The Role of Gender, Class, and Religion in Biracial Americans’ Racial Labeling Decisions

Posted in Articles, Economics, Identity Development/Psychology, Latino Studies, Media Archive, Religion, Social Science, United States, Women on 2016-01-28 19:10Z by Steven

The Role of Gender, Class, and Religion in Biracial Americans’ Racial Labeling Decisions

American Sociological Review
Volume 81, Number 1, February 2016
pages 57-84
DOI: 10.1177/0003122415623286

Lauren D. Davenport, Assistant Professor of Political Science
Stanford University

Racial attachments are understood to be socially constructed and endogenous to gender, socioeconomic, and religious identities. Yet we know surprisingly little about the effect of such identities on the particular racial labels that individuals self-select. In this article, I investigate how social identities shape the racial labels chosen by biracial individuals in the United States, a rapidly growing population who have multiple labeling options. Examining national surveys of more than 37,000 respondents of Latino-white, Asian-white, and black-white parentage, I disentangle how gender, socioeconomic status, and religious identity influence racial labeling decisions. Across biracial subgroups and net of all other influences, economic affluence and Jewish identity predict whiter self-identification, whereas belonging to a religion more commonly associated with racial minorities is associated with a minority identification. Gender, however, is the single best predictor of identification, with biracial women markedly more likely than biracial men to identify as multiracial. These findings help us better understand the contextual nature of racial identification and the processes via which social identities interact with racial meanings in the United States.

Read the entire article here or here.

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An Artist Stands Before Her Fun House Mirror

Posted in Articles, Arts, Media Archive, United States, Women on 2016-01-27 02:23Z by Steven

An Artist Stands Before Her Fun House Mirror

The New York Times
2016-01-06

Amanda Fortini


Genevieve Gaignard, “A Golden State of Mind” installation, 2015.
Credit: Eric Minh Swenson, via The Cabin LA and Diane Rosenstein

LOS ANGELES — On a recent Friday afternoon, Genevieve Gaignard, a photographer, collagist and installation artist, was sitting on her bed in the room she rents in the Echo Park neighborhood. For the last year, Ms. Gaignard, who takes self-portraits costumed as various alter egos she imagines, then builds fictional domestic spaces for them, has lived in this nondescript, book-filled and thoroughly carpeted apartment with a professional couple in their late 20s, their chatty lime-green parrot and three cats.

Ms. Gaignard, who is 34, with strawberry-blond hair and long, acrylic nails painted the matte pastel colors of Jordan almonds, had decorated her bedroom with charmingly girlish touches, like a white net canopy befitting a fairy-tale princess and a Felix the Cat clock with a pendulum tail. On every surface were snowdrifts of stuff: piles of clothing, toiletries, plastic sunglasses. On her desk, a bra and a half-eaten granola bar shared space with an assortment of wigs. “This is what happens; this is how involved I get in the artmaking,” she said, waving a manicured hand around at the clutter. “Everything else sort of falls apart.”

A 2014 graduate of Yale’s photography M.F.A. program, Ms. Gaignard does work that reclaims everyday items: hair curlers, curling irons, plastic party favors, costume jewelry, towels. These she finds at thrift shops, dollar and beauty supply stores, or via her mother, who, she says with affection, “is kind of a hoarder.” A forest of Vanillaroma air fresheners dangles from a pair of yellow knee-high boots. A collage made to resemble the faux-wood paneling of a suburban basement is appended with miniature knickknacks. “It’s not like, ‘Hmm, can I make something out of nothing?’” Ms. Gaignard said. “It’s literally like, ‘What do I have access to?’”…

Her recent show, “Us Only,” at Shulamit Nazarian Gallery in the Venice neighborhood, featured a variety of pieces that blurred the lines between highbrow and vernacular, unraveling stereotypes of gender, race and class in the process. Her photos are often likened to those of Cindy Sherman, arguably our most famous costumed self-portraitist. But this comparison takes into account neither the animating impulses of her art — Ms. Gaignard is biracial, and her background forms an essential through line in her work — nor the decades of intervening culture since Ms. Sherman began taking pictures in the late 1970s. Third-wave feminism, online dating, even the ascent of the selfie: All are likely influences on a female artist photographing herself today. (Ms. Gaignard told me that Diane Arbus, not Ms. Sherman, was her seminal artistic inspiration, in part because she feels like “one of the people she photographed.”)…

Sarah Lewis, a professor of history of art and architecture and African and African-American studies at Harvard, said that Ms. Gaignard’s art explores “the often undiscussed subject of racial indeterminacy.” It is, Professor Lewis notes, a topic well covered by 20th-century writers — Jean Toomer, Nella Larsen, Danzy Senna — but by few contemporary visual artists. Ms. Gaignard’s approach is not narrative, didactic or overtly political; she wittily employs symbols a viewer understands on a visceral level, even as a more explicit meaning remains elusive.

