Mixed Race Studies

Blackberries and Redbones: Critical Articulations of Black Hair/ Body Politics in Africana Communities

Hampton Press
July 2010
484 pages
Paper ISBN: 978-1-57273-881-2
Cloth ISBN: 978-1-57273-880-5

Edited by

Regina E. Spellers, President and CEO
Eagles Soar Consulting, LLC

Kimberly R. Moffitt, Assistant Professor of American Studies
University of Maryland, Baltimore County

This book features engaging scholarly essays, poems and creative writings that all examine the meanings of the Black anatomy in our changing global world. The body, including its hair, is said to be read like a text where readers draw center interpretations based on signs, symbols, and culture. Each chapter in the volume interrogates that notion by addressing the question, “As a text, how are Black bodies and Black hair read and understood in life, art, popular culture, mass media, or cross-cultural interactions?” Utilizing a critical perspective, each contributor articulates how relationships between physical appearance, genetic structure, and political ideologies impact the creativity, expression, and everyday lived experiences of Blackness. In this interdisciplinary volume, discussions are made more complex and move beyond the “straight versus kinky hair” and “light skin versus dark skin” paradigm. Instead efforts are made to emphasize the material consequences associated with the ways in which the Black body is read and (mis)understood. The aptness of this work lies in its ability to provide a meaningful and creative space to analyze body politics—highlighting the complexities surrounding these issues within, between, and outside Africana communities. The book provides a unique opportunity to both celebrate and scrutinize the presentation of Blackness in everyday life, while also encouraging readers to forge ahead with a deeper understanding of these ever-important issues.

Table of Contents

• Foreword, Haki R. Madhubuti
• Introduction, Regina E. Spellers and Kimberly R. Moffitt
• SECTION ONE: Hair/Body Politics as Expression of the Life Cycle
  • The Big Girl’s Chair: A Rhetorical Analysis of How Motions for Kids Markets Relaxers to African American Girls, Shauntae Brown White
  • Pretty Color ’n Good Hair: Creole Women of New Orleans and the Politics of Identity, Yaba Amgborale Blay
  • Invisible Dread: From Twisted: The Dreadlocks Chronicles, Bert Ashe
  • Social Constructions of a Black Woman’s Hair: Critical Reflections of a Graying Sistah, Brenda J. Allen
  • What it Feels Like for a (Black Gay HIV+) Boy, Chris Bell
• SECTION TWO: Hair/Body as Power
  • Dominican Dance Floor, Kiini Ibura Salaam
  • Covering Up Fat Upper Arms, Mary L. O’Neal
  • Cimmarronas, Ciguapas, and Senoras: Hair, Beauty, and National Identity in the Dominican Republic, Ana-Maurine Lara
  • Of Wigs and Weaves, Locks and Fades: A Personal Political Hair Story, Neal A. Lester
  • “Scatter the Pigeons”: Baldness and the Performance of Hyper-Black Masculinity, E. Patrick Johnson
• SECTION THREE: Hair/Body in Art and Popular Culture
  • From Air Jordan to Jumpman: The Black Male Body as Commodity, Ingrid Banks
  • Cool Pose on Wheels: An Exploration of the Disabled Black Male in Film, Kimberly R. Moffitt
  • Decoding the Meaning of Tattoos: Cluster Criticism and the Case of Tupac Shakur’s Body Art, Carlos D. Morrison, Josette R. Hutton, and Ulysses Williams, Jr.
  • Blacks in White Marble: Interracial Female Subjects in Mid-Nineteenth-Century Neoclassicism, Charmaine Nelson
  • Changing Hair/Changing Race: Black Authenticity, Colorblindness, and Hairy Post-ethnic Costumes in “Mixing Nia”, Ralina L. Joseph
  • “I’m Real” (Black) When I Wanna Be: Examining J. Lo’s Racial ASSets, Sika Alaine Dagbovie and Zine Magubane
• SECTION FOUR: Celebrations, Innovations, and Applications of Hair/Body Politics
  • Diaspora in My Hair: A Poetic Narrative of My Experience in Europe, Nadège Tanite Clitandre
  • Broken Mirrors and Reflections of One’s Self: Blackness, Indianness, and Hybridity, Hershini Bhana Young
  • Sun Kissed or Sun Cursed?: Exploring Color Consciousness and Black Women’s Tanning Experiences, Regina E. Spellers
  • African Men in the United States: Stories of Race, Gender, Sexuality, and Power, Hameed S. (Herukhuti) Williams
  • Weaving Messages of Self-Esteem: Empowering Mothers and Daughters through Hair Braiding, Tracey Y. Lewis-Elligan
• SECTION FIVE: Contradictions, Complications, and Complexities of Hair/Body Politics
  • Divas to the Dance Floor Please!: A Neo-Black Feminist Readin(g) of Cool Pose, D. Nebi Hilliard
  • Coming Out Natural: Dreaded Desire, Sex Roles, and Cornrows, L. H. Stallings
  • “I am More than a Victim”: The Slave Woman Stereotype in Antebellum Narratives by Black Men, Ellesia A. Blaque
  • Two Warring Ideals, One Dark Body: Hegemony, Duality, and Temporality of the Black Body in African-American Religion, Stephen C. Finley
  • The Snake that Bit Medusa: One (Phenotypically) White Woman’s Dreads, Kabira Z. Cadogan
• Author Index
• Subject Index

