I identify in a category not formalized or accepted in colonial census charts or western ways of understanding the other, as a black South Asian. I am an Indian who lays claim to the global community of black consciousness, and I reside between so many worlds of belonging and unbelonging.

Posted in Excerpts/Quotes on 2018-05-20 01:33Z by Steven

I identify in a category not formalized or accepted in colonial census charts or western ways of understanding the other, as a black South Asian. I am an Indian who lays claim to the global community of black consciousness, and I reside between so many worlds of belonging and unbelonging. In racializing colorism and politicizing my own experience of antipathy witnessed toward the color of my skin, I crafted my own passport into marooned and shapeshifting black communities that gave credence to ontologies and a posteriori narratives over normative constructions of race, ethnicities, and nationalities.

Shreerekha, “In the Wake of His Damage,” The Rumpus, May 12, 2018. http://therumpus.net/2018/05/in-the-wake-of-his-damage/.

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Mixed Korean: Our Stories

Posted in Anthologies, Asian Diaspora, Books on 2018-05-20 01:26Z by Steven

Mixed Korean: Our Stories

Truepeny Publishing Company
2018
ISBN: 978-0-692-06959-2

Edited by: Cerrissa Kim, Katherine Kim, Soon Kim-Russell, and Mary-Kim Arnold

From the struggles of the Korean War, to the modern dilemmas faced by those who are mixed race, comes an assortment of stories that capture the essence of what it is to be a mixed Korean. With common themes of exclusion, and recollections of not looking Korean enough, black enough, white enough, or “other” enough, this powerful collection features works by award-winning authors Alexander Chee, Michael Croley, Heinz Insu Fenkl, alongside pieces composed by prominent writers, poets and scholars. Interwoven between known literary names, are the voices of newcomers with poignant memories that have never been captured before. Collectively, these stories will resonate with anyone who has ever stood on the outside of a group, longing for inclusion. They are a testament to the courage, strength and resilience of mixed people everywhere.

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Dream of the Water Children: Memory and Mourning in the Black Pacific

Posted in Asian Diaspora, Biography, Books, Forthcoming Media, Monographs on 2018-05-20 01:02Z by Steven

Dream of the Water Children: Memory and Mourning in the Black Pacific

2Leaf Press
2018-06-08
470 pages
Paperback ISBN-13: 978-1-940939-28-5
ePub ISBN-13: 978-1-940939-29-2

Fredrick D. Kakinami Cloyd

Introduction by Gerald Horne
Foreword by Velina Hasu Houston
Edited by Karen Chau

Fredrick D. Kakinami Cloyd’s debut, Dream of the Water Children: Memory and Mourning in the Black Pacific, is a lyrical and compelling memoir about a son of an African American father and a Japanese mother who has spent a lifetime being looked upon with curiosity and suspicion by both sides of his ancestry and the rest of society. Cloyd begins his story in present-day San Francisco, reflecting back on a war-torn identity from Japan, U.S. military bases, and migration to the United States, uncovering links to hidden histories.

Dream of the Water Children tells two main stories: Cloyd’s mother and his own. It was not until the author began writing his memoir that his mother finally addressed her experiences with racism and sexism in Occupied Japan. This helped Cloyd make better sense of, and reckon with, his dislocated inheritances. Tautly written in spare, clear poetic prose, Dream of the Water Children delivers a compelling and surprising account of racial and gender interactions. It tackles larger social histories, helping to dispel some of the great narrative myths of race and culture embedded in various identities of the Pacific and its diaspora.

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The Chat With Chelene Knight

Posted in Articles, Autobiography, Canada, Interviews, Media Archive on 2018-05-20 00:59Z by Steven

The Chat With Chelene Knight

49th Shelf
2018-05-09

Trevor Corkum

dearcurrentoccupant

Chelene Knight’s debut memoir Dear Current Occupant (Bookt*ug) takes a closer look at childhood trauma and the uncertain idea of home. It’s a haunting, experimental, and deeply moving book which follows the author as she returns to many of the apartments she lived in as a young girl.

The Toronto Star calls Knight “one of the storytellers we need most right now” and calls the writing in Dear Current Occupant “lush, lyrical…mesmerizing.”

