Mixed Race Studies

Now Beacon, Now Sea: A Son’s Memoir

Catapult
2021-09-07
304 pages
6.33 x 1.07 x 9.27 inches
Hardcover ISBN: 9781646220427

Christopher Sorrentino

A wrenching debut memoir of familial grief by a National Book Award finalist—and a defining account of what it means to love and lose a difficult parent, for readers of Joan Didion and Dani Shapiro.

When Christopher Sorrentino’s mother died in 2017, it marked the end of a journey that had begun eighty years earlier in the South Bronx. Victoria’s life took her to the heart of New York’s vibrant mid-century downtown artistic scene, to the sedate campus of Stanford, and finally back to Brooklyn—a journey witnessed by a son who watched, helpless, as she grew more and more isolated, distancing herself from everyone and everything she’d ever loved.

In examining the mystery of his mother’s life, from her dysfunctional marriage to his heedless father, the writer Gilbert Sorrentino, to her ultimate withdrawal from the world, Christopher excavates his own memories and family folklore in an effort to discover her dreams, understand her disappointments, and peel back the ways in which she seemed forever trapped between two identities: the Puerto Rican girl identified on her birth certificate as Black, and the white woman she had seemingly decided to become. Meanwhile Christopher experiences his own transformation, emerging from under his father’s shadow and his mother’s thumb to establish his identity as a writer and individual—one who would soon make his own missteps and mistakes.

Unfolding against the captivating backdrop of a vanished New York, a city of cheap bohemian enclaves and a thriving avant-garde—a dangerous, decaying, but liberated and potentially liberating place—Now Beacon, Now Sea is a matchless portrait of the beautiful, painful messiness of life, and the transformative power of even conflicted grief.

A Love Letter to Indigenous Blackness

NACLA: Report on the Americas
Volume 53, Issue 3, November 2021 (Published online 2021-09-13)
pages 248-254

Paul Joseph López Oro, Assistant Professor of Africana Studies
Smith College, Northampton, Massachusetts

A Garifuna ritual gathering to honor the ancestors at Orchard Beach in the Bronx, New York, June 2017. (Paul Joseph López Oro)

Garifuna women in New York City working to preserve life, culture, and history across borders and generations are part of a powerful lineage of resistance to anti-Blackness.

Mirtha Colón. Janel Martinez. Aida Lambert. Tania Molina. Carla Garcia. Tola Guerrero. Karen Blanco. Miriam Miranda. Ofelia Bernandez. Olga Nuñez. Luz Solis. Siria Alvarez. Isha Sumner. Sulma Arzu-Brown. Dilma Suazo-Gordon. Isidra Sabio. These are just some names of Garifuna women whose hemispheric political labor highlights a transgenerational and transnational tradition of preserving Garifuna life. Garifuna women are the very foundation of conjuring, mobilizing, and safeguarding Garifuna ancestral memory, rituals, language, and oral histories—all embodied histories of knowledge production—across generations and national boundaries. Some of these Garifuna women live in New York City, and some of them live in Central America’s Caribbean coasts. Some have never been to Central America, but their family’s nostalgia remains with them.

Garifuna life is matrifocal. Garifuna women are not simply the head of the household, but they are also at the center of organizing and governing every family structure, which extends beyond biological kinship. This is not a uniquely Garifuna experience. Throughout the African diaspora in the Americas, Black women are often the head of the household. Especially if we consider non-heteronormative notions of family and kinship, Black women have been at the forefront of preserving and protecting Black life over centuries, as anthropologists Christen A. Smith and Keisha-Khan Y. Perry have documented. However, a matrifocal or matrilineal society does not dismantle misogynoir, patriarchy, racial capitalism, and anti-Blackness. I write this matrilineal love letter to honor, celebrate, and center Garifuna women’s political, intellectual, spiritual, cultural, and knowledge producing labor that often goes unseen, uncited, or undervalued in a world that remains heteropatriarchal and anti-Black…

Read the entire article here.