Fort Red Border

Sarabande Books
Publication Date: 2009-08-01
88 pages
trim: 9 x 6
ISBN 13 (paper): 978-1-932511-74-1

Kiki Petrosino

Kiki Petrosino has audacity to spare. She devotes the entire first section of her debut collection of poems to a putative affair the speaker is conducting with an imaginary Robert Redford. In the poems, Redford is solicitous of the speaker, as well as curious about her “difference,” probing her about the various meanings of “natural” when applied to her African-American hair. The poems’ hilarity and poignancy issue from the speaker’s distance from, and yearning toward, the center of mainstream culture. Redford serves as ideal partner, the embodiment of American masculinity––but there is also an odd tenderness and actuality to the relationship. In these poems Petrosino is fearless, proceeding from the recognizable terrain of daily life’s emotions rather than seeking refuge in the cool of mere obscurity. Petrosino’s poems scout a new path, one that discovers a believably fierce, vivid, feeling self.

YOU HAVE MADE A CAREER OF NOT LISTENING

God has spider skin and lives in secret trees. I have stood beside you, saying this, as you reach into the cupboard for another stack of dry noodles. You eat them with the dead still on, with the sticky deadness still on, because you always throw out the foil package of seasoning. So the noodle brick just loosens, slowly, in a flat brine of city water, just squats and spreads in the center of the frying pan like a washed-up boxer or a stranger’s face disappearing into morphine. After the fight the boxer wraps a towel around his hips and walks into his manager’s office. Some boys wipe fifty bucks’ worth of sweat from the ring, then head to the all-night diner smelling like stacks of thumbs. Meanwhile, dollars bills are blooming in the stranger’s lonely raincoat pocket. It is 5:00 a.m. There are places you will never go with me, no matter how many times you ask, or how hard you eat.

Black Through a Distortion Pedal

San Fransisco Bay Press
2010-01-01

Eric Wilkinson

Black Through a Distortion Pedal is a poetry compilation about indulgence in and resistance to a racialized world from the perspective of a white youth who found his voice in hip-hop.

Wilkinson explores the genesis of multiple selves in an era of increasingly fluid and unstable identity, concerned not so much with issues of art’s authenticity, as with how words and music heal, break down boundaries and re-imagine the world in terms of summer nights spent freestyle rapping, philosophizing, and reveling in strange experiences of love, loss, and becoming. Wilkinson offers stories of personal intimacy and everyday resistance in the context of reconnecting with people that history has alienated him from.

He draws inspiration from black and white artists, musicians, and critical social theorists as he confronts the race divide in his personal life and the corporate divide that acts to homogenize the world and silence voices of dissent. Wilkinson’s poetry sees resistance in all walks of life, from eating WTO banned Roquefort cheese, to inter-racial dating, to writing hip-hop songs that resist the trappings of mainstream music.

Half-Caste and Other Poems

Hodder Literature
2005-09-15
Paperback: 80 pages
19.4 x 12.2 x 0.8 cm
ISBN-10: 0340893893
ISBN-13: 978-0340893890

John Agard

‘Half-Caste’, the title poem of this collection, is one of the set poems for GCSE English for AQA A, the largest spec with 375,000 candidates. But its influence and presence extends well beyond the ‘AQA’ schools, making John Agard one of the most popular, well-known and respected poet-performers on the schools circuit.

Through his 45 poems, John Agard explores a wide variety of themes: racial harmony, tension and diversity; war and religion; society, patriotism and politics; as well as more personal ideas on relationships, love and attraction. This is all delivered with a range and depth in terms of content, language, poetic form and technique that will engage and motivate KS3 and KS4 pupils while developing their understanding. An ideal collection to sit at the heart of a scheme of work on cross-cultural themes.

