“Self-Portrait in Black and White” doesn’t meaningfully engage with centuries of work from black-identifying scholars who wrote accessibly about their backgrounds, especially those with mixed-race ancestry.

Posted in Excerpts/Quotes on 2019-10-27 17:15Z by Steven

Nor is he [Thomas Chatterton Williams] the first thinker to ponder how multiracial people navigate a world so obsessed with the minutiae of race. Self-Portrait in Black and White doesn’t meaningfully engage with centuries of work from black-identifying scholars who wrote accessibly about their backgrounds, especially those with mixed-race ancestry. Nella Larsen’s novel, Passing, was published nearly a century ago; the former NAACP leader Walter White published his memoir, A Man Called White, in 1948. Upon his death in 1955, The New York Times wrote that the fair-skinned White “could easily have joined the 12,000 Negroes who pass the color-line and disappear into the white majority every year in this country. But he deliberately sacrificed his comfort to publicize himself as a Negro and to devote his entire adult life to completing the emancipation of his people.” Absent from Williams’s memoir is any critical analysis of texts written by White or even by major figures such as Frederick Douglass, W.E.B. DuBois, Angela Davis, or Malcolm X.

Hannah Giorgis, “A Simplistic View of a Mixed-ish America,” The Atlantic, October 26, 2019. https://www.theatlantic.com/entertainment/archive/2019/10/mixed-ish-thomas-chatterton-williams-race/600679/.

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A Simplistic View of a Mixed-ish America

Posted in Articles, Book/Video Reviews, Communications/Media Studies, Media Archive, United States on 2019-10-26 18:34Z by Steven

A Simplistic View of a Mixed-ish America

The Atlantic
2019-10-26

Hannah Giorgis


ABC / Byron Cohen

ABC’s Black-ish spinoff joins a new memoir by Thomas Chatterton Williams in presenting a seemingly enlightened but ahistorical view of race.

Mixed-ish, the prequel of the Tracee Ellis Ross–fronted sitcom Black-ish, begins with a rupture. At the tender age of 12, Rainbow “Bow” Johnson (played by Arica Himmel) is ejected from the hippie commune where she and her family live. As the adult Bow, Ross narrates the predicament that follows the government raid of the utopian community: Bow’s black mother and white father must now raise their three biracial children in the harsh world of mid-1980s suburban America. Though it’s set during the broader tumult of the Reagan era, Mixed-ish is driven by the identity crisis that Rainbow and her siblings, Johan and Santamonica, face. On their first day at their new school, the trio are stopped by a pair of dark-skinned students who ask them, “What are you weirdos mixed with?” When the fairer-skinned Johnson kids naively respond, “What’s ‘mixed’?” their classmates laugh.

Ross, who also serves as a series writer and executive producer, talks viewers through this confrontation in a didactic voiceover. “I know the idea of not understanding what it means to be mixed sounds crazy, but you have to understand—growing up on the commune, race wasn’t a thing,” she says. “Do you have any idea how many more mixed babies there are today? Probably because interracial marriage was illegal until the Loving Act of 1967,” she explains, adding that she and her siblings were “were basically the beta testers for biraciality.” In this scene and in later episodes, Mixed-ish falls into the trap of framing its protagonists as pioneers of mixed-race consciousness, rather than inheritors of a long and complex history…

…In addition to Mixed-ish, Loving and the mythos surrounding it has provided fodder for another recent work about biraciality. In his new book, Self-Portrait in Black and White: Unlearning Race, the author Thomas Chatterton Williams notes that his “black” father and “white” mother met the year after the Loving decision. (In an author’s note, Williams explains that he sought “to cast doubt on and reject terms … such as ‘white,’ ‘black,’ ‘mixed,’ ‘biracial,’ ‘Asian,’ ‘Latino,’ ‘monoracial,’ etc.” by placing them in quotation marks.) The author’s second memoir, Self-Portrait was inspired by a moment of shock. When Williams’s white French wife gave birth to their daughter, he was stunned to see that the child had blond hair. The baby’s appearance upended Williams’s self-conception: How could he, a biracial man who’d identified as black and written Obama-era columns about his future children being undeniably black, produce a child who looked, well, white?…

Read the entire article here.

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