Mixed Race Studies

Biracial and Jewish

The New York Times
2017-03-20

Helen Kiyong Kim, Associate Professor of Sociology
Whitman College, Walla Walla, Washington

Noah Samuel Leavitt, Associate Dean of Students
Whitman College, Walla Walla, Washington

To the Editor:

Re “What Biracial People Know” (Sunday Review, March 5):

Moises Velasquez-Manoff makes a number of vital points about the creative ways that biracial people navigate the world.

During 2011-14, we interviewed 39 young men and women who were the offspring of Jewish and Asian parents. Supporting Mr. Velasquez-

Manoff’s point that biracialism breaks down tribalism — and perhaps extending his assertions — our research found that these young people strongly identified both as multiracial as well as Jewish in a surprisingly traditional religious sense…

Read the entire letter here.

Louise Erdrich, Matthew Desmond Among Winners of National Book Critics Circle Awards

The New York Times
2017-03-16

Alexandra Alter, Publishing Reporter

Louise Erdrich outside her bookstore, Birchbark Books, in Minneapolis. Credit Jenn Ackerman for The New York Times

Louise Erdrich’s novel “LaRose,” which centers on two Native American families in North Dakota whose lives are upended by a horrific hunting accident that kills a 5-year-old boy, won the National Book Critics Circle Award for fiction on Thursday.

Ms. Erdrich, who has published 15 novels, won in an especially competitive year for high-profile literary fiction, with Michael Chabon, Ann Patchett, Zadie Smith and Adam Haslett among the finalists.

“I’m among such dramatically wonderful novels that it didn’t seem that this was possible,” Ms. Erdrich said in her acceptance speech, before making a passionate plea about the importance of free expression and the need for writers and journalists to challenge falsehoods.

“The truth is being assaulted not only in our country but all over the world,” she said. “More than ever, we have to look into the truth.”…

Read the entire article here.

The Horror of Smug Liberals

The New York Times
2017-03-18

Frank Bruni

Ben Wiseman

Oh, those smooth-talking, self-congratulating white liberals. Listen to them moon over Barack Obama. Look at how widely they open their arms to a black visitor. Don’t be duped. They’re wolves in L. L. Bean clothing. There’s danger under the fleece.

That’s a principal theme in the most surprising movie hit of the year so far, “Get Out,” whose box office haul in America crossed the $100 million mark last weekend. Heck, that’s the premise.

The black protagonist heads with his white girlfriend from an apartment in the city to a house in the woods, where he’s gushingly welcomed by her parents. But their retreat is no colorblind Walden, not if you peek into the basement. I won’t say what’s down there. I don’t want to spoil the fun or sully the chill.

Besides, I’m less fascinated by the movie’s horrors than by its reception. The most ardent fans of “Get Out,” many of them millennials, don’t just recommend it. They urge it, framing it as a “woke” tribe’s message to the slumbering masses, a parable of the hypocrisy that white America harbors and the fear with which black Americans move through it…

…But the movie’s African-American writer and director, Jordan Peele, conceived and began developing it well before the possibility of a Donald Trump presidency came into focus. He wasn’t responding to stark examples of racism like that infamous tweet last week in which Representative Steve King, the Iowa Republican, warned against trying to “restore our civilization with somebody else’s babies.” …

…“Get Out” is being categorized as a horror movie, though Peele prefers the neologism “social thriller,” and it’s more eerie than violent, with superb pacing that critics are rightly praising. It’s also a reminder that the best horror movies are intensely topical, putting a fantastical, grotesque spin on the tensions of their times…

Read the entire article here.

Derek Walcott, Poet and Nobel Laureate of the Caribbean, Dies at 87

The New York Times
2017-03-17

William Grimes

Derek Walcott in 1986. Credit Jill Krementz, All Rights Reserved

Derek Walcott, whose intricately metaphorical poetry captured the physical beauty of the Caribbean, the harsh legacy of colonialism and the complexities of living and writing in two cultural worlds, bringing him a Nobel Prize in Literature, died early Friday morning at his home near Gros Islet in St. Lucia. He was 87.