Table of Contents

And All Was Good
My Move Your Move
Union Jack and Union Jill
Half-caste [Read here.]
Rainbow
Tongue
A Word
Message From Your Mobile
Right-On Mr Left
Smoke-loving Girl Blues
Angels For Neighbours
Flag
A Vampire’s Priorities
A Hello From Cello
The Hurt Boy and The Birds
Boomerang
That Mouth
Behold My Pen
Punctuating The Silence
Poetry Jump-Up
Follow That Steel Pan
Coal’s Son and Diamond’s Daughter
A Date With Spring
volte For Your Local Shadow
Twins
Quest
Clouds
The Ozone Liar
Cowtalk
Who’ll Sve Dying Man?
For the Record
One Question From A Bullet
A Hand On A Forehead
Not Arms
Checking Out Me History
Toussaint L’Overture Acknowledges Wordsworth’s Sonnet ‘To Toussaint L’Overture’
Windrush Child
Crybaby Prime Minister
Skin
A Social Skeleton
The Giant With A Taste For Mongrel Blood
Behind The Menu
Salt
Coal
Marriage of Opposites
Notes

John Agard live with Keith Waithe from Neil Astley on Vimeo.

Darling: New & Selected Poems

Bloodaxe Books
2007
224 pages
Paperback ISBN: 1 85224 777 0

Jackie Kay, Professor of Creative Writing
Newcastle University 

Humour, gender, sexuality, sensuality, identity, racism, cultural difference: when do any of these things ever come together to equal poetry? When Jackie Kay’s part of the equation. Darling brings together into a vibrant new book many favourite poems from her four Bloodaxe collections, The Adoption Papers, Other Lovers, Off Colour and Life Mask, as well as featuring new work, some previously uncollected poems, and some lively poetry for younger readers.

Kay’s poems draw on her own life and the lives of others to make a tapestry of voice and communal understanding. The title of her acclaimed short story collection, Why Don’t You Stop Talking, could be a comment on her own poems, their urgency of voice and their recognition of the urgency in all voice, particularly the need to be heard, to have voice. And what voice – the voices of the everyday, the voices of jazz, the voices of this many-voiced United Kingdom.

Jackie Kay reads from Darling

Jackie Kay reads three poems, ‘In My Country’, ‘Somebody Else’ and ‘Darling’, from Darling: New & Selected Poems (Bloodaxe Books, 2007). This film is from the DVD-book In Person: 30 Poets filmed by Pamela Robertson-Pearce, edited by Neil Astley, which includes eight poems from Darling read by Jackie Kay.  Jackie Kay was an adopted child of Scottish/Nigerian descent brought up by Scottish parents. With humour and emotional directness, her poetry explores gender, sexuality, identity, racism and cultural difference as well as love and music. Her poems draw on her own life and the lives of others to make a tapestry of voice and communal understanding. We filmed her at her home in Manchester in 2007.

A short biography of Jackie Kay written by Elizabeth Shostak can be read here.  An excerpt is below.

Unconventional Upbringing
Kay’s fascination with themes of identity can be traced to an upbringing that set her apart, in many ways, from the majority culture in her native Scotland. Born in Edinburgh to a Scottish mother and a Nigerian father, she was adopted by a white family and raised in Glasgow, where she often accompanied her communist parents to antiapartheid demonstrations and peace rallies. Life wasn’t easy for a biracial child in mostly–white Glasgow. “I still have Scottish people asking me where I’m from,” she told Guardian writer Libby Brooks. “They won’t actually hear my voice, because they’re too busy seeing my face.”…

Early Works Explored Identity
When Kay was twelve, she wrote One Person, Two Names, an eighty–page story about an African–American girl who pretended to be white. The question of how we define ourselves, and why, has intrigued Kay in all her subsequent work…

¹Shostak, Elizabeth. “Kay, Jackie 1961–.” Contemporary Black Biography. 2003. Encyclopedia.com. (May 2, 2010). http://www.encyclopedia.com/doc/1G2-2873900038.html

Earthquake Weather

University of Arizona Press
1996
87 pages
5.5 x 8.5
Paper ISBN: 978-0-8165-1630-8