Choosing Blackness

The Philadelphia Inquirer
2021-09-15

Elizabeth Wellington, Staff Columnist

Columnist Elizabeth Wellington poses for a photograph with her mother Margaret outside of the family home in New York. MONICA HERNDON / Staff Photographer

Black identity is usually wrapped up in not having choice. My family used their light-skinned privilege to flip that choice and turned Blackness into a celebration of pride and identity and love.

I thought my mother was a white woman until I was about five years old.

So I will never forget the day she told me she was Black. The conversation started simple enough: I described someone on television as white, like she was.

If um, hell to the no was a person, she would have been Margaret Wellington in that moment.

My mother is so fair that whether she styled her hair in a Pam Grier-esque, mega Afro or a blonde-streaked press and curl, she was sometimes mistaken for a white woman. I’m sure she wasn’t surprised by my question given my milk chocolate hue. But she wasn’t angry. She settled into her rocking chair and motioned for me to sit next to her. We were wearing matching green cardigans. I may have been darker, but to her, I was still her toddler-sized replica. She took my chubby little hand into her slender one, and looking me in the eye said, “Beth, I’m Black.”

Clearly I looked confused. Because she said it again. This time with more soul. “I AM BLACK. I do not have the same pretty brown skin that you have. But I AM BLACK. And I am YOUR MOTHER.”

My 5-year-old self was relieved….

Read the entire article here.

Black in Ballet: Coming Together After Trying to ‘Blend Into the Corps’

The New York Times
2021-08-17

Brian Seibert

The cast of “Stare Decisis,” from left: Kouadio Davis, India Bradley, Rachel Hutsell, Robert Garland, Misty Copeland, Erica Lall, Kennard Henson and Alexandra Hutchinson. Malin Fezehai for The New York Times

A rare gathering of Black dancers from different companies meet to discuss a new production on Little Island, curated by Misty Copeland and Robert Garland.

Last year, in the wake of the killing of George Floyd and Breonna Taylor and the protests that followed, American ballet companies started talking a lot more about race. About the issues of diversity, equity and inclusion that organizations of all kinds were addressing, but also aesthetic assumptions, implicit biases and longstanding practices particular to ballet and its history.

“There were innumerable panel discussions,” said Robert Garland, the resident choreographer of Dance Theater of Harlem. “But I felt that for the younger Black dancers, it was a heavy burden to be responsible for all of that.”

Garland wanted to help them, and in the way that he knows best: by making a dance for them. That work, “Stare Decisis (To Stand by Things Decided),” has its debut on Wednesday as part of “NYC Free,” a monthlong festival at Little Island, the new public park on the Hudson River.

The most significant feature of “Stare Decisis” is its eight-member cast: an extraordinarily rare gathering of Black dancers from New York City Ballet, American Ballet Theater and Dance Theater of Harlem. Misty Copeland — Ballet Theater’s first Black female principal dancer and one of the most famous ballerinas in the United States — is among them. (Little Island asked her to present a program.)…

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New York City Ballet’s Rachel Hutsell Is Turning Heads in the Corps

Pointe
2018-05-22

Marina Harss

Rachel Hutsell Photographed for Pointe by Jayme Thornton.

“I’m very cautious by nature,” Rachel Hutsell says over herbal tea at Lincoln Center between rehearsals. You wouldn’t think so from the way she moves onstage or in the studio. In fact, one of the most noticeable characteristics of Hutsell’s dancing is boldness, a result of the intelligence and intention with which she executes each step. (What she calls caution is closer to what most people see as preparedness.) She doesn’t approximate—she moves simply and fully, with total confidence. That quality hasn’t gone unnoticed.

Even though she has been at New York City Ballet for less than three years, Hutsell, 21, is regularly cast in a wide variety of repertoire. She has already collaborated with several choreographers, including Troy Schumacher, Gianna Reisen, Peter Walker and Justin Peck, on new works. “She’s not afraid to make mistakes,” says Peck, who has used her in two premieres, The Most Incredible Thing and The Decalogue. “And she’s open to exploring new movements.”…

Read the enter article here.

J.P. Morgan’s personal librarian had two identities. It took two authors to tell her story.

