Mixed Race Studies

“A Universe of Many Worlds”: An Interview with Ruth Ozeki

MELUS: Multi-Ethnic Literature of the United States
Volume 38, Issue 3 (September 2013)
pages 160-171
DOI: 10.1093/melus/mlt028

Eleanor Ty, Professor of English and Film Studies
Wilfrid Laurier University, Waterloo, Ontario, Canada

That’s what it felt like when I was growing up, like I was a random fruit in a field of genetically identical potatoes.—Ruth Ozeki, All Over Creation (4)

Is death even possible in a universe of many worlds? —Ruth Ozeki, A Tale for the Time Being (400)

Immigrant and ethnic writing frequently addresses the dilemma of being caught between two worlds. More often than not, the protagonists in these works are torn between the desire to assimilate into American culture while negotiating with the original culture of their parents and the realization that their ethnic, racial, or religious difference is what makes them special as hyphenated subjects. For Ruth Ozeki, filmmaker and internationally acclaimed author of My Year of Meats (1998), being in between two cultures becomes a source of inspiration and strength. As the daughter of a Japanese mother and an American father, she feels that being outside of the mainstream can be an advantage. In an interview with Barbara Palmer, Ozeki said, outside “is the only place for a writer to be. Otherwise, you lose your perspective, your edge. You stop seeing things.”

In both My Year of Meats and her second novel, All Over Creation (2003), the protagonists are mixed-race Japanese Americans who do not quite fit the image of the “attractive, appetizing, and all-American” ideal woman represented in popular media (My 8). Jane Takagi-Little of My Year of Meats tries to explode this nostalgic “illusion of America” (9) by deliberately focusing on nonwhite, non-heterosexual, and nontraditional families when she gets a chance to direct a television show called My American Wife! for a Japanese audience. In All Over Creation, Yummy Fuller, who always had to play “Indian princess” in Liberty Falls Elementary School when she was growing up (7), runs away from her farming family…

Read or purchase the article here.

Michelle Obama on the Move: What Will She Do Next?

Parade
2013-08-17

Maggie Murphy, Editor in Chief

Lynn Sherr, Contributor

America’s most famous mom takes her fight against childhood obesity to the next level, gears up for parenting teenagers, and admits to hitting her stride as first lady. Read the Parade cover story below and watch an exclusive video message from Mrs. Obama:

Nearly five years after moving into the White House, Michelle Obama could not look more at home. Posing in the formal Green Room, she appears both relaxed and invigorated, embracing the undefined (and undefinable) roles of Spouse in Chief, Role Model in Chief, and Mom in Chief. But it’s the last one that makes the first lady shine brightest of all. Put her in a room with kids—whether her own or the nation’s—and she glows. In fact, at the second annual Kids State Dinner on July 9, Mrs. Obama beamed at the success of 54 students who won a nationwide competition, sponsored by Epicurious.com, to develop creative, delicious, and healthful recipes. An outgrowth of her Let’s Move! program to curb childhood obesity within a generation, the State Dinner (which happened at lunch) featured dishes like Lucky Lettuce Cups and Bodacious Banana Muffins, as well as an appearance by her husband, whom she playfully tweaked for admitting he’d hated vegetables as a kid. As she sat with Parade the following day, Mrs. Obama was regal in a magenta sheath yet so down-to-earth that she quickly fluffed the cushion of an antique couch between photo takes. No longer sporting the bangs that caused such a sensation (“You know, it’s hard to make speeches with hair in your face!”), the first lady spoke to us about her second-term goals for her childhood obesity fight, her maturing family, and her dreams for America’s children…

…As we approach the 50th anniversary of Martin Luther King’s “I have a dream” speech, there have been a lot racial issues in the news, from Paula Deen to the Trayvon Martin case. What gives you hope about America today?

I have immense hope. We just finished our visit to Africa and spent time on Robben Island [where Nelson Mandela was imprisoned for 18 years] with one of President Mandela’s cell-block mates. Mandela took a lot of the lessons from Dr. King’s time to heart as he sat in a prison cell and thought about how to pull that country to where it is today. To come back to the United States, with an African-American president who has been influenced by both King and Mandela, that is a reason to be hopeful about all that Dr. King sacrificed.

Do you think having an African-American family in the White House has moved the needle?

