Mixed Race Studies

The Obama Paradox

Slate
2017-01-09

Jamelle Bouie, Chief Political Correspondent

Our first black president has an unyielding faith in the goodness of America. It got him elected. And it will cost him his legacy.

The myth of Barack Obama usually begins with his speech to the 2004 Democratic National Convention, and for good reason—it was the speech that jump-started his political career, putting the then–state senator on the fast track to national office. But it wasn’t the speech that made him president. That speech was delivered at a moment of crisis. His former pastor, Rev. Jeremiah Wright, was in the middle of a media firestorm over a sermon he had given in 2003 in the wake of the Iraq invasion. “No, no, no. Not God bless America,” thunders Wright in the now-infamous video. “God Damn America!”…

…For Obama, who built his political appeal on his distance from this rhetoric—from the tenor and tone of traditional black politics—Wright’s sermon was a disaster in the making. To operate in the mainstream, to attain influence and power, black public figures have to navigate a narrow strait of acceptable behavior. They cannot indulge their anger or give way to their passions. And for Obama, who sought an office all but reserved for white men, he had to prove that he wasn’t an Al Sharpton or a Jesse Jackson, that he held no resentment or frustration with the country. And so on March 18, 2008, Obama delivered an address in Philadelphia now known as his “A More Perfect Union” speech. In it, he repudiated Wright’s anger without dismissing its sources, and along the way he demonstrated the qualities that have defined him as president: a sense of balance, a willingness to look to the better angels of his opponents, a belief that there is always common ground…

Read the entire article here.

The Verging Cities, Poetry

Center For Literary Publishing
2015
80 pages
Paperback ISBN: 978-1-885635-43-3
6.5 x 8.5 inches

Natalie Scenters-Zapico

• Poets and Writers Top Debut Poets 2015
• Great Lakes Colleges Association New Writers Award
• NACCS-Tejas Foco Best Poetry Book of 2015

Ninth in the Mountain West Poetry Series, edited by Stephanie G’Schwind & Donald Revell

From undocumented men named Angel, to angels falling from the sky, Natalie Scenters-Zapico’s gripping debut collection, The Verging Cities, is filled with explorations of immigration and marriage, narco-violence and femicide, and angels in the domestic sphere. Deeply rooted along the US-México border in the sister cities of El Paso, Texas, and Cd. Juárez, Chihuahua, these poems give a brave new voice to the ways in which international politics affect the individual. Composed in a variety of forms, from sonnet and epithalamium to endnotes and field notes, each poem distills violent stories of narcos, undocumented immigrants, border patrol agents, and the people who fall in love with each other and their traumas.

The border in Scenters-Zapico’s The Verging Cities exists in a visceral place where the real is (sur)real. In these poems mouths speak suspended from ceilings, numbered metal poles mark the border and lovers’ spines, and cities scream to each other at night through fences that “ooze only silt.” This bold new vision of border life between what has been named the safest city in the United States and the murder capital of the world is in deep conversation with other border poets—Benjamin Alire Saenz, Gloria Anzaldúa, Alberto Ríos, and Luis Alberto Urrea—while establishing itself as a new and haunting interpretation of the border as a verge, the beginning of one thing and the end of another in constant cycle.

Read an excerpt here.

That’s the thing; I was never fully accepted as white, even though I’m white passing, which caused a lot of confusion growing up. I didn’t know how I was – was I black or white? Some ungodly mixed between the two, forever existing between the ether, never knowing when white people would decide I could pass for white or when they would want me to be Black. That is part of the diversity of the Black American experience. This isn’t about the “one drop” rule; it’s about how deep white supremacy goes that someone like me can still feel and experience it. That I can be in a group of white people that is in the middle of an encounter with cops, and the officers somehow are more aggressive towards me than the white people around me. I learned, through being aware enough of my experiences, that I am not white, nor will I ever be; white supremacy, white people will make sure to let me know that I am not white. So I claim my black identity with pride, as I want nothing to do with the legacy of white supremacy and want to help this nation break free of that. But more importantly I know there is nothing wrong with being black, that black is beautiful, that that is part of my history, it’s in my blood; my grandfather’s cousin A. Leon Higginbotham helped write the South African constitution, I mean, c’mon. And even more important I love my dashes of melanin and will glow in my blackness; I love my blackness and yours. —Matthew Braunginn

Henry Sanders, “BEST OF 2016: 12 on Tuesday with Matthew Braunginn,” Madison365, December 21 2016. http://madison365.com/best-2016-12-tuesday-matthew-braunginn/.