Cedric Dover

Posted in Articles, Asian Diaspora, Biography, Identity Development/Psychology, Media Archive, Poetry on 2012-10-02 02:18Z by Steven

Cedric Dover

Wasafiri
Volume 27, Issue 2 (2012)
pages 56-57
DOI: 10.1080/02690055.2012.662322

Cedric Dover was born in Calcutta in 1904. Dover’s mixed ancestry (English father, Indian mother) and his studies in zoology led to a strong interest in ethnic minorities and their marginalisation. After his studies, he joined the Zoological Survey of India as a temporary assistant entomologist. He also wrote several scientific articles and edited the Eurasian magazine New Outlook.

Dover settled in London In 1934 to continue his anthropological studies on issues of race. He published Half-Caste in 1937, followed by Hell in the Sunshine (1943). During the 1940s Dover contributed regularly to the BBC Indian Section of the Eastern Service alongside many other British-based South Asians. There he befriended George Orwell, in 1947 he published Feathers in the Arrow: An Approach for Coloured Writers and Readers. Dover moved to the United States in the same year and took up a range of visiting academic posts. He was a member of the faculty of Fisk University, as Visiting Lecturer in Anthropology. He also briefly lectured at the New School of Social Research, New York, and Howard University. Dover held a lifelong interest in African-American art, culture and literature and his influential book American Negro Art was published in 1960. Dover returned to London in the late 1950s. He continued to lecture and write on minority issues and culture until his death in 1961.

A Note on the Text

These poems were first published in Brown Phoenix (London; College Press. 1950).

Brown Phoenix

I am the brown phoenix
Fused in the flames
Of the centuries’ greed.

I am tomorrow’s man
Offering to share
Love, and the difficult quest,
In the emerging plan.

Do you see a dark man
Whose mind you shun,
Whose heart you never know,
Unable to understand
That I am the golden bird
With destiny clear?
Fools cannot destroy me
With arrogant fear.

Listen brown man, black man,
Yellow man, mongrel man,
And you white friend and comrade:
I am the brown phoenix—I am you.

‘There is my symbol for us all.’

For we are tomorrow’s men,
But not you,
Little pinkwhite man,
Not you!

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Bessora: A Writer with a Thirty-Eight Shoe Size

Posted in Articles, Biography, Europe, Literary/Artistic Criticism, Women on 2012-05-27 05:00Z by Steven

Bessora: A Writer with a Thirty-Eight Shoe Size

Wasafiri
Volume 24, Issue 2 (2009)
pages 60-65
DOI: 10.1080/02690050902771779

Adele King

The character of literary criticism combined with pedagogical strategies tends to categorise, moving one accepted orthodoxy forward by pushing another out of the way. Early approaches to European literature were to treat it as a body of work by white Europeans and Americans. New classifications of it are, of course, more varied, but still include such undifferentiated general categories as black, immigrant, mixed race etc. The problem is that such comparlmentalisatlons not only ignore the actual diversity of people and their social contexts but, by imposing a presumed political or cultural vision on something quite different including writing against such categorisation—can also obscure what writers are actually doing. I am not going to review the history of postcolonial criticism and pedagogy here, but want to introduce a very good author writing in French who not onfy does not fit reductive categories, but who also seems to be writing against them. Bessora’s work has been well received; in 2000 she won the prestigious Prix Félix-Fénéon, for a literary work by an author under thirty-five (previously awarded to Robbe-Grillet among others) for Les Tachts d’Encre [Ink Stains], and Cueillez-Moi Joiis Messieurs [Pick Me Nice Gentlemen] won the Grand Prix Litteraire d’Afnque Notre in 2007. Bessora’s work has not yet, however, received any extended literary attention.

In contrast to the UK, where a number of writers of mixed African-European parentage were born and work, there are few part-sub-Saharan African, part-European writers in France. Bessora (her full name is Sandrine Bessora Nan Ngueaia), who was born in Belgium in 1968, is part Swiss, part Gabonese. To my knowledge, the only other writers in French born in Europe to mixed European and sub-Saharan African parentage and living outside Africa are: Sylvie Kandé, a poet and university professor of French-Senegalese parentage, who now teaches in the United States; Binéka Lissoumba, of French-Congolese parentage, who now teaches in Canada; and Véronique Tadjo of French-Côte d’Ivoire parentage, who has taught at universities in Africa and lived in the United States, England and South Africa. Like Bessora, these writers are from social elites and are well educated, holding advanced degrees. They are less likely to have faced direct racial prejudice than to have encountered more nuanced occlusions, which come from not being identified with either white or black communities. They are not really representative of immigrant communities, unlike second generation writers of part North African origin (the beurs), who are a different, larger group, sometimes from poor immigrant families.

