Mixed Race Studies

Love, Liberation, and Escaping Slavery: William and Ellen Craft in Cultural Memory

University of Georgia Press
2015-05-15
136 pages
8 b&w photos
Trim size: 6 x 9
Hardcover ISBN: 978-0-8203-3802-6
Paper ISBN: 978-0-8203-4724-0
Ebook ISBN: 978-0-8203-4832-2

Barbara McCaskill, Associate Professor of English and co-director of the Civil Rights Digital Library
University of Georgia

How William and Ellen Craft’s escape from slavery, their activism, and press accounts figured during the antislavery movement of the mid-1800s and Reconstruction

he spectacular 1848 escape of William and Ellen Craft (1824–1900; 1826–1891) from slavery in Macon, Georgia, is a dramatic story in the annals of American history. Ellen, who could pass for white, disguised herself as a gentleman slaveholder; William accompanied her as his “master’s” devoted slave valet; both traveled openly by train, steamship, and carriage to arrive in free Philadelphia on Christmas Day. In Love, Liberation, and Escaping Slavery, Barbara McCaskill revisits this dual escape and examines the collaborations and partnerships that characterized the Crafts’ activism for the next thirty years: in Boston, where they were on the run again after the passage of the 1850 Fugitive Slave Law; in England; and in Reconstruction-era Georgia. McCaskill also provides a close reading of the Crafts’ only book, their memoir, Running a Thousand Miles for Freedom, published in 1860.

Yet as this study of key moments in the Crafts’ public lives argues, the early print archive—newspapers, periodicals, pamphlets, legal documents—fills gaps in their story by providing insight into how they navigated the challenges of freedom as reformers and educators, and it discloses the transatlantic British and American audiences’ changing reactions to them. By discussing such events as the 1878 court case that placed William’s character and reputation on trial, this book also invites readers to reconsider the Crafts’ triumphal story as one that is messy, unresolved, and bittersweet. An important episode in African American literature, history, and culture, this will be essential reading for teachers and students of the slave narrative genre and the transatlantic antislavery movement and for researchers investigating early American print culture.

A Language of Our Own: The Genesis of Michif, the Mixed Cree-French Language of the Canadian Métis

Oxford University Press
1997-06-05
336 pages
1 linecut, 5 maps
6-1/8 x 9-1/4 inches
Hardcover ISBN: 9780195097115
Paperback ISBN: 9780195097122

Peter Bakker, Associate professor
Department of Aesthetics and Communication
Aarhus University, Aarhus, Denmark

The Michif language—spoken by descendants of French Canadian fur traders and Cree Indians in western Canada—is considered an “impossible language” since it uses French for nouns and Cree for verbs, and comprises two different sets of grammatical rules. Bakker uses historical research and fieldwork data to present the first detailed analysis of this language and how it came into being.

Skin, Inc.: Identity Repair Poems

Graywolf Press
2010-08-31
192 pages
Trim Size: 6 x 9
Hardcover ISBN: 978-1-55597-567-8
Paperback ISBN: 978-1-55597-650-7

Thomas Sayers Ellis, co-Founder
The Dark Room Collective, Cambridge, Massachusetts

The ambitious, combative, and spot-on new poetry book by Thomas Sayers Ellis, author of the award-winning The Maverick Room

Skin, Inc. is Thomas Sayers Ellis’s big, ambitious argument in sound and image for an America whose identity is in need of repair. In lyric sequences and with his own photographs, Ellis traverses the African American and American literary landscapes—along the way adding race fearlessness to past and present literary styles and themes, and perform-a-forming tributes for the Godfather of Soul, James Brown; the King of Pop, Michael Jackson; and the election of President Barack Obama. Part manifesto, part identity repair kit, part plea for poetic wholeness, this collection worries and self-defends, eulogizes and casts a vote, raises a fist and, often, an intimidating song. One sequence is written as a sonic/visual diagram of pronouns and vowels; another quotes from editors’ rejections of his own poetry included in the book; another poem, “Race Change Operation,” begins: “When I awake I will be white, the color of law.” Skin, Inc. is the latest work by one of the most audacious and provocative poets now writing.