Chelene Knight was born in Vancouver, and is currently the Managing Editor of Room Magazine. A graduate of The Writers’ Studio at SFU, Chelene has been published in various Canadian and American literary magazines. Her debut book, Braided Skin, was published in 2015. Dear Current Occupant is her second book. Chelene is also working on a historical novel set in the 1930s and 40s in Vancouver’s Hogan’s Alley.

Trevor Corkum: Can you tell us more about the inspiration behind Dear Current Occupant?

Chelene Knight: While I was writing my first book, Braided Skin (Mother Tongue Publishing 2015), I felt that there was an unfinished thread. Something wasn’t complete. I actually started working on Dear Current Occupant in 2013, but quickly tucked it away because the realization that I was not ready to re-experience everything was quite apparent. I was not ready to write these stories.
When it comes to childhood and trauma, there’s a certain amount of healing that needs to occur, you have to distance yourself a bit, step back from the table. Every day on my way to work I’d pass ride the Sky Train and just before the train pulled into Broadway Station, I’d get this twinge as I passed one of the buildings I used to live in as a young girl. Then I’d pass another, and another, and another and the same twinges poked and prodded under my skin. Then I knew I was ready to start the work, to put the pieces together.

I stood out front of as many of the houses as I could remember and I just wrote. It was winter and I was cold. I didn’t have gloves on and the snow was coming down, but I couldn’t stop. Memories and fragments came back like lightening. There was something about being there in the space. Even though I was outside those walls I knew so well, I will still there, back in time. I had no idea the effect this book would have on people. I have received nothing but stories of change, emails, tweets, messages, and posts about how this book changed them.

And at the end of the day isn’t that what a book is supposed to do? Change the reader…

Read the entire interview here.

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“You say they’ll be cool with it, but seriously, Harry, you don’t know how white people can get about this stuff.”

Posted in Excerpts/Quotes on 2018-05-20 00:44Z by Steven

“You say they’ll be cool with it, but seriously, Harry, you don’t know how white people can get about this stuff. I really don’t want to show up to the royal goddamned wedding and suddenly the Queen, Prince Charles, and Camilla Little-Miss-Perfect Duchess of Cornwall are being all weird! I wonder what could make them act like that, huh? Oh, God—please say your brother Prince William at least knows.” —“Meghan Markle

Furious Meghan Markle Can’t Believe Harry Hasn’t Told Family She’s Black Yet,” The Onion, May 17, 2018. https://www.theonion.com/furious-meghan-markle-can-t-believe-harry-hasn-t-told-f-1826104835.

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Frederick Douglass: Prophet of Freedom

Posted in Biography, Books, Forthcoming Media, History, Monographs, Slavery, United States on 2018-05-20 00:37Z by Steven

Frederick Douglass: Prophet of Freedom

Simon & Schuster
2018-10-02
864 pages
Hardcover ISBN: 9781416590316

David W. Blight, Class of 1954 Professor of American History; Professor of African-American and American Studies; Director, Gilder Lehrman Center
Yale University

The definitive, dramatic biography of the most important African-American of the nineteenth century: Frederick Douglass, the escaped slave who became the greatest orator of his day and one of the leading abolitionists and writers of the era.

As a young man Frederick Douglass (1818-1895) escaped from slavery in Baltimore, Maryland. He was fortunate to have been taught to read by his slave owner mistress, and he would go on to become one of the major literary figures of his time. He wrote three versions of his autobiography over the course of his lifetime and published his own newspaper. His very existence gave the lie to slave owners: with dignity and great intelligence he bore witness to the brutality of slavery.

Initially mentored by William Lloyd Garrison, Douglass spoke widely, often to large crowds, using his own story to condemn slavery. He broke with Garrison to become a political abolitionist, a Republican, and eventually a Lincoln supporter. By the Civil War and during Reconstruction, Douglass became the most famed and widely travelled orator in the nation. He denounced the premature end of Reconstruction and the emerging Jim Crow era. In his unique and eloquent voice, written and spoken, Douglass was a fierce critic of the United States as well as a radical patriot. He sometimes argued politically with younger African-Americans, but he never forsook either the Republican party or the cause of black civil and political rights.