His death was confirmed by his publisher, Farrar, Straus and Giroux. No cause was given, but he had been in poor health for some time, the publisher said.

Mr. Walcott’s expansive universe revolved around a tiny sun, the island of St. Lucia. Its opulent vegetation, blinding white beaches and tangled multicultural heritage inspired, in its most famous literary son, an ambitious body of work that seemingly embraced every poetic form, from the short lyric to the epic…

…As a poet, Mr. Walcott plumbed the paradoxes of identity intrinsic to his situation. He was a mixed-race poet living on a British-ruled island whose people spoke French-based Creole or English.

In “A Far Cry From Africa,” included in “In a Green Night” — his first poetry collection to be published outside St. Lucia — he wrote:

Where shall I turn, divided to the vein?
I who have cursed
The drunken officer of British rule, how choose
Between this Africa and the English tongue I love?
Betray them both, or give back what they give?

Derek Alton Walcott was born on Jan. 23, 1930, in Castries, a port city on the island of St. Lucia. His father, Warwick, a schoolteacher and watercolorist, died when he was an infant, and he was raised by his schoolteacher mother, the former Alix Maarlin.

Both his parents, like many St. Lucians, were the products of racially mixed marriages. Derek was raised as a Methodist, which made him an exception on St. Lucia, a largely Roman Catholic island, and at his Catholic secondary school, St. Mary’s College…

Read the entire obituary here.

In Los Angeles, a Festival of Love and Hapa-ness

The New York Times
2017-03-11

Lawrence Downes

Portraits from Hāfu2Hāfu, an ongoing photographic project which investigates what it means to be half Japanese and how this defines identity. Credit Tetsuro Miyazaki

Los Angeles — The current political moment, with its upwelling of nationalism and xenophobia, has a repellent taste, like a mouthful of citrus pith, all bitter and white.

How bracing, then, to escape in late February to Los Angeles, city of the future, for something called the Hapa Japan Festival, a “celebration of mixed-race and mixed-roots Japanese people and culture.”

“Hapa” means “half” in Hawaiian pidgin English, and can be used to denote a variety of mixed-race or ethnic combinations, but in this context it meant half Japanese and half something else. In Hawaii, where I grew up Okinawan-Irish, hapa status is unremarkable, a matter-of-fact part of life, like daily sunshine. In the mainland United States, the word is used more assertively, if not defiantly — as a declaration of an identity that many people overlook or dismiss.

The story of growing up hapa — or “hafu,” in Japan — has been told and retold, often as melodrama or tragedy, in tales of abandoned Amerasian orphans in former war zones, or of more contemporary misfits struggling with confusion and rejection…

But as Duncan Ryuken Williams, a professor of religion and East Asian languages and cultures at the University of Southern California, who organized the festival, explained, it’s more complicated than that, a subject worthy of deep — and optimistic — exploration. The festival coincided with a conference at the University of Southern California on critical mixed-race studies, and the publication of “Hapa Japan,” a two-part volume of essays that Professor Williams edited…

…But even so, as Mitzi Uehara Carter, who teaches at Florida International University and is the daughter of an Okinawan mother and an African-American father, explained, hāfus in Okinawa, like those anywhere, often balk at having their lives stuffed into narrative boxes. They don’t like being saddled with identity crises they don’t necessarily have.

A recent essay in The Times described the creativity and mental flexibility of biracial people; critics took issue with it, arguing that race-blending is not the antidote to white supremacy, that hapas won’t save the world…

Read the entire article here.

Erased Onscreen: Where Are All the Interracial Couples?

The New York Times
2017-03-03

Kevin Noble Maillard, Professor of Law
Syracuse University

Daniel Kaluuya and Allison Williams in Jordan Peele’s “Get Out.” Credit Justin Lubin/Universal Pictures

The recent drama “Loving” is about an interracial marriage and takes place in midcentury rural Virginia, but there are no burning crosses, white hoods or Woolworth counters. Richard Loving and Mildred Jeter, a white man and a black Native American woman kiss in public at a drag race, and no one voices disapproval. A few white spectators stare and scowl. But the couple embrace and laugh, unsullied.