Bessora’s fiction is part of a change from the overly serious treatment of political themes of much earlier African writing. Among her contemporaries in the francophone world, her work has similarities with a few other writers—a younger generation who never lived under colonialism and who came to France when they were in their early twenties. While of African parentage, they are cultural hybrids, who usually write about individual problems rather than the community. Such works include Abdourahman Waberi’s comic anthropological treatment of Djibouti in Cobier nomade (1996); Alain Mabanckou’s satiric tales of life in Congo in Memoires de porc-epic (2006); Kangni Alem’s Cola Cola Jazz (2002), a book that often playfully refers to itself and that mocks Togolese society; and, from the previous generation. Boubacar Boris Diop’s Le temps de Tomango (1981), with its science fiction tales of wildly differing historical periods, from the era of slavery to the mid-twenty-first century. Bessora, however, as the only métisse [mixed race woman] of this group, is more concerned with the paradoxes that result from classifying people by skin colour and with questions of identity in Europe. She is also more amusing.

Bessora’s life, places of abode and education have been international. Her father is a Gabonese diplomat. Her mother is Swiss, of German and Polish origin, the daughter of a pastry chef. Her father had four children by his first wife, as well as two children, Bessora and a brother, by his second. As a child she lived in Switzerland, France, Austria and Washington, D.C. during her father’s career as a diplomat, as well as in Gabon. She studied business management and applied economics at a prestigious HEC—Hautes Etudes Commerciales—in Switzerland. Later, when she came to France, she studied anthropology and wrote a doctoral thesis on the myths and legends of the oil business in Gabon. This…

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The passing of Charles Chesnutt: Mining the white tradition

Posted in Articles, Literary/Artistic Criticism, Media Archive, Passing, United States on 2011-12-18 02:30Z by Steven

The passing of Charles Chesnutt: Mining the white tradition

Wasafiri
Volume 13, Issue 27
pages 5-10
DOI 10.1080/02690059808589583

Sarah Meer, Lecturer of English
Univeristy of Cambridge

In May 1880, the young Charles Chesnutt confided to his diary his ambition to write a book. Its object would be ‘not so much the elevation of the colored people’—the concern of most late nineteenth century reformers, both white and black—‘as the elevation of the whites,’; for he considered it was ‘the unjust spirit of caste’, rather than the moral or economic or educational conditions of blacks which lay behind racial inequities in America. Chesnutt’s focus on white Americans as the problem would be accompanied by a particular methodology. He did not propose ‘a fierce indiscriminate onslaught; not an appeal to force, … (for) the subtle almost indefinable feeling of repulsion toward the negro, which is common to most Americans …, cannot be taken by assault’. Instead, ‘their [garrison) must be mined, and we will find ourselves in their midst before they think it’. This metaphor, of the secret operation which carries the writer silently into the enemy’s camp, is a peculiarly apt one for Chesnutt’s writing. His first book would not be published until 1899 but the two collections of stories which came out that year, The Conjure Woman and The Wife of His Youth, were both as subtle and as determined to make his point as the image suggests. In those books too, and in a subsequent novel, The Marrow of Tradition, Chesnutt would often appear to be taking his stand on enemy ground and revisiting fictions which were themselves part of the problem. Chesnutt not only took white authors as his models but seemed at times to seek out genres particularly associated with that ‘feeling of repulsion toward the negro’ which he believed so prevalent.

In a sense Chesnutt’s literary tactics reflected his own anomalous position in a society obsessive about racial boundaries. The son of free North Carolina blacks, Chesnutt was probably also the grandson, on both sides, of white men. His appearance was pale enough to ‘pass‘ for white, though it was an option he rejected. Physically ‘white’ to the eyes of the unacquainted, culturally ‘white’ in his education and tastes, Chesnutt was nonetheless black historically; in the place he inherited in America’s rigidly stratified society. Chesnutt’s writing addressed his country’s racial inequality and its slave-owning history but formally it continued to resemble the ‘white’ tradition of writing on the subject…

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Stories and survival’: An Interview with Jackie Kay

Posted in Articles, Literary/Artistic Criticism, Media Archive, United Kingdom, Women on 2011-10-06 00:39Z by Steven