Janice Gould

It’s unmistakable, that strangely calm air and sky that signals big change ahead: earthquake weather. These are familiar signs to Janice Gould, a poet, a lesbian, and a mixed-blood California Indian of Koyangk’auwi Maidu descent. Her sense of isolation is intense, her search for identity is relentless, and her words can take one’s breath away. Sometimes accepting, sometimes full of anger, Gould’s work is rare, filtered through the feelings, thoughts, and experiences of a lesbian of Indian heritage. Over and over again, she speaks as an outsider looking in at the lives of others–through a doorway, out of a car window, or from the shambles of a broken relationship. Showing a steady courage in the midst of this alienation, her words are also stark testimony to the struggle of an individual caught in social and emotional contexts defined by others. In Earthquake Weather, as in an evolving friendship, Gould opens herself to the reader in stages. “I did not know how lonely I was / till we began to talk,” she writes in an opening section, setting the introspective tone of what’s to come. She begins with a focus on those universal truths that both bind us and isolate us from each other: the pain of loss, the finality of death, our longing to see beneath the surface of things. Next, the poet turns to her growing-up years during the Vietnam War and the civil rights movement. She describes a family in turmoil and an Indian heritage that, oddly, was one of the factors that made her feel most disconnected from other people. And she writes poignantly about her increasing alienation from prescribed sexual roles. “What’s wrong with me? / Where do I belong? Why / am I here? Why can’t I / hold on?” Finally, as in a trusting friendship, Gould offers the reader vivid word portraits of relationships in her life–women she has loved and who have loved her. Erotic and deeply personal, these poems serve as both a reconciliation and affirmation of her individuality. “Yet would you deny / that between women desire exists / that in our friendship a delicate / and erotic strand of fire unites us?” The poems in this book, says critic Toby Langen, are most powerful for their “courageous drawing on experience and feelings.” They will speak to many general readers as well as anyone interested in questions of gender and identity, including students of literature, lesbian/women’s studies, social/cultural studies, or American Indian studies.

Itch Like Crazy

University of Arizona Press
2002
121 pages
6.0 x 9.0
Paper ISBN: 978-0-8165-2177-7

Wendy Rose

Among Native American writers of mixed-blood heritage, few have expressed their concerns with personal identity with as much passion as Wendy Rose. A mainstay among American Indian poets whose work addresses these issues, she is a writer with whom readers of diverse ethnic backgrounds have consistently identified. In her latest work, Rose returns to these major motifs while exploring a new dimension: using poetry as a tool to delve into the buried secrets of family history—and all of American history as well. Confronting questions of personal history that itch like crazy—the irritations that drive human existence—she acknowledges and pays tribute to her Indian and European ancestors without hiding her anger with American society. Rose’s poems are strong political and social statements that have a distinctly narrative flavor. Here are Europeans who first set foot on America’s shores while Taíno Indians greeted them as if they were visiting neighbors; Hopi and Miwok “Clan Mothers, grand-daughters, all those the missionaries erased”; and European forebears who as settlers pushed their way relentlessly west. Through her vivid imagery, she speaks to and for these ancestors with a sense of loss and an itching caused by the biases provoked by ethnic chauvinism. Itch Like Crazy is a finely crafted literary work that is also a manifesto addressing contacts and conflicts in the history of Indian-white relations. By presenting another view of U.S. history and its impact on the Native Americans who are her ancestors, it offers a new appreciation of the issue of “tribal identity” that too often faces Native peoples of the Americas—and is too often misunderstood by Euro-American society.

Read an excerpt here.

Cue Lazarus

University of Arizona Press
2001
76 pages
6.0 x 9.0
Paper ISBN: 978-0-8165-2074-9

Carl Marcum

A ‘77 Pinto. Two boys “a few months from their driver’s license.” And in the back seat, a ghost of the present observing this scene refracted by memory.  In this collection of poetry by Carl Marcum, a young man traces his rise to consciousness, his coming of age in the Southwest as a medio, an individual of mixed race. Displaying his Hispanic heritage as fact, emblem, and music in his poems, Marcum balances hip humor with larger themes of loss and reinvention to paint a work of seriousness and imagination, wrestling sense from the giddy rush of experience. The lead poem, “Cue Lazarus,” conveys the sense of loss that permeates the collection, revisiting time the author spent with a friend he now knows will die. It sets the tone for the explorations to follow as the poet haunts his past: death, traumatic experience, the uneasiness that comes from being unable to forestall tragedy, all combine to create a sense of paradox, that he who endures becomes a ghost compelled to haunt his own life. As poetry becomes a subtle game of language, experience is refigured as an array of possibilities; Marcum finds meaning and epiphany through close observation as he revels in images of constant motion and sustained search. Here is a suite in celebration of Chevys (“That Camaro ran nearly on machismo alone”) and a prayer for breakfast (“I’d like to renounce the salt and pepper shakers / of this life. But the eggs are here / twelve lines into this poem / and getting cold”). He dreams of himself as Pancho Villa, “my poetry at the end of a pistol,” and invokes the spirits of poets past, “beggars on the media of Limbo, holding shabby signs: WILL WORK FOR TRUTH.” Ultimately, Cue Lazarus is about resurrection—of the spirit, of a life, of an identity. It marks the emergence of a vital new voice that, in baring his soul, reveals lessons as old as time.