Praise Song for the Day: A Poem for Barack Obama’s Presidential Inauguration

Graywolf Press
2009-02-06
28 pages
Trim Size: 4 5/8 x 6 1/2
ISBN: 978-1-55597-545-6

Elizabeth Alexander

Available in an elegant chapbook, Elizabeth Alexander’s historic poem, read at the 2009 inauguration of President Barack Obama

On January 20, 2009, Elizabeth Alexander served as the fourth-ever inaugural poet and a central participant in one of the most closely watched inaugurations in American history. Selected by Barack Obama, Alexander composed and delivered her original poem “Praise Song for the Day” to an audience of millions, and now the poem can be read and savored for posterity. Printed on heavy, uncoated stock and bound with French flaps and a silver foil stamp, this collectible chapbook is a cherished reminder of this monumental presidential event.

Poet Natasha Trethewey Explores Public and Personal Histories of Race in America

The Aspen Institute
2015-01-13

Caroline Tory, Program Coordinator
Aspen Words, Aspen Colorado

On a recent winter night, Pulitzer Prize-winning poet Natasha Trethewey addressed an Aspen Words audience in Aspen, CO, on the intersection between art and activism. “[I am] a poet interested not only in the sounds of language and in its beauty, but in its ability to help us deal with our most difficult knowledge and help us move towards justice.”

Trethewey is the author of four collections of poetry: “Domestic Work,” “Bellocq’s Ophelia,” “Native Guard,” and “Thrall,” as well as a work of nonfiction, “Beyond Katrina: A Meditation on the Mississippi Gulf Coast.” She served two terms as the 19th US poet laureate from 2012 to 2014, and is currently poet laureate of the state of Mississippi. Trethewey also directs the creative writing program at Emory University in Atlanta, where she is Robert W. Woodruff professor of English and creative writing…

…Trethewey was born in Gulfport, Mississippi, the daughter of parents whose mixed-race marriage was illegal in the state at the time. Her writing includes many references to her father, a poet, professor, and Canadian immigrant, as well as her mother, who was a social worker. Trethewey’s poems weave together the story of her own interracial roots with the history of race in America, while also balancing this narrative with lyricism.

“It is where the poems shade toward the lyrical that I’m able to get closer to the emotional truth of a poem,” said Trethewey in her talk. As an example, she referenced the poem “Incident” from her Pulitzer Prize-winning collection “Native Guard.” In it she tells the story of the Ku Klux Klan burning a cross on her family’s yard after her grandmother hosted a voter registration drive for disenfranchised African Americans in the 1960s. Reworking an initial draft of the poem, Trethewey restructured it to capture the entire story of the incident in the first four lines. This freed her to use the rest of the poem to highlight other emotional truths, such as the need to remember, which are at least as important as the particular facts of what happened.

Trethewey read a number of poems that use art as a reference point, including a series from her most recent book “Thrall.” Titled “Taxonomy”, this series of poems is based on a group of Casta paintings from 18th century colonial Mexico, which portrayed mixed blood unions in the colony…

Read the entire article here.

Christmas without Ramadan

Mixed Roots Stories
2015-01-09

Zena F. Itani

I’ve never really liked Christmas. It was the most forced family event of the year, defined by spectacular displays of anxiety from my mother and bad temper served up by my father, always in time for guests. While that doesn’t sound much different from others’ fun family holidays, there was another layer of dysfunction in it for me. My Dad is Muslim, a fact that we ignored for the entire year, not just on big Christian holidays. December 25th highlighted particularly well the lack of Muslim traditions in my immediate family, despite the fact that Lebanese Muslims outnumbered my English mother’s kin and me and my American siblings.

Let me walk you through a typical Itani Christmas (you Arabic speakers know how ridiculous the pairing of a large Lebanese Muslim family name and the word “Christmas” is). In the morning, my siblings and I woke up way too early and tore into our presents like obnoxious kids the world over. The gifts broke along gender and culture lines. As the one with the Arabic name and the insatiable curiosity for all things Middle Eastern, I would get the “cultural” gift (a subscription to Foreign Affairs was popular). “You’re so…Oriental,” my mother would often say, perplexed, in her British accent. Um, yeah Mom, did you see the Lebanese guy you married? Just saying…

Read the entire article here.

Young Artists: Saya Woolfalk

W
November 2008

Timothy McCahill

For the last two years Saya Woolfalk has practically lived in No Place, the futuristic work she is creating through painting, sculpture and video. So it’s not surprising that when she talks about it, the line between fact and fiction seems a little fuzzy. More than just a plain old multimedia installation, No Place has its own inhabitants and culture. The bubbly 29-year-old delights in describing every nook and cranny. “I talk about it as if it could be real,” admits Woolfalk, who is completing a yearlong stint as an artist-in-residence at the Studio Museum in Harlem, where No Place was recently shown. “But I never forget that it’s another place.”