“Segregation wasn’t a clean divide in these communities,” the drama’s writer-director, Jeff Nichols, told me, and for “Loving” it’s true: The film, about the 1967 Supreme Court case striking down laws banning interracial marriage, addresses the long ignored and deliberately suppressed topic of mixed race in America. It confounds our impressions of the past, the legacies of slavery, and the reality of Jim Crow.

Fifty years have passed since “Guess Who’s Coming to Dinner,” and this is still an issue. Mixed-race couples existed here long before 1967, but the Lovings (played by Joel Edgerton and Ruth Negga) were among the first to demand official recognition through marriage. According to the codes of popular culture and the law of domestic relations, families like theirs did not exist. Sustaining the legitimacy of racial boundaries requires suppression of these narratives. Without policing and erasing by law and popular culture, taboos lose their authority…

Read the entire article here.

What if the Court in the Loving Case Had Declared Race a False Idea?

The New York Times
2017-03-06

Brent Staples

Mildred Loving greeting her husband Richard on their front porch in Virginia. Credit Estate of Grey Villet

Gov. Terry McAuliffe of Virginia struck a resonant historical note last year when he proclaimed June 12 “Loving Day,” in commemoration of Loving v. Virginia, the 1967 Supreme Court decision that invalidated state laws across the country that restricted interracial marriage.

That Virginia would celebrate the decision was symbolically rich, given that Richmond had been the capital of the Confederacy under Jefferson Davis and the seat of a virulently racist legislature that diligently translated white supremacist aspirations into law.

The Loving decision turns 50 this summer, which will give the annual festivals, picnics and house parties held in its honor a special gravity. But the recent re-emergence of white supremacist ideology in political discourse lends an inescapably political cast to this celebration of interracialism.

As this drama unfolds, historians and legal scholars are criticizing aspects of the Loving decision, including the court’s failure to repudiate the myth of white racial “purity” upon which Virginia’s statute was based…

Read the entire article here.

What Biracial People Know

Sunday Review
The New York Times
2017-03-04

Moises Velasquez-Manoff

Lynnie Z.

After the nation’s first black president, we now have a white president with the whitest and malest cabinet since Ronald Reagan’s. His administration immediately made it a priority to deport undocumented immigrants and to deny people from certain Muslim-majority nations entry into the United States, decisions that caused tremendous blowback.

What President Trump doesn’t seem to have considered is that diversity doesn’t just sound nice, it has tangible value. Social scientists find that homogeneous groups like his cabinet can be less creative and insightful than diverse ones. They are more prone to groupthink and less likely to question faulty assumptions.

What’s true of groups is also true for individuals. A small but growing body of research suggests that multiracial people are more open-minded and creative. Here, it’s worth remembering that Barack Obama, son of a Kenyan father and a white Kansan mother, wasn’t only the nation’s first black president, he was also its first biracial president. His multitudinous self was, I like to think, part of what made him great — part of what inspired him when he proclaimed that there wasn’t a red or blue America, but a United States of America.

As a multiethnic person myself — the son of a Jewish dad of Eastern European descent and a Puerto Rican mom — I can attest that being mixed makes it harder to fall back on the tribal identities that have guided so much of human history, and that are now resurgent. Your background pushes you to construct a worldview that transcends the tribal…

…Consider this: By 3 months of age, biracial infants recognize faces more quickly than their monoracial peers, suggesting that their facial perception abilities are more developed. Kristin Pauker, a psychologist at the University of Hawaii at Manoa and one of the researchers who performed this study, likens this flexibility to bilingualism…

Early on, infants who hear only Japanese, say, will lose the ability to distinguish L’s from R’s. But if they also hear English, they’ll continue to hear the sounds as separate. So it is with recognizing faces, Dr. Pauker says. Kids naturally learn to recognize kin from non-kin, in-group from out-group. But because they’re exposed to more human variation, the in-group for multiracial children seems to be larger.