In this remarkable biography, David Blight has drawn on new information held in a private collection that few other historian have consulted, as well as recently discovered issues of Douglass’s newspapers. Blight tells the fascinating story of Douglass’s two marriages and his complex extended family. Douglass was not only an astonishing man of words, but a thinker steeped in Biblical story and theology. There has not been a major biography of Douglass in a quarter century. David Blight’s Frederick Douglass affords this important American the distinguished biography he deserves.

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Soma Text: Living, Writing, and Staging Racial Hybridity

Posted in Books, Canada, Forthcoming Media, Literary/Artistic Criticism, Monographs on 2018-05-20 00:36Z by Steven

Soma Text: Living, Writing, and Staging Racial Hybridity

Wilfrid Laurier University Press
June 2019
295 pages
ISBN13: 978-1-77112-240-5

Michelle La Flamme, Professor of English
University of the Fraser Valley, Abbotsford, British Columbia, Canada

Canada’s history is bicultural, Indigenous, and multilingual, and these characteristics have given risen to a number of strategies used by our writers to code racially mixed characters. This book examines contemporary Canadian literature and drama in order to tease out some of those strategies and the social and cultural factors that inform them.

Racially hybrid characters in literature have served a matrix of needs. They are used as shorthand for interracial desire, signifiers of taboo love, images of impurity, symbols of degeneration, and examples of beauty and genetic perfection. Their fates have been used to suggest the futility of marrying across racial lines, or the revelation of their “one drop” signals a climactic downfall. Other narratives suggest mixed-race bodies are foundational to colonization and signify contact between colonial and Indigenous bodies.

Author Michelle LaFlamme approaches racial hybridity with a cross-generic and cross-racial approach, unusual in the field of hybridity studies, by analyzing characters with different racial mixes in autobiographies, fiction, and drama. Her analysis privileges literary texts and the voices of artists rather than sociological explanations of the mixed-race experience. The book suggests that the hyper-visualization of mixed-race bodies in mono-racial contexts creates a scopophilic interest in how those bodies look and perform race.

La Flamme’s term “soma text” draws attention to the constructed, performative aspects of this form of embodiment. The writers she examines witness that living in a racially hybrid and ambiguous body is a complex engagement that involves reading and decoding the body in sophisticated ways, involving both the multiracial body and the racialized gaze of the onlooker.

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In the Wake of His Damage

Posted in Articles, Asian Diaspora, Autobiography, Media Archive, United States, Women on 2018-05-19 23:46Z by Steven

In the Wake of His Damage

The Rumpus
2018-05-12

Shreerekha
New York, New York


Rumpus original art by Aubrey Nolan

All the sleeping women
Are now awake and moving.
Yosano Akiko (1911)

For all women who already know this narrative;
For all women touched by the Great Writers, named, unnamed, and some listed as letters;
For all who commune in the trauma and healing promised herein;
For all who believe in the power of radical transgressive border-crossing love;
For my Happiness, and my son and my daughter, so that you may walk differently;
For the ex with whom love remains the last transgression —

The Autobiographical

The year after I started teaching in Texas, his novel came out. Ten years after the event of our relationship, ten tortured years where we continued to communicate, a sort of communication that involved him reaching out, letting me know I made all the wrong decisions in my life, and then, asking for forgiveness and another chance, I thought I should teach his novel in my classes. The novel itself was important, won the Pulitzer, and by teaching it enough times, I thought it would do the trick. The classroom is sacral: all that goes through it turns magical and I would emerge whole. I would finally be rid of my ghost-love and I could sanitize our past through the distance offered by teaching and making a monument of his work for my students. Somehow, that plan failed.

What I do is teach, write, and think on, most often, feminist texts and theories. Such a pedagogy has not just carried me through the classrooms over the decades, but become a mooring post in life. It offers me a vision and a strategy, a way to love radically, think fearlessly, and keep renewing, as I can, the bridges between projects of feminism and social justice. Gloria Anzaldua’s vision, a vision that has carried many a woman through a dark day, has been valuable in thinking through the rubble of this event in my life. In Borderlands, Anzaldua offers a prophetic amalgam that helps women identify the productive potential of the mestiza way, the middle spaces she calls the nepantla. For women of the many elsewheres, women who continually travel and cross borders, Anzaldua’s psychic restlessness gives a fist bump of legitimacy, an anchor in the cultural collisions many of us remain mired in. Rather than a counter stance, she speaks of developing a position that is inclusive, inaugurating for us the amasamiento, a creature of both light and darkness.