The Washington Post
2021-06-28

Natachi Onwuamaegbu

“The Personal Librarian” co-authors Heather Terrell, writing as Marie Benedict, and Victoria Christopher Murray. (Phil Atkins)

Historical fiction writer Heather Terrell (who also writes under the name Marie Benedict) was introduced to Belle da Costa Greene between bookshelves at New York’s Morgan Library over 20 years ago. The docent — whom she has tried to find since — told her about a Black woman who passed as White and worked as J.P. Morgan’s personal librarian in the early 1900s. Terrell wasn’t yet writing historical fiction about women — she was a lawyer — but the story lingered in the back of her head.

Once she read Black author Victoria Christopher Murray’s work two years ago, she knew she found the partner she was waiting for to tackle da Costa Greene’s story. To write about a Black woman who passed as non-Black with an author she had never met was a process, especially when the editing coincided with the murder of George Floyd by a Minneapolis police officer and a pandemic.

The Washington Post talked to Terrell and Murray about what it was like to work on “The Personal Librarian” when so much of the world was falling apart…

Read the entire interview here.

The Personal Librarian, A Novel

Berkley (an imprint of Penguin Randomhouse)
2021-06-29
Hardcover ISBN: 9780593101537
Paperback ISBN: 9780593414248
Eboock ISBN: 9780593101551

Marie Benedict and Victoria Christopher Murray

A remarkable novel about J. P. Morgan’s personal librarian, Belle da Costa Greene, the Black American woman who was forced to hide her true identity and pass as white in order to leave a lasting legacy that enriched our nation, from New York Times bestselling author Marie Benedict, and acclaimed author Victoria Christopher Murray.

In her twenties, Belle da Costa Greene is hired by J. P. Morgan to curate a collection of rare manuscripts, books, and artwork for his newly built Pierpont Morgan Library. Belle becomes a fixture in New York City society and one of the most powerful people in the art and book world, known for her impeccable taste and shrewd negotiating for critical works as she helps create a world-class collection.

But Belle has a secret, one she must protect at all costs. She was born not Belle da Costa Greene but Belle Marion Greener. She is the daughter of Richard Greener, the first Black graduate of Harvard and a well-known advocate for equality. Belle’s complexion isn’t dark because of her alleged Portuguese heritage that lets her pass as white—her complexion is dark because she is African American.

The Personal Librarian tells the story of an extraordinary woman, famous for her intellect, style, and wit, and shares the lengths she must go to—for the protection of her family and her legacy—to preserve her carefully crafted white identity in the racist world in which she lives.

‘In the Heights’ and Colorism: What Is Lost When Afro-Latinos Are Erased

The New York Times
2021-06-21

By Maira Garcia, Sandra E. Garcia, Isabelia Herrera, Concepción de León, Maya Phillips and A.O. Scott

The “In the Heights” cast includes Daphne Rubin-Vega, left, Stephanie Beatriz, Melissa Barrera (rear), Olga Merediz, Gregory Diaz IV, Dascha Polanco and Jimmy Smits. Warner Bros.

The film, set in a New York neighborhood known as the Little Dominican Republic, didn’t cast dark-skinned Latinos in lead roles. Our writers discuss how that absence reverberates.

“In the Heights,” the long-delayed Hollywood adaptation of the Broadway musical, has been heralded as a step for more Latino representation in Hollywood, but a conversation has emerged about colorism and the casting of the film.

The New York neighborhood at the center of the story, Washington Heights, is predominantly Afro-Dominican. In an interview, Felice León, a video producer for The Root, asked Jon M. Chu, the director, and some of the stars about the lack of dark-skinned leads in the film: “As a Black woman of Cuban descent specifically from New York City,” she told him, “it would be remiss of me to not acknowledge the fact that most of your principal actors were light-skinned or white-passing Latinx people.” Chu said it was a conversation and something he needed to be educated about. In the end, he said, they “tried to get the people who were best for those roles.”