Absolutely. Children born in the last eight years will only know an African-American man being president of the United States. That changes the bar for all of our children, regardless of their race, their sexual orientation, their gender. It expands the scope of opportunity in their minds. And that’s where change happens. You know, laws and policies are important. But in the end, it’s how we’re living our lives…

Read the interview here.

Euer Schweigen schützt Euch nicht: Audre Lorde und die Schwarze Frauenbewegung in Deutschland (Your silence will not protect you: Audre Lorde and the Black Women’s Movement in Germany)

Orlanda-Verlag
2012
160 pages
Paperback ISBN: 978-3936937-95-4
(In German and English)

Edited by:

Peggy Piesche

20er Todestag der Schwarzen, lesbischen Poetin und feministischen Autorin Audre Lorde

“Euer Schweigen schützt Euch nicht” – Ein Aufruf zu Sprache und aktivem Handeln, der dringlicher nicht sein könnte. Wie viele der Appelle, Schriften und Aufrufe Audre Lordes war er prägend für die (internationale) Frauenbewegung und besonders für die Bewegung Schwarzer Frauen. Das rückhaltlose Ausloten von Sexismus, Rassismus, Homophobie und Klasse machen Audre Lorde auch zwanzig Jahre nach ihrem Tod zu einer der einflussreichsten Kämpferinnen für die Rechte Schwarzer Frauen. Der soziale Unterschied war für sie die treibende, kreative Kraft zu handeln und zu verändern. Ihre Essays, Gedichte, Vorträge und Erzählungen sind einschneidend und entschlossen, sie werfen einen schonungslosen Blick auf die Realität und transportieren dabei doch immer auch Hoffnung. Der vorliegende Band ist eine Sammlung von bereits erschienenen und bisher unveröffentlichten Texten Audre Lordes. Ergänzt werden diese durch Texte von Frauen, die gemeinsam mit der Autorin den Weg einer deutschen Schwarzen Frauenbewegung gingen und von Schwarzen Frauen der Nachfolgegenerationen aus Deutschland, die sich mit ihrem Erbe und den aktuellen Kämpfen auseinander setzen.

20th Anniversary of the death of the Black, lesbian poet and feminist writer Audre Lorde

“Your silence will not protect you” – A call to action and active language which could not be more urgent. How many of appeals, writings and views Audre Lorde he was formative for the (international) women’s movement, and particularly for the movement of Black women. The unreserved exploration of sexism, racism, homophobia, and class make Audre Lorde, even twenty years after her death, one of the most influential fighters for the rights of black women. The social difference was to act for them, the driving creative force and change it. Her essays, poems, speeches and narratives are incisive and determined, they throw an unsparing look at the reality, transporting always hope. The present volume is a collection of previously published and unpublished texts Audre Lorde. These are complemented by texts by women who went along with the author the way a German black women’s movement and the subsequent generations of black women from Germany who deal with their heritage and the current struggles apart.

Rereading Pauline Johnson

Journal of Canadian Studies/Revue d’études canadiennes
Volume 46, Number 2, Spring 2012
pages 45-61
DOI: 10.1353/jcs.2012.0018

Carole Gerson, Professor of English
Simon Fraser University, Burnaby, British Columbia, Canada

This essay argues for a broader appreciation of Pauline Johnson’s creative range and poetic accomplishment. Rereading her work in relation to some of J. Edward Chamberlin’s ideas about narrative and about home brings fresh perspectives to her writing and reception in relation to her reversal of the White masculine gaze in her representations of Native peoples, Canadian history, wilderness, and gender. Her first Euro-Canadian audience used her work to assist with their own indigenization and help them feel at home in Canada. Because most current readers construct Johnson as figure of resistance, concentrating on a small selection of her poetry on Native topics, they continue to ignore her poems that invoke a female voice to possess the wilderness, along with her innovative erotic verse that reinhabits the female body by empowering the female gaze.