Stories and survival’: An Interview with Jackie Kay

Wasafiri
Volume 25, Issue 4, 2010
pages 19-22
DOI: 10.1080/02690055.2010.510366

Maggie Gee

Jackie Kay has had a glittering career as a writer of poetry, fiction and drama for both adults and children. She was born in Edinburgh, Scotland in 1961 to a Scottish mother and a Nigerian father. She was adopted by a white couple at birth and was brought up in Glasgow. Her first collection of poetry, The Adoption Papers (1991), explored the experience of adoption and won a Scottish Arts Council Book Award and the Saltire Society Scottish First Book of the Year Award. Subsequent poetry books include Other Lovers (1993), Off Colour (1998), Life Mask (2005) and Darling (2007). Her bold and original short stories are collected as Why Don’t You Stop Talking (2002) and Wish I Was Here (2006). Her work has been widely anthologised and she has written drama for stage, radio and television. Her first novel, Trumpet, published in 1998, was awarded the Guardian Fiction Prize. Jackie Kay lives in Manchester and is a Professor of Creative Writing at Newcastle University. In 2006, she was awarded an MBE for services to literature. Jackie Kay’s memoir, Red Dust Road: An Autobiographical Journey, which she discusses in the following interview, was published in May of this year.

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Editorial: The Illusion of Inclusion

Posted in Articles, Barack Obama, Literary/Artistic Criticism, Media Archive, Social Science, United Kingdom on 2011-10-04 05:10Z by Steven

Editorial: The Illusion of Inclusion

Wasafiri
Volume 25, Issue 4 (2010)
pages 1-6
DOI: 10.1080/02690055.2010.510357

This special issue of Wasafiri – ‘Black Britain: Beyond Definition’ – focuses on writers who are of black and mixed heritage. Labelling us in this way can, of course, be problematic. The badge ‘black writer’ or ‘Black British writer’ or ‘postcolonial writer’ isn’t one many of us deliberately choose to wear. It has a homogenising, ghettoising effect. Why should the profession to which we belong always be qualified in this way? Martin Amis and Ian McKewan only ever get labelled ‘white male writers’ to draw attention to their role in the status quo. Most of the time they are simply ‘writers’ or ‘British writers’.

The label may be frustrating, but in this context it provides us with a convenient shorthand for assessing a literature sector to which we have always had limited access. Grouping everyone together in this way allows us to explore some important questions: What is Britain like for black people today, both in terms of the wider society and the literature sector? Who is writing what? Who is getting published? Who isn’t?

The answers we get reveal that the society we inhabit in 2010 is still far from egalitarian although, compared with some of our European neighbours, we do now enjoy a degree of integration that is positive and progressive. That said, at an organisational level, there is a subtle, often unconscious or unthinking discrimination that is deeply pernicious and alienating for those who are excluded by it. And this needs once again to become the focus of national debate.

…The Obama Effect

Ever since Barack Obama became US President, a noticeable shift has been taking place in the British media’s conversations about race. The ceiling, some decided, really is made of glass and not the reinforced concrete they’d previously assumed. The term ‘post-racial’ has started to be bandied around as if his singular success meant the sudden emergence of a meritocratic society here in the UK.

There is now a sense that those who still dare to mention the R-word are just pesky killjoys. Fingers point towards Obama or any number of black figureheads in this country. In the same way that feminism became a dirty word in the nineties with women declaring ‘I’m not a feminist but … ’, likewise with racism. It’s just not that cool any more to point it out…

…In today’s UK, 48% of Black Caribbean men and 34% of Black Caribbean women have white partners, and one in ten children lives in a mixed-race family (Platt 6). This suggests the triumph of love over loathing, integration over separation, connection over tribalism. Inter-racial couples are not pelted with pebbles by Outraged of Suburbia when they go for their Sunday passeggiata through the local park. Cute black babies are very on trend; so fashionable, in fact, that famous people travel many thousands of miles to adopt them. And we all know that, for a long time now, the pampered princes of our national sport, once a bastion of racism, are as black as they are white.

While there are many such pointers to a more inclusive society, the racial hierarchies and infrastructure still exist. We may have detected some subsidence in that creepy Victorian house, built on the proceeds of empire and overlooking the graveyard of slavery, but the wrecking ball ain’t smashed it down to the ground yet…

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The politics of everyday hybridity: Zadie Smith’s White Teeth

Posted in Articles, Book/Video Reviews, Media Archive on 2010-02-14 01:14Z by Steven

The politics of everyday hybridity: Zadie Smith’s White Teeth

Wasafiri: The Magazine Of International Contemporary Writing
Volume 18, Issue 39
Summer 2003
pages 11-17
DOI: 10.1080/02690050308589837

Laura Moss, Associate Professor of English
University of British Columbia

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