“Her work avoids any easy answers about race or identity,” said Gregory Crewdson, the director of graduate studies in photography at Yale. “I don’t think it’s in any conventional sense a critique. It’s more ambiguous than that. And that’s part of its power.”…

Read the entire article and view the photographs here.

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A Romance of (Miscege)Nations: Ann Sophia Stephens’ Malaeska: The Indian Wife of the White Hunter (1839, 1860)

Posted in Articles, Literary/Artistic Criticism, Native Americans/First Nation, United States, Women on 2016-01-26 03:04Z by Steven

A Romance of (Miscege)Nations: Ann Sophia Stephens’ Malaeska: The Indian Wife of the White Hunter (1839, 1860)

Arizona Quarterly: A Journal of American Literature, Culture, and Theory
Volume 63, Number 1, Spring 2007
pages 1-25
DOI: 10.1353/arq.2007.0000

Yu-Fang Cho, Associate Professor of English; Associate Professor of Women’s, Gender, and Sexuality Studies
Miami University, Oxford, Ohio

First serialized in The Ladies’ Companion in 1839 and later reprinted in 1860, Ann Sophia Stephens’ Malaeska narrates the tragic interracial union of an Indian princess and a white hunter in northeastern United States during the colonial period. By rewriting the Pocahontas legend, Malaeska allegorizes the dispossession of Native Americans at two significant historical moments in U.S. nation building: the enforcement of the Removal Act throughout the 1830s and westward expansion in the 1850s after the U.S.-Mexican War. The first version of Malaeska was serialized in a women’s magazine tailored specifically for middle- and upper-class female readers, a site of production and reception often characterized as part of the “culture of sentiment.” The second version was the first of the Beadle and Adams’s dime novel series, which often made sensational appeals to audiences across class, gender, age, profession, and ethnicity. Simultaneously inhabiting cultural spaces defined in contemporary analytical terms as mutually exclusive, Malaeska unsettles binary constructions in the study of nineteenth-century U.S. literature and culture. This novel thereby enables an understanding of intersecting racial, gender, class, and cultural formations in relation to U.S. nation building.

Until recently, Malaeska has been dismissed as formulaic, superficial, conservative, and therefore unworthy of scholarly attention. In her important critical re-assessment of Stephens’ Indian tales, Paola Gemme offers an insightful overview of the relationship between the increasingly essentialist dominant racial ideologies from the 1830s to the 1860s and the growing pessimism in depictions of Native American “extinction” in Stephens’ stories. Building on the historical framework in Gemme’s overview (“Rewriting”), this essay examines the ways in which the representation of Indian-white miscegenation in Stephens’ Malaeska simultaneously engages racial ideologies, gender politics, and class formations in cross-fertilized cultural forms. By considering the differences between the 1839 version and the 1860 version, the two contexts of production and reception, and narrative elements beyond the plot, this essay suggests that Malaeska does not necessarily endorse the inevitability of Native American extinction. Rather, Malaeska mobilizes “the Indian question” to critique white supremacy and patriarchy simultaneously: it appeals to women’s shared predicaments as wives, daughters, and mothers to expose the violence of white dominance and its destructive impact on both Native Americans and whites. At the same time, this double critique is limited by its displacement of racial issues onto gender concerns as the text foregrounds women’s alliances across racial and class lines and defines womanhood in terms of the emerging white middle class. The contradiction between the dramatization of racial tensions and their ultimate displacement onto gender issues, this essay suggests, registers an articulation of normative, invisible middle-class white womanhood in the broader context of the emergence of (de)racialized women’s middle-class culture. The term “(de)racialized” highlights the ways in which normative “whiteness” operates as an invisible, “unraced,” universal construction against which all other “races” are defined and thereby racialized. The naturalization and (de)racialization of women’s middle-class culture, this essay suggests, relies on its claim to moral authority and its antithetical relationship to other cultural spheres, such as the heterogeneous cultural spaces where dime novels circulated.