Having written extensively about Pauline Johnson in the past—most recently in relation to celebrity (Gerson 2012)—I welcome the opportunity created by this collection of essays associated with the Grand River Forum to bring some of J. Edward Chamberlin’s observations about storytelling to bear on my current interest in returning approaches to Johnson. My goal is to bring fresh attention to the craft and range of her poetry and to the complexity of her reception. Chamberlin’s analysis of narrative as essential to human experience, however contradictory the stories on a given topic might seem, is amply borne out by the unusual life and career of Emily Pauline Johnson (1861-1913). The well-known part-Mohawk poet was closely associated with the Grand River region, where she honed her skills in canoeing and authorship, her talents converging in…

Disparity in Breast Cancer Between Black and White Women Can Be Eliminated by Regular Mammography Screening

Rush University Medical Center
News Release
2012-09-25

(CHICAGO) — Regular mammography screening can help narrow the breast cancer gap between black and white women, according to a retrospective study published in Breast Cancer Research and Treatment in August.

Earlier studies have shown that black women in Chicago are more than twice as likely to die of breast cancer compared to white women. Black women with breast cancer reach the disease’s late stages more often than white women, and their tumors are more likely to be larger and more biologically aggressive.

But according to the study, when women of both races received regular breast cancer screening — a mammogram within two years of breast cancer diagnosis — there was no difference in the rate of how many of them presented in the disease’s later stages…

Read the entire news release here.

Japanese-Canadian hapa woman makes opera fun

Global Asian Women: Stories for and about Asian women around the world
2013-07-31

Elizabeth Noh

Her name means a solo piece in an opera, and it just so happens that Aria Umezawa is a trained opera singer.

The mixed Japanese-Canadian is also the co-founder and artistic director of Opera 5, a small production company in Toronto, Canada.

Fate or coincidence? Her parents had no idea when they named her 25 years ago.

“My parents joke that if they knew I would follow my namesake, they would have named me lawyer or doctor,” says Aria.

Her calling came at the age of 6, when she saw her first opera, Turandot by Puccini. “The music touched me.”

The experience lead her to study at the Royal Conservatory of Music in Toronto and later at McGill University in Montreal. She trained as an opera singer, but she found that she wasn’t cut out to be a performer and was more suited to be a director…

…Aria is bi-racial. Her mother is Caucasian from the province of Alberta in western Canada. Her father is Japanese who came to Canada as a teenager. Aria was born and raised in Toronto. She has two younger brothers.

Some people say Eurasian, but “hapa” is commonly used in North America. The term originates from Hawaii and means a person of mixed blood. We talk about her mixed background.

“Growing up, it never occurred to me that my family was different on any sort of substantial level. We ate foods that my friends didn’t eat, and I was enrolled in karate instead of ballet, but I figured every family had its quirks,” she says…

Read the entire article here.

Her Mammy’s Daughter: Symbolic Matricide and Racial Constructions of Motherhood in Charles W. Chesnutt’s “Her Virginia Mammy”

49th Parallel: An Interdisciplinary Journal of North American Studies
Issue 16: Autumn 2005
ISSN: 1753-5794

Laura Dawkins, Professor of English
Murray State University, Murray, Kentucky

The black mother in slavery and beyond has inspired a growing body of contemporary literature by African-American women.  Following Margaret Walker’s lead in her 1942 poem “Lineage,” and—more famously—Alice Walker’s example in her landmark essay, “In Search of Our Mothers’ Gardens” (1983), a significant number of black women writers have honored their foremothers in poetry, fiction, and memoir. Indeed, the celebratory strain in African-American women’s writings about maternal influence upon their lives and work has been so pronounced that Marianne Hirsch, discussing the pervasiveness of daughterly “matrophobia” in twentieth-century literature, admits that she cannot comfortably include works by black women in her parade of examples, since so many of these writers—in contrast to their white contemporaries—seem determined to avoid any hint of “mother-blame” in both fictional and non-fictional works.  Pointing out the “tremendously powerful need [for black women writers] to present to the public a positive image of black womanhood,” Hirsch quotes E. Frances White’s declaration of the African-American woman’s singular obligation to suppress less-than-ideal portrayals of black maternal figures: “How dare we admit the psychological battles that need to be fought with the very women who taught us to survive in this racist and sexist world?  We would feel like ungrateful traitors” (177).

Yet according to Mary Helen Washington, the absence of “matrophobia” in works by contemporary black women writers reflects not a suppression of the issue of mother-daughter conflict (as Hirsch and White suggest), and an impossible idealization of maternal influence (such as critic Dianne Sadoff finds in Walker’s essay), but the actual healthy state of affairs between black mothers and daughters.  Washington affirms the “generational continuity between [black daughters] and their mothers,” an enduring bond that inspires many African-American women writers to “name their mothers as models,” and to “challenge the fiction of mother-daughter hostility” (160).  In Washington’s view, black mothers and daughters, both because of and in spite of the painful historical legacy they share, do not succumb to the anger and upheaval associated with the traditional mother-daughter relationship…

Read the entire article here.