Read an excerpt here.

Native Guard: Poems

Mariner Books an Imprint of Houghton Mifflin Harcourt
ISBN-13/EAN: 9780618872657
ISBN-10: 0618872655
Trade Paperback
64 pages
Publication Date: 2007-04-03
Trim Size: 5.50 x 8.25

Natasha Trethewey, Professor of English and Phillis Wheatley Distinguished Chair in Poetry
Emory University

Through elegiac verse that honors her mother and tells of her own fraught childhood, Natasha Trethewey confronts the racial legacy of her native Deep South — where one of the first black regiments, the Louisiana Native Guards, was called into service during the Civil War. Trethewey’s resonant and beguiling collection is a haunting conversation between personal experience and national history.

Excerpt:

Miscegenation

In 1965 my parents broke two laws of Mississippi;
they went to Ohio to marry, returned to Mississippi.

They crossed the river into Cincinnati, a city whose name
begins with a sound like sin, the sound of wrong – mis in Mississippi.

A year later they moved to Canada, followed a route the same
as slaves, the train slicing the white glaze of winter, leaving Mississippi.

Faulkner’s Joe Christmas was born in winter, like Jesus, given his name
for the day he was left at the orphanage, his race unknown in Mississippi.

My father was reading War and Peace when he gave me my name.
I was born near Easter, 1966, in Mississippi.

When I turned 33 my father said, It’s your Jesus year – you’re the same
age he was when he died. It was spring, the hills green in Mississippi.

I know more than Joe Christmas did. Natasha is a Russian name -
though I’m not; it means Christmas child, even in Mississippi.

Salt-sweat & Tears

Cinnamon Press
Paperback
80 pages
2007-03-01
ISBN-10: 1905614187
ISBN-13: 978-1905614189
21 x 14 x 0.8 cm

Louisa Adjoa Parker

Of Ghanaian-British descent Louisa Adjoa Parker explores issues of identity, belonging, family and relationships in raw, honest, but crafted pieces.

Mulatto Girl

See the mulatto girl walking
down country lanes and fields, her
head held high, her skin the colour
of caramel boiling on the stove.  See her smile
in the knowledge she is not the first
to walk this green and pleasant
countryside, she has history stirring within her limbs
she has Africa’s heat and England’s cold rain
pumping through her blood, her
DNA a beautiful mix of gene pools
scattered across continents.  She is strong.
She show Africa in a way the English hide.
She shows an eighteenth century master’s love for slaves.
She shows a slave’s contempt.
She shows twentieth century people brave enough
to cross a line made of different tones of skin,
to love in spite of hate.

See the mulatto girl walking
down country lanes and fields, her head
held high, her quadroon baby girls
held on her hips, her hair thick and frizzed, lips
half full, there are no
white men dressing her in robes and jewels,
but see her smile, see her sway, as she walks
with her head held high.

Read more excerpts here.

The poems bounce off the page like diamonds – hard, bright and lethal. Louisa Adjoa Parker writes like a fire blazes…- I envy her! …brutal and cool; sparks fly. Her world explodes in your face. She insists you listen. Her language is spot-on. She writes like a dream, but a dream that will not let you go; that’s ruthless and painful and crystal clear: … She shares her pain with a lightness of touch that makes it all the more heart-breaking.
Selima Hill

The poetry here takes me backwards to a childhood full of stress, then forwards to the glorious abandonment of oneself to beauty, countryside and nature writ large – its the beauty of the West Country – the light, the space that puts all those ugly people in their place. Sometimes it’s like listening to a sister who understands our West Country world in the round. I’m jealous!
Joanna Traynor

Salt-sweat & Tears is an extraordinary collection. These searingly honest autobiographical poems both confront and celebrate the realities of multi-ethnic family life in Britain today.
Steve Martin