The Elegy of the Vanishing American: Removal, Western Expansion, and the Consequences of the Failed Contract across Racial Lines

From the 1830s to the 1860s, conflicts between whites and Indians were a recurrent theme in cultural representations. As the enforcement of the 1830 Removal Act took place in the late 1830s, Indian tales and poems lamenting the predicament of the “vanishing American” appeared frequently in popular magazines. A generation later many Beadle and Adams dime novels also featured violent encounters between whites and Indians as the clash between white settlers and Indians continued to intensify after the removal era due to westward expansion after the U.S.-Mexican War. While the figuration of different racial others in relation to U.S. national identity varies in different periods, the Indian was particularly important in shaping the emergence of U.S. national identity, most notably perhaps in the republican era when the U.S. struggled to define itself and expanded its territory (Rogin 4). During this period, the Indian functioned as an important icon…

Read or purchase the article here.

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Nella Larsen Reconsidered: The Trouble with Desire in Quicksand and Passing

Posted in Articles, Literary/Artistic Criticism, Media Archive, United States, Women on 2016-01-25 23:42Z by Steven

Nella Larsen Reconsidered: The Trouble with Desire in Quicksand and Passing

MELUS: Multi-Ethnic Literature of the United States
First published online: 2016-01-25
DOI: 10.1093/melus/mlv083

Rafael Walker
Department of English
University of Pennsylvania

The fictions of Nella Larsen have long been understood as daring explorations of black women’s sexuality and subjectivity. Deborah E. McDowell is one of the earliest and most influential exponents of this idea, suggesting that Larsen portrays “black female sexuality in a literary era that often sensationalized it and pandered to the stereotype of the primitive exotic” (xvi). According to Hazel V. Carby, Helga Crane in Quicksand (1928) is “the first explicitly sexual black heroine in black women’s fiction” (“It” 471). Similarly, Cheryl A. Wall claims: “Both Quicksand and Passing contemplate the inextricability of the racism and sexism that confront the black woman in her quest for selfhood” (89). The association between Larsen’s work and black women’s subjectivity was so entrenched by the time that Judith Butler wrote on Passing (1929) that she hesitates before applying psychoanalysis to the novel: “There are clearly risks in trying to think in psychoanalytic terms about Larsen’s story, which, after all, published in 1929, belongs to the tradition of the Harlem Renaissance, and ought properly to be read in the context of that cultural and social world” (173). (It becomes clear from Butler’s subsequent remarks that the “context” she has in mind is primarily racial, particularly in her claim that “both stories revolve on the impossibility of sexual freedom for black women” [178].) More recent studies have maintained this view of Larsen’s fiction, bearing such titles as “Queering Helga Crane: Black Nativism in Nella Larsen’s Quicksand” (2011) and “The New Negro Flâneuse in Nella Larsen’s Quicksand” (2008).1

I mention but a few of the many examples of the critical tendency to take for granted that Larsen was chiefly concerned with black women, but they suffice to reveal what strikes me as an “elephant in the room” in Larsen studies: that all…

Read or purchase the article here.

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Sage Steele Opens Up About Being A Biracial Woman In Sports Media

Posted in Articles, Communications/Media Studies, Interviews, Media Archive, United States, Women on 2016-01-23 17:46Z by Steven

Sage Steele Opens Up About Being A Biracial Woman In Sports Media

The Huffington Post
2015-01-21

Justin Block, Associate Sports Editor

Juliet Spies-Gans, Editorial Fellow, HuffPost


Joe Scarnici via Getty Images
Sage Steele speaks onstage at the 2013 espnW: Women + Sports Summit at St. Regis Monarch Beach Resort on Oct. 9, 2013, in Dana Point, California.

The ESPN host talks sexism, racism, NBA Saturday Primetime on ABC and that infamous moment with Bill Simmons

Picture the scene: It’s a sweaty, crowded NFL locker room a handful of miles from the heart of Baltimore, a little over a decade ago. There’s a scrum of reporters, trying to inch closer and closer to the prize interview: Ray Lewis. And as the voices shout over one another, urging the linebacker to look every which way, one journalist’s tone differentiates itself from the rest.

It’s the voice of Sage Steele, and as the only woman amid the horde of media members, the octave of her voice allows her to be the one to grab and hold onto Lewis’ attention.