I identify in a category not formalized or accepted in colonial census charts or western ways of understanding the other, as a black South Asian. I am an Indian who lays claim to the global community of black consciousness, and I reside between so many worlds of belonging and unbelonging. In racializing colorism and politicizing my own experience of antipathy witnessed toward the color of my skin, I crafted my own passport into marooned and shapeshifting black communities that gave credence to ontologies and a posteriori narratives over normative constructions of race, ethnicities, and nationalities…

Read the entire article here.

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Meghan Markle Can’t Save the World

Posted in Articles, Media Archive, Social Justice, United Kingdom on 2018-05-19 23:26Z by Steven

Meghan Markle Can’t Save the World

Jacobin
December 2017

Branko Marcetic, Editorial Assistant
Auckland, New Zealand


Prince Harry and Meghan Markle during an official photo call to announce their engagement at The Sunken Gardens at Kensington Palace on November 27, 2017 in London, England. Chris Jackson / Getty Images

A just world would be one without royalty — and celebrity humanitarians.

The British royal family has had a banner decade. Intentionally or not, the latest generation’s charisma, combined with a steady stream of high-profile media events from the Queen’s diamond jubilee and the 2012 Olympics to William and Kate’s wedding and their first, second, and third kid, has made the royal family more popular than ever, partially suppressing the British public’s rising tide of republican feeling. Prince Harry’s recent engagement to Suits actress and activist Meghan Markle has reinforced this process, foreshadowing a literal marriage of Hollywood glitz and British royalty.

The public has almost universally gushed over Markle since her relationship with and now engagement to Prince Harry was revealed, and it’s not hard to see why. The fact that she’s not only a “commoner” but American — and a person of color at that — signifies the changing face of the British monarchy. But most profiles have zeroed in on Markle’s outspoken feminism, her criticism of the Trump administration, and her humanitarian work for the UN and the charity World Vision. Pundits have also expressed their disappointment that she will have to curb her activist streak upon marrying into the family…

Read the entire article here.

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Jesmyn Ward: ‘Black girls are silenced, misunderstood and underestimated’

Posted in Articles, Arts, Interviews, Media Archive, Mississippi, United States on 2018-05-19 22:54Z by Steven

Jesmyn Ward: ‘Black girls are silenced, misunderstood and underestimated’

The Guardian
2018-05-11

Lisa Allardice, Editor
Guardian Review

Jesmyn Ward: ‘I fought from the very beginning.’
Jesmyn Ward: ‘I fought from the very beginning.’ Photograph: Sarah Lee for the Guardian

The author of Sing, Unburied, Sing, had a tough childhood in Mississippi, survived Hurricane Katrina, and became the first woman to win two US national book awards for fiction

If Jesmyn Ward’s fiction tends towards the epic, that is maybe because her life has been marked by monumental events. “I fought from the very beginning”, she says. Born prematurely at just 26 weeks, she was badly attacked by her father’s pit bull as a small child, her younger brother was killed at 19, and, along with several generations of her family, she sheltered from Hurricane Katrina in a truck. Yet today she is the first woman to win the US national book award for fiction twice, hailed by a leading reviewer as “one of the most powerfully poetic writers in the country”. And on the morning we meet, it has just been announced that she has been shortlisted for the Women’s prize for fiction for her novel Sing, Unburied, Sing

Ward’s subject is what it means to be poor and black in America’s rural south, where “life is a hurricane”. Modern Mississippi, she says, “means addiction, ground-in generational poverty, living very closely with the legacy of slavery, of Jim Crow, of lynching and of intractable racism”. In her first novel, Where the Line Bleeds (2008), she felt she “protected” her characters from these brutal realities, because she knew and cared about them too much: “So I kept pulling my punches. And later I realised that was a mistake. Life doesn’t spare the kind of people who I write about, so I felt like it would be dishonest to spare my characters in that way.”…

Read the entire interview here.

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