Woolfalk’s world is inhabited by half-human, half-plant figures called No Placeans, who in her paintings are portrayed roaming a psychedelic landscape reminiscent of Yellow Submarine. In one piece, they appear in front of a blue and yellow building surrounded by pink phalluses. As part of the project, Woolfalk filmed the No Placeans—played by the artist, her friends and colleagues—in the style of a documentary…

…Though the piece grew partly out of Woolfalk’s reflections on utopia, her influences also originate closer to home. Born in Japan to a Japanese mother and an African-American and white father, Woolfalk draws on Japanese anime and traditional African garments for many of her characters and costumes, blending cultures so that her work feels at once foreign and familiar. “Because I’m mixed race, I have this idea that to leave the conversation ambiguous is interesting,” she says…

Read the entire interview here.

Al Madrigal’s New Special ‘Half Like Me’ Is What Latinos Have Been Waiting For

The Huffington Post
2015-01-13

Ana Maria Benedetti

Al Madrigal goes on a journey of self-discovery… starting with how to pronounce his own name.

In his new one-hour special “Half Like Me,” premiering on Fusion on January 22, The Daily Show’s senior Latino correspondent travels across the U.S. to discover what it means to be half Mexican and half white.

“Being half has always been confusing,” Madrigal says in the preview for the special. “White people think you’re Mexican and Latinos give me shit about not being Latino enough.”…

Read the entire article here.

Machado de Assis: The Brazilian Master and His Novels

University of California Press
1970
270 pages
ISBN: 9780520016088

Helen Caldwell

Machado de Assis is among the most original creative minds in Brazils rich, four-century-long literary tradition. Miss Caldwell’s critical and biographical study explores Machado’s purpose, meaning, and artistic method in each of his nine novels, published between 1872 and 1908. She traces the ideas and recurrent themes, and identifies his affinities with other authors.

In tracing Machado’s experimentation with narrative techniques, Miss Caldwell reveals the increasingly subtle use he made of point of view, sometimes indirect or reflected, sometimes multiple and “nested” like Chinese boxes.

Miss Caldwell shows the increasing sureness with which he individualized his characters, and how. in advance of his time, he developed action, not by realistic detail, but by the boldest use of allusion and symbol. Each novel is shown to be an artistic venture, and not in any sense a regurgitation from a sick soul as some critics have argued.

In searching out the unity of his novels. Miss Caldwell explores the other aspects of Machado’s intellectual life—as poet, journalist, playwright, conversationalist, and academician. Of particular interest is her attention to his shift away from the social criticism of his early novels into the labyrinth of individual psychology in the last five—all of which rank among world literature. But this perceptive account never loses sight of the one element present in every piece of Machado’s fiction, in every one of his personages; that is, superlative comedy, in its whole range: wit, irony, satire, parody, burlesque, humor.

Altogether, Miss Caldwell reveals to us a writer, in essence a poet, who is still the altus prosator of Brazilian letters.

Read the entire book here or here.

Don’t put race in a box

The Eastern Echo
Ypsilanti, Michigan
2015-01-11

C.A. Joseph Peters

One ought to talk about race like one talks about their mother’s age: very rarely and very discreetly. Given the Census Bureau’s outdated categories, I say it’s time for one of those rare and discreet conversations.

In January 2013, Haya El Nasser of USA Today reported that “many [Hispanics] feel boxed in by the current race categories . . . 95 percent of those who selected ‘some other race’ are Hispanic.” Last July, Fox News Latino reported that Detroit’s Mexico town not only withstood the brunt of Detroit’s most recent downturns but was spearheading Detroit’s economic recovery. But Detroit’s growing Hispanic community gets whitewashed by the Census.

By attempting to define race with neat little boxes, the Census Bureau is forcing an increasing number of Americans to check “other,” doing a disservice to Detroit’s growing Hispanic community and to Dearborn’s already sizable Middle Eastern community. In 2010, the Census categorized Dearborn, a city where one third of the residents speak Arabic, as over 89 percent white. But with a term nebulous enough to include everyone from Morocco to Murmansk and from Riyadh to Reykjavik, it should be no great surprise that the Census categorizes Dearborn as whiter than Montana. Race is difficult enough without the government trying to define it too…

Read the entire article here.