Today, the 43-year-old Steele is known as both the face and the voice of ABC and ESPN’s NBA Countdown. Come Saturday, she’ll be speaking to millions of us through our TV sets, as the host of the new NBA Saturday Night on ABC package. And come June, she’ll ring in the NBA Finals as emcee of the biggest show of the season, working with names like Jalen Rose and Doug Collins to introduce and analyze the league’s marquee event.

But it hasn’t always been like this for Steele. A self-described army brat bullied throughout high school for her biracial background, Steele has dealt with a unique blend of discrimination in her time. One day she’s too white, the next she’s too black. Her curly, un-styled hair is considered either an asset or a detriment, depending on the week. And even as she has received rave reviews for her work with ESPN, she’s anticipating the day when her increasingly grey locks age her out of her job in a way that simply wouldn’t happen to a man.

In a word, she’s surrounded on all sides by -isms. Ageism, sexism, racism — you name it, Steele has felt it. But today, in her 21st year in the biz, the longtime journalist is able to reflect on her time on studio sets and in locker rooms, and decipher where and when those constant currents of isms, don’ts and can’ts have made her stronger, sharper and more apt for the job.

Steele recently spoke with The Huffington Post about everything from the discrimination she’s faced to her relationship with Stuart Scott, from the importance of having thick skin to that GIF of her and Bill Simmons. She’s spent the last two decades in the trenches — those grimy, Gatorade-stained locker rooms of Indianapolis and Baltimore — and now she’s explaining how she was able to stay on her feet through it all, remaining humble, hungry and happy, no matter what…

Read the entire interview here.

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Mixed Race…So What!

Posted in Articles, Autobiography, Media Archive, United Kingdom, Women on 2016-01-22 22:58Z by Steven

Mixed Race…So What!

Spare Rib Magazine
Issue: 131 (June 1983)
page 58-60

Sonia Osman

This piece was going to be called ‘Women of mixed Race’, but after many discussions and thought I have decided not to call it that as I find the term ‘mixed race’ racist. Therefore I have gathered together various women’s pieces and have put them in a ‘suitable’ order for you to read. The concept of race is a strange one having no genetic validity at all. There are no genetic differences between Black and White people even though white, male, scientific intellectuals would like us to believe differently. Even anthropology does not include the concept of race. Race is seen as a specific term of abuse. The concepts of ‘mixed race’ or ‘half-caste‘ are racist, they imply that there is a pure race, an idea reminiscent of  Mein Kampf and fascist ideology.

This piece is a very personal piece for me and does not intend to put over any specific political line; it does not intend to educate, but I hope it will make people think.

Sonia’s Piece

To be a woman of mixed race, a halfcaste, a half-breed doesn’t that sound exotic, romantic, erotic …. To Hell with the lot of you I Those are your LABELS, your racist interpretation, your fears internalized and LAID on. I don’t care anymore, do what you will, think what you will, safe in your whiteness, your blackness, your superior purity.

I am ME and I will always stay ME. I will never be white, Anglo-Saxon and PURE. Sorry, you’ll have to make do with a half-Finnish and half-Indian woman born and brought up in the splendours of Brixton, London. Am I angry with my lot? Wouldn’t you be angry if ever since you were knee high you had to put up with taunts, fights, bloody noses, put-downs, comments and insults? But perhaps that is my lot and I should be grateful for it. Thank you so much people, allowing me to be born and brought up in this glorious country of ours. It’s great to feel unwanted.

It’s strange and yet wonderfully weird, ‘cos I know that around the world I am seen as something else: In France I am taken to be a native French woman, (I do speak French, so that helps), in Spain I am taken to be Spanish. People have thought me South American, from Peru or Brazil, or from Turkey or Iran. Strange ain’t it here I am, the unwanted, the unloved, and the uncared for.

I do feel ‘lucky’ because I have learned things from both my mother and my father. From my father I learnt the proper way to make curry, chapatis and carrot halwa. He would take me to the mosque and show me where and how to pray. From my mother I learnt about her country’s history, the continual war with Sweden and Russia. Strange to think that Finland used to [be] a Russion Duchy. Memories of Finland are full and varied, miles and miles of sweet-smelling pine forest, millions of lakes, fresh-water fish, wild exotic berries, hay-making, and hot days of strawberry-picking. But yet, here in the country which is my Home, I am denied my right to be here. ‘Go home Paki’,—Ha I, where is my home? My home is HERE, and I intend to stay…

Read the entire article here.