Narratives from a Nottingham council estate: a story of white working-class mothers with mixed-race children

Ethnic and Racial Studies
Volume 36, Issue 8 (August 2013)
Special Issue: Mothering Across Racialised Boundaries
pages 1342-1358
DOI: 10.1080/01419870.2013.776698

Lisa McKenzie, Research Fellow, Faculty of Social Sciences
University of Nottingham

This paper introduces a group of white working-class women living on a council estate in the UK drawing on an ethnographic study conducted between 2005 and 2009, examining the impact of class inequality and a stigmatized living space in an ethnically diverse urban neighbourhood. All of the women are mothers and have mixed-race children; they reside on the St Ann’s estate in Nottingham, an inner-city neighbourhood that has been subject to poor housing, poverty and unemployment for many generations. The women who live on this estate say that they suffer from negative stereotypes and stigmatization because of the notoriety of the estate, because they are working class and because they have had sexual relationships with black men. However, there is a sense of connectedness to the estate and there are strong cultural meanings that are heavily influenced by the West Indian community. This paper then highlights the importance of place when focusing upon families, class inequality and intercultural relationships.

Read or purchase the article here.

Multiracial Daughters of Asian Immigrants: Identity and Agency

Women & Therapy
Volume 36,  Issue 3-4, 2013
Special Issue: Women and Immigration
pages 268-285
DOI: 10.1080/02703149.2013.797776

Leilani Salvo Crane
Counseling and Psychological Services
University of Pennsylvania

Multiracial daughters of Asian immigrants must navigate complex pathways to adulthood, self-efficacy, and self-concept. Frequently they are required by family and society to bridge the cultural divide among a variety of Asian and American norms. Conflicting loyalties at times manifest as psychological struggles, which the daughter may be unable to resolve without therapeutic intervention. This article describes a culturally responsive approach to therapeutic intervention that takes into account both developmental and multiracial identity models, along with specific tools for exploring the complexities of cultural background, familial expectations, and issues of power and oppression. Both Hays’ ADDRESSING model (2001, 2009) and construction of the genogram are used to explore individual differences. Case examples are presented to illustrate interventions.

Daughters of Asian immigrants must navigate complex pathways to adulthood, self-efficacy, and self-view. As noted in the Handbook of Girls’ and Women’s Psychological Health (Worell & Goodheart, 2006), immigrant women and their children must be considered within the family system, rather than as Isolated individuals (Goodheart, 2006). Those with disempowered and or traumatized parents travel an especially difficult road due. in part, to the absence of multiracial role models with whom to identify, as well as to frequently conflicting cultural demands. Multiracial daughters of at least one Asian immigrant parent frequently face demands from family of origin to lie closely connected to family…

Read or purchase the article here.

‘Belle’ breaks through the aristocratic color barrier

USA Today
2013-07-21

Bryan Alexander

British actress Gugu Mbatha-Raw used to envy her classmates from the prestigious Royal Academy of Dramatic Arts in London as they moved on to perform in lavish English period dramas. But as an actress of color, she found it difficult to land such historic roles.

“I was somewhat frustrated, I have always loved period dramas and my friends were in these gorgeous-looking Jane Austen adaptations,” says Mbatha-Raw, 30. “I would be like, ‘I have all of this training, when will I get a chance to explore that side?’ ”

Mbatha-Raw, who has held roles in several TV series and was a supporting player in the 2011 Tom Hanks vehicle Larry Crowne, finally has found her opportunity in Belle (opening May 2, 2014). It’s the exceedingly rare story of a mixed-race woman who transcended the lily-white aristocracy of 18th-century England.

Belle is inspired by the life of Dido Elizabeth Belle, who was born as the result of an affair between British naval officer Capt. Sir John Lindsay and an African slave woman who died when Belle was young. Lindsay (Matthew Goode) beseeched his uncle, the Earl of Mansfield and England’s Lord Chief Justice (Tom Wilkinson), to raise his mixed-race daughter in the manner befitting his aristocratic bloodline — unheard of in England at the time…

Read the entire article here.