Lin-Manuel Miranda, who is a part of the film’s creative team, which includes the writer Quiara Alegría Hudes, addressed the criticism last week in a statement on Twitter. He apologized for falling short in “trying to paint a mosaic of this community.” Several prominent Latinos came to Miranda’s defense, including the pioneering Latina actress Rita Moreno, who later backtracked her comments. It’s not the first time Chu has had to contend with questions of identity. His box office hit “Crazy Rich Asians” also had to address similar issues when it came to the casting of Asians and Asian-Americans in the film. (The lead actor in that film, Henry Golding, is biracial.)

I asked five critics and reporters at The Times to weigh in on the criticism and what it means for representation in the arts. These are edited excerpts from the conversation. MAIRA GARCIA…

Read the entire article here.

White Like Me

The New Yorker
1996-06-10

Henry Louis Gates, Jr.

Anatole Broyard, date unknown. Photograph courtesy The New School Archives and Special Collections / The New School

Anatole Broyard wanted to be a writer, not a black writer. So he chose to live a lie rather than be trapped by the truth.

In 1982, an investment banker named Richard Grand-Jean took a summer’s lease on an eighteenth-century farmhouse in Fairfield, Connecticut; its owner, Anatole Broyard, spent his summers in Martha’s Vineyard. The house was handsomely furnished with period antiques, and the surrounding acreage included a swimming pool and a pond. But the property had another attraction, too. Grand-Jean, a managing director of Salomon Brothers, was an avid reader, and he took satisfaction in renting from so illustrious a figure. Anatole Broyard had by then been a daily book reviewer for the Times for more than a decade, and that meant that he was one of literary America’s foremost gatekeepers. Grand-Jean might turn to the business pages of the Times first, out of professional obligation, but he turned to the book page next, out of a sense of self. In his Walter Mittyish moments, he sometimes imagined what it might be like to be someone who read and wrote about books for a living—someone to whom millions of readers looked for guidance.

Broyard’s columns were suffused with both worldliness and high culture. Wry, mandarin, even self-amused at times, he wrote like a man about town, but one who just happened to have all of Western literature at his fingertips. Always, he radiated an air of soigné self-confidence: he could be amiable in his opinions or waspish, but he never betrayed a flicker of doubt about what he thought. This was a man who knew that his judgment would never falter and his sentences never fail him.

Grand-Jean knew little about Broyard’s earlier career, but as he rummaged through Broyard’s bookshelves he came across old copies of intellectual journals like Partisan Review and Commentary, to which Broyard had contributed a few pieces in the late forties and early fifties. One day, Grand-Jean found himself leafing through a magazine that contained an early article by Broyard. What caught his eye, though, was the contributor’s note for the article—or, rather, its absence. It had been neatly cut out, as if with a razor…

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This Artist Got His Start as an I.C.U. Nurse

The New York Times
2020-03-19

Siddhartha Mitter

Nate Lewis at his studio in the Bronx. Ike Edeani for The New York Times

Nate Lewis developed a visual language in the rhythms of EKGs. Now, his intricate works on paper take the scalpel to society.

The artist Nate Lewis left his job as a nurse three years ago, but life on the neurocritical intensive care unit produces memories that don’t readily fade.

The patients battling strokes, seizures, and head injuries. The specialists debating treatment based on test numbers and images. The anxious families keeping watch, looking to the nurse for explanation and reassurance.

“I would show up and these families are giving me everything, telling me their life stories,” Mr. Lewis, 34, recalled of his years at a hospital near Washington, D.C. “I realized what an honor it was to take care of them at this time in their lives.”

One high-stakes drill became familiar: When a patient’s brain, heart or lung functions exceeded the safe range, an alarm would sound, and the monitor would start printing out the relevant graph until the situation was addressed…

…A self-described jock, Mr. Lewis grew up obsessed with basketball, boxed a little and practices capoeira. He implicates his own body in his work, making self-portraits by the same method as portraits of his friends.

They are black, as is he — he grew up in Pennsylvania, the son of a mixed-race couple — and he fielded some criticism at first, he said, for seeming to mutilate black bodies. The accusations of “trauma porn” took him aback. “At that time, I was still thinking in the hospital sense,” he said…

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