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Passion – Blackwomen’s Creativity: an interview with Maud Sulter

Posted in Articles, Arts, Interviews, Media Archive, United Kingdom, Women on 2016-01-22 21:57Z by Steven

Passion – Blackwomen’s Creativity: an interview with Maud Sulter

Spare Rib Magazine
Issue 220 (February 1991)
pages 6-8

Ardentia Verba

An Interview with Maud Suiter

In 1977 Maud Suiter stepped on a train from Glasgow to London and began her current journey into the interior of Blackwomen’s Creativity. She didn’t know at the time that some day she would call herself ‘artist’ or ‘writer’ – not many teenage coloured girls from the Gorbals in Glasgow had trailblazed a path in that direct­ion, so it was a real exploration into the unknown for her when at sixteen she set out to go to college to study fashion. Since then she has gone on to create exhibitions, including Zabat – a stunning series of Blackwomen’s portraits which will be exhibited at Camerawork Gallery in London from March 15-April 19, and has now edited Passion: Discourses on Blackwomen’s Creativity, recently published by Urban Fox Press

‘Passion’ features many visual artists including Lubaina Himid, Robyn Kahukiwa, Sutapa Biswas and Janet Caron. However Maud Suiter’s vision of Blackwomen’s Creativity includes activities as diverse as Hairbraiding, Poetry and Performance. The many women included in the book were chosen because of their involvement with the Blackwomen’s Creativity Project, an organisation which Maud Suiter founded in 1982. In creating ‘Passion’, she has not only document­ ed the activities of BWCP but also provided ‘an excellent introduction to the range and intensity of Blackwomen’s Creativity in Britain’

Artists Newsletter

Why did you decide to create ‘Passion’?

In 1982 I was the first Blackwoman to join the Sheba Feminist Publisher’s collective. At that time a variety of the women’s presses were mooting ideas for conventional anthologies of Black writing in the UK. I felt that it was too easy for what were essentially white women’s publishers culling some short stories and poems from Blackwomen and then hailing the fact that they had published x-dozen Blackwomen writers. This especially at a time when they were earning significant incomes from Blackwomen writers such as Alice Walker and Maya Angelou.

As Alice Walker has pointed out, Blackwomen must read history for clues not facts, and it seemed essential to leave clues as to a more holistic range of our artistic pursuits. Obviously no academic course in Britain is geared towards working class Blackwomen’s experience across the board, but so many of us have a vast appetite for knowledge—for a herstory. We must create our own, which is what I set out to achieve with Passion.

There comes a time in many of our lives when we say ‘Girl, get yourself a piece of paper’. Around 1985 I was getting so many requests from students, mainly from Blackwomen, to give interviews to inform their dissertations. Hours and hours of Blackwomen’s work goes—unpaid and unacknow­ledged—into quite literally saving Blackwomen from failing their degrees. So few informed Blackwomen artists are employed in institut­ions, that we are co-erced into helping out, at the very last minute, to save Blackwomen artists, no, let me correct that, Black students across the board, that it was obvious that the wheel could not be eternally re-invented.

Passion offers schools, colleges and commun­ity venues the opportunity to invest in a vast wealth of information about our work during the 80’s and then draw from that information in a more creative and challenging way. All of us face racism and sexism in our explorations, and the wonderful articles and portfolios in Passion signpost a continuum of experiences, our litany of survival, which has created the situation where we can, like the Blackwomen’s Creat­ivity Project, network internationally from a position of equality not imperialism.

And so to recap, my ambition was to look at Blackwomen’s Creativity across a spectrum of activities including fine art, childbearing, opera, theatre etc. It is not possible to create a hierarchy of our artistic fields as we are living as Blackwomen in the aftermath of slavery and imperialism. Therefore we need to recognise our creative practices as survival and press for their development from that position. It is no use to sit back on our laurels and think OK, so we were there. We need to be here now, and we need to ensure that we continue to create in the future…

Read the entire interview here.

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She Loved Baseball: The Effa Manley Story

Posted in Biography, Books, History, Media Archive, Monographs, United States, Women on 2016-01-21 01:56Z by Steven

She Loved Baseball: The Effa Manley Story

Balzer + Bray (an imprint of HarperCollins)
2010-10-19
32 pages
8.5 in (w) x 11 in (h) x 0.25 in (d)
Hardcover ISBN: 9780061349201
eBook ISBN: 9780062184801

Audrey Vernick

Illustrated by Don Tate

Effa always loved baseball. As a young woman, she would go to Yankee Stadium just to see Babe Ruth’s mighty swing. But she never dreamed she would someday own a baseball team. Or be the first—and only—woman ever inducted into the Baseball Hall of Fame.

