Mixed Race Studies

Kathleen Collins’s ‘Whatever Happened to Interracial Love?’

Books of The Times
The New York Times
2016-11-29

Dwight Garner

Kathleen Collins, Elizabeth Alexander (fore.), Whatever Happened to Interracial Love? (New York: Ecco, 2016)

When the filmmaker, playwright and fiction writer Kathleen Collins died of breast cancer in 1988, at 46, she left behind a wide body of work that’s only beginning to see the light of day.

She was among the first black women to direct a feature-length film. That movie, “Losing Ground” (1982), parsed black intellectual life in New York City; it was about a female philosophy professor and her wayward husband, a painter. It never had a theatrical release. Just last year its premiere was held at Lincoln Center, where it played to sold-out crowds.

She was a feverish artist, working on many fronts. In an essay in the September issue of Vogue, her daughter, Nina Lorez Collins, recalls, “When I think back, the dominant sounds of my childhood are of my mother’s IBM Selectric II clattering away behind her bedroom door; film swishing through the Steenbeck editing machine that sat in our dining room; and, occasionally, Tina Turner blaring from the stereo while she danced like a madwoman in the living room.”…

…This collection’s title story gives us Ms. Collins in full flower. It is about two roommates in an Upper West Side apartment. It’s 1963 or, as Ms. Collins declares, “the year of racial, religious, and ethnic mildew.”

One roommate is a white community organizer in Harlem, fresh out of Sarah Lawrence and dating a black poet. The other is a young black woman who was jailed during civil rights protests in Georgia; she’s in love with a white Freedom Rider.

When the young black woman went South, she shed some of her proper bourgeois upbringing and began to feel the shaggy earth beneath her feet. Her father is apoplectic. What’s happened to his perfect strait-laced daughter?…

Read the entire review here.

Review: ‘Oreo,’ a Sandwich-Cookie of a Feminist Comic Novel

The New York Times
2015-07-14

Dwight Garner

Fran Ross’s first and only novel, “Oreo,” was published in 1974, four years after Toni Morrison’s “The Bluest Eye” and two years before Alex Haley’s “Roots.” It wasn’t reviewed in The New York Times; it was hardly reviewed anywhere.

It’s interesting to imagine an alternative history of African-American fiction in which this wild, satirical and pathbreaking feminist picaresque caught the ride it deserved in the culture. Today it would be where it belongs, up among the 20th century’s lemony comic classics, novels that range from “Lucky Jim” and “Cold Comfort Farm” to “Catch-22” and “A Confederacy of Dunces.”

These sorts of lists have been for too long, to borrow a line from the TV show “black-ish,” whiter than the inside of Conan O’Brien’s thigh.

“Oreo” might have changed how we thought about a central strand of our literature’s DNA. As the novelist Danzy Senna puts it in her introduction to this necessary reissue: “ ‘Oreo’ resists the unwritten conventions that still exist for novels written by black women today. There’s nothing redemptively uplifting about her work. The title doesn’t refer to the Bible or the blues. The work does not refer to slavery. The character is never violated, sexually or otherwise. The characters are not from the South.”

Instead, in “Oreo” Ms. Ross is simply flat-out fearless and funny and sexy and sublime. It makes a kind of sense that, when this novel didn’t find an audience, its author moved to Los Angeles in the late 1970s to write for Richard Pryor…

Read the review here.

Review: Mat Johnson’s ‘Loving Day’ Takes a Satirical Slant on Racial Identities

The New York Times
2015-05-26

Dwight Garner, Senior writer and book critic

Mat Johnson’s new novel, “Loving Day,” takes its title from an unofficial holiday, one his narrator likens to “Mulatto Christmas.” It’s the observance of the Supreme Court ruling in Loving v. Virginia, which in 1967 decriminalized interracial marriage in America.

Mr. Johnson, whose previous novels include the excellent “Pym” (2011), is himself the product of such a marriage — his mother is black, his father not just white but Irish white — and the politics of his own racial mix is a topic he’s written about with discernment and a rumbling wit.

In The New York Times Magazine recently, he described learning from a DNA test that he is 26 percent African. “I wasn’t a mustefino,” he said, as if paging through a field guide. “(Who has even heard of a mustefino?) I surpassed octoroon status, too; I was a quadroon with a percentage point to spare.”

“Loving Day” is about being blackish in America, a subject about which Mr. Johnson has emerged as satirist, historian, spy, social media trickster (follow him on Twitter) and demon-fingered blues guitarist.

The novel is about a man in early middle age named Warren Duffy, who loosely resembles Mr. Johnson. That is, he’s a culturally sophisticated black man who can just about pass for white. He considers himself “black, with an asterisk,” adding, “The asterisk is my whole body.”…

Read the entire review here.

Books of The Times: One Nation, Still Divisible by Race

The New York Times
2011-08-11

Dwight Garner

Randall Kennedy, The Persistence of the Color Line: Racial Politics and the Obama Presidency, New York: Pantheon Books, 2011. 322 pp.

August is not half over, and already it’s been a punishing month for Barack Obama: the debt limit fiasco; the Standard & Poor’s downgrade; the deaths of Navy Seals and other troops in Afghanistan. This powerful and ruminative book by Randall Kennedy, “The Persistence of the Color Line: Racial Politics and the Obama Presidency,” is unlikely to put the president in a more cheerful mood.

Mr. Kennedy, who is African-American, has long been among the most incisive American commentators on race. His books, which include “Race, Crime, and the Law” (1997) and the best seller “Nigger: The Strange Career of a Troublesome Word” (2002), tend to arrive in full academic dress (his new one has footnotes and endnotes) and seem to be carved from intellectual granite, yet they have human scale. When it suits him, he can deploy references to Stevie Wonder and Kanye West as well as to Thurgood Marshall, W. E. B. Du Bois, Mahalia Jackson and Malcolm X. He has the full panoply of the black experience in America at his fingertips…

…Mr. Kennedy is, deep down, an admirer of the president’s. (Mr. Obama, a Harvard Law graduate, signed up for, but did not ultimately take, one of Mr. Kennedy’s courses.) When he lists the many things black people love best about the president, it’s apparent that he’s speaking for himself as well. Among these reasons: Mr. Obama identifies himself as black, when he could have, like Tiger Woods, spoken of himself as mixed race; he married a black woman, while other powerful black men often marry white ones; he is dignified, “the most well-spoken, informed, gracious, cosmopolitan, agile, and thoughtful politician on the American political landscape.”…

…Once all that is out of the way, Mr. Kennedy is free to get down to business. He’s frustrated by many aspects of Mr. Obama’s leadership and is not shy about expressing himself. About Mr. Obama’s evolving stance on same-sex marriage, for example, Mr. Kennedy declares: “That the nation’s first black president defends separate but equal in the context of same-gender intimacy is bitterly ironic.”…

Read the entire article here.