethno-racial identities are disputed, myths contain within them…

Book Review of (1)ne Drop: Shifting the Lens on Race

The Skanner
Portland, Oregon, and Seattle, Washington
2013-12-10

Kam Williams

Yaba Blay and Noelle Théard (dir. of photography), (1)ne Drop: Shifting the Lens on Race (Philadelphia: BLACKprint Press, 2013)

Traditionally, in America, if you were just a teeny-weeny bit black, you’d always been considered black. This arbitrary color line was even codified by the Supreme Court decision in Plessy v. Ferguson, an 1896 case brought by an octoroon light enough to pass who sued for the right to sit in the “white only” section of a segregated train traveling through the South…

…This means that folks, who only a generation ago would’ve been forced to identify themselves simply as black, now feel much more freedom to avail themselves of an array of alternatives along the ethnic spectrum. (1)ne Drop: Shifting the Lens on Race is a collection of essays reflecting on racial identity by 60 introspective individuals who until relatively recently would’ve been labeled black in the eyes of the law.

This enlightening opus was edited by Dr. Yaba Blay, a professor of Africana Studies at Drexel University, and each contributor’s entry is accompanied by a proud portrait photographed by Noelle Théard, a professor at Florida International University. The book breaks down the contributors by three categories: “Mixed Black,” “American Black” and “Diaspora Black.”

Although “Black” Kathleen Cross has a black father and a white mother, she has resisted the invitations to join the “Multiracial Movement, which she sees as divisive. By contrast, Harlemite Jozen Cummings describes himself as “Mixed,” with parents who are Japanese, Puerto Rican and African-American…

Read the entire review here.

Book review: The Black Irish Onscreen: Representing Black and Mixed-Race Identities on Irish Film and Television

Film Ireland
Temple Bar, Dublin, Ireland
2013-11-19

Sarah Griffin

Zélie Asava, The Black Irish Onscreen: Representing Black and Mixed-Race Identities on Irish Film and Television (Oxford, Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien: Peter Lang, 2013)

Sarah Griffin welcomes Zélie Asava‘s book that applies divergent theoretical concepts of Irishness, whiteness, gender and the particular place of the ‘other’ to the ‘conceptual whiteness of Irishness itself’.

While the intricacies of white and non-white filmic representation has been a subject of much study, most particularly in relation to Hollywood’s output, there has been less focused investigation into the particular relationship Ireland has to its own ‘whiteness’ and how that translates on our big and little screens.  Zélie Asava does so here, bringing together theorists and researchers from disparate decades and tying their ideas to a particularly Irish situation—a country that has only begun to integrate the multicultural nature of a relatively recently expanded populace.  From Sigmund Freud’s ‘return of the repressed’, Julie Kristeva’s abjection, Richard Dyer’s seminal contributions to the study of whiteness, and Judith Butler’s performativity, to the more recent work of Diane Negra on ‘off-white Hollywood’ and a compendium of Irish contributors, Asava blends theorists and personal experience (as an Irish/Kenyan actor) to position herself at the front line.  This book provides a welcome opportunity to apply divergent theoretical concepts of Irishness, whiteness, gender and the particular place of the ‘other’ to, as she calls it, “the conceptual whiteness of Irishness itself”…

Read the entire review here.

Revolutionizing Romance: Interracial Couples in Contemporary Cuba [Williams Review]

Association for Feminist Anthropology
Book Reviews
2012-12-21

Erica Lorraine Williams, Assistant Professor of Anthropology
Spelman College, Atlanta, Georgia

Nadine T. Fernandez, Revolutionizing Romance: Interracial Couples in Contemporary Cuba (New Brunswick: Rutgers University Press, 2010)

In this insightful and well-written ethnography, Nadine Fernandez explores a central paradox: if mestizaje (racial mixing) is the “essence” of the Cuban nation, then why are interracial couples, the purported “engines of mestizaje” (184), still perceived with disdain? Why are interracial couplings – particularly those between black and white Cubans – so infrequent and often met with resistance? A deeply historical and ethnographic account, Revolutionizing Romance advances the compelling argument that “nowhere is race more salient than in romance” (50). Moreover, Fernandez argues that the conflicts surrounding interracial relationships actually highlight “the ideological aspects of racism at work” (53).

This important and timely book documents the shifting meanings of interracial relationships over time in Cuba. The first half of the ethnography provides the historical and conceptual background that sets the stage for the rest of the book by unpacking the history of whitening ideologies and the ideological construction of Cuba as a mestizo nation. Fernandez analyzes how the “revolution’s ideological insistence on ‘racelessness’…provided a sociocultural and ideological space for interracial couples” (68). For instance, Sofia, a mulata engineer and Fernando, a white art historian, are an interracial couple who were both born in the early 1950s and who met while studying in the former Soviet Union. Their families supported their relationship in part because of the color-blind ideology that the revolution had fostered. Interestingly, while race scholars are often dismissive of the concept of color-blindness (rightly so, I might add), Fernandez points out that in the context of Cuba, this concept has some redeeming qualities…

Read the entire review here.