From her childhood in Philadelphia to her groundbreaking role as business manager and owner of the Newark Eagles, Effa Manley always fought for what was right. And she always swung for the fences.

From author Audrey Vernick and illustrator Don Tate comes the remarkable story of an all-star of a woman.

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Gender, Race, and Ethnicity in the Workplace: Emerging Issues and Enduring Challenges

Posted in Anthologies, Books, Forthcoming Media, Gay & Lesbian, Law, United States, Women on 2016-01-21 01:38Z by Steven

Gender, Race, and Ethnicity in the Workplace: Emerging Issues and Enduring Challenges

Praeger
March 2016
415 pages
6.125 x 9.25
Hardcover ISBN: 9978-1-4408-3369-4
eBook ISBN: 978-1-4408-3370-0

Edited by:

Margaret Foegen Karsten, Professor of Human Resource Management; Internship Coordinator
School of Business
University of Wisconsin, Platteville

For America to prosper, organizations need to address disparate treatment of women and people of color in the workplace.

Insights from professionals in the fields of organizational development and diversity provide practical tools to help employees and managers—regardless of race or gender—collaborate in reaching their workplace potential.

The contributions of more than 30 experts reframe the discussion on gender, race, and ethnicity in the U.S. workforce, examining the complex identity concerns facing workers who fall within minority groups and recommending practical solutions for dealing with workplace inequities. Through focused essays, experts explore new perspectives to persistent challenges and discuss progress made in addressing unequal treatment based on race and gender in the past eight years. This detailed reference explores every aspect of the issue, including mentoring, family leaves, pay inequity, multiracial and transgender identities, community involvement, and illegal harassment.

The first part of the book identifies employment discrimination based on multiracial identity, appearance, and transgender status. The second section unveils the psychology behind harassment on the job; the third section provides strategies for overcoming traditional obstacles for the disenfranchised. The final section discusses updates on laws dealing with the Family and Medical Leave Act. The book closes with success stories of women of color in U.S. leadership roles as well as others achieving success in their professions outside of the country. Accompanying tables, charts, and graphs illustrate the field’s most poignant research, such as the relationship between organizational effectiveness and diversity and the characteristics of those taking family and medical leave.

Features

  • Presents new research on the many forms of employment discrimination based on multiracial identity, appearance, and transgender status
  • Includes contributions from professionals in the fields of social psychology, law, gender studies, and ethics, among others
  • Reveals effective ways for promoting inclusion of women and people of color in today’s global workforce
  • Covers the workforce in the public sector, private sector, and military
  • Considers the role of social media in helping break through workplace barriers
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UNF professor explores the impact of skin tone on the everyday lives of African-American women

Posted in Articles, Media Archive, Social Science, United States, Women on 2016-01-20 23:01Z by Steven

UNF professor explores the impact of skin tone on the everyday lives of African-American women

The Florida Times-Union
2016-01-18

Rhema Thompson

JeffriAnne Wilder always knew African-Americans came in many shades. She saw it in her own family, from her light-skinned older sister to her two dark-skinned brothers. Her complexion fell somewhere in the middle.

“I saw the variation at home, but I didn’t place any value on it,” she recalled.

Around age 10 that began to change. She noticed the light-skinned girls in her predominantly black Cleveland elementary class seemed to be treated differently. Other students seemed enamored by their creamy complexions and wavy hair.

Decades later, that sentiment hit closer to home when she became pregnant with her daughter.

“I had lots of people just assume because my ex-husband is biracial and light-skinned with green eyes that she was going to be light-skinned, too,” she said. “ ‘Oh, you’re going to have the prettiest daughter. She’s going to be so pretty. She’s going to be light and blah, blah, blah,’ and I remember telling people ‘What happens if she’s not light-skinned? What if she ends up like me?’ ”

Now, an associate sociology professor at the University of North Florida and director of the school’s new Institute for the Study of Race and Ethnic Relations, Wilder is sharing her observations and the experiences of 66 other black women in her first published book “Color Stories.”…

Read the entire article here.

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