This may pay off in important ways later. In a 2015 study, Sarah Gaither, an assistant professor at Duke, found that when she reminded multiracial participants of their mixed heritage, they scored higher in a series of word association games and other tests that measure creative problem solving. When she reminded monoracial people about their heritage, however, their performance didn’t improve. Somehow, having multiple selves enhanced mental flexibility…

Read the entire article here.

Jordan Peele on a Truly Terrifying Monster: Racism

The New York Times
2017-02-16

Jason Zinoman

Jordan Peele, who is making his directorial debut with the horror film “Get Out.” Credit Elizabeth Weinberg for The New York Times

The sketch comedian takes on racial politics and the “liberal elite” in his debut feature, the horror movie “Get Out.” Here, he talks about his life and work.

No serious fan of the sketch comedy show “Key & Peele” will be surprised that Jordan Peele (the shorter half of its starring duo) is making his directorial debut with a horror film. Their acclaimed Comedy Central series may have been best known for President Obama’s “anger translator,” but it often lampooned scary movies with a specificity that could come only from a connoisseur of things that go bump in the night. (No one has made a funnier parody of “The Shining.”)

In his new movie, “Get Out,” he plays the scares straight, writing and directing the rare horror movie that tackles racial politics head on. In a scenario that has been described as “The Stepford Wives” meets “Guess Who’s Coming to Dinner,” Chris (Daniel Kaluuya), an African-American photographer, is about to meet his white girlfriend’s parents for the first time when he’s rattled to learn that she has not told them he is black. His anxiety increases when her father goes out of his way to tell him that he would have voted for Mr. Obama for a third term and when the forced smiles of the parents’ exclusively black servants start seeming a little uncanny. Racial micro-aggressions and ominous signs (bad dreams, dead animals) mount, as this fish-out-of-water story takes a foreboding turn…

Read the entire article here.

A Family That Pushed Racial Boundaries Through Generations

The New York Times
2017-01-27

Caitlin Dickerson, National Reporter

From left: Blake, Jared, Bryan and Deborah Treadwell, photographed in Eastham, Mass. Credit Erik Jacobs for The New York Times

When Lizzie Connor kissed her husband goodbye and hopped on a train at Grand Central Depot, The New York Times took note. An article written about the couple in 1885 was not a wedding announcement, but a news story that noted a serious peculiarity at the time.

Ms. Connor was white; her husband, Titus Poole, was black. And we believe that the article, headlined “Married to a Negro,” was one of the newspaper’s earliest mentions of an interracial couple. Four generations later, the couple’s descendants have drawn the attention, and sometimes scorn, of outsiders because of several boundary-defying unions that followed. Today, they have roots that are black, white and Native American.

It appears the writer of the article did not interview the Pooles, but instead retraced their steps across southern New York State over several days, stringing together a dispatch that reads like a gossip column, with bits of information, like Mr. Poole’s “handsome suit of broadcloth, with white vest, white necktie, and buff kid gloves,” from those who had observed the couple. The article also misspelled Mr. Poole’s surname and misreported the couple’s ages.

Even more rare than their interracial relationship was the Pooles’ adoption of a white baby girl, named Lillian. “Simply unheard-of,” is how E. Wayne Carp, an emeritus history professor at Pacific Lutheran University, recently described the adoption, which he called a “one-in-a-million case,” because of the “raging racism against mix-race married couples” at the time…

…Bryan Treadwell, the Pooles’ great-grandson, now 68, says he identifies racially as “other.” He hadn’t known until The Times tracked him down last year that his great-grandparents were an interracial couple, but he did know that Lillian Poole, his white grandmother (and the Pooles’ adopted daughter), defied racial mores by marrying Harold Treadwell Sr., who was part black and part Native American. They gave birth to Mr. Treadwell’s father, Harold Marvin Treadwell Jr., in 1925…

Read the entire article here.