First I double-exposed this week’s Paris Collage Collective’s visual prompt (above) with the famous Angel Oak in South Carolina.
I liked how the tree layer turned his body to lace in places and grounded him in place. However, it was dismaying to see how quickly the figure resembled a hunted Black man, particularly when red showed up.
Which is why I went and grabbed some images of Alvin Ailey dancers. I wanted the exercise to remain joyful — the trap of white entrancement with Black pain too easily fallen into. (I’ve posted about this before). Besides, I think by now we all know that Black joy is a form of rebellion. Maybe the best form.
These quickly became cluttered. And the prompt figure in many compositions continued to look like he was fleeing jeopardy. Is it just me?
I then overlaid the image with one of my script quilts. The texture imparted was interesting and I may go with it some more, but oh boy, there’s another pitfall — white people overwriting Black people’s experience with our dominant voices.
I may be overthinking things this morning, she said.
In other news, after working from home since March 13, 2020, Husband went to the office this morning. It’ll be two days a week.
There he was, holding his flashlight to illumine his sock drawer, quipping, “See? I remember how to do this!”
Moments later: “This blows.”
Being thirty years married, it wasn’t the constancy of his company that pleased me so much as how by subtracting a two hour commute, he got a lot more sleep. That’s important.
Also pandemic related: Finn has to lose weight! Tony, the biscuit-generous mailman, needs talking to and games of “Find It” out back need to go on pause (that’s where I throw treats all over the yard and tell Finn to “find it!”)
And speaking of walking the dog (I was, wasn’t I?), my hips barely hurt this morning. I’m encouraged. Maybe adding two more stretches to my nightly routine helped.
“She observes that caste ‘is about respect, authority and assumptions of competence — who is accorded these and who is not.‘”
“A caste system, she writes, is ‘an artificial construction, a fixed and embedded ranking of human value that sets the presumed supremacy of one group against the presumed inferiority of other groups on the basis of ancestry and often immutable traits, traits that would be neutral in the abstract but are ascribed life-and-death meaning.‘”
In an interview with Teri Gross, Wilkerson called caste the bones and race the skin. Class is the clothing and accessories.
Racism cannot completely capture all that is wrong in our society, she says.
She uses Nazism and the caste system in India to explore the American version.
In the interview, I learned how much the Aryans relied onearlyAmerican studies in eugenics to develop their theories on race. Here in the States, the “one drop rule” was adopted in order to keep mixed race offspring enslaved. Interestingly, such a construct was deemed too extreme by the Germans.
The book doesn’tcover South Africa but in the interview Wilkerson briefly discusses how the fact that Blacks were in the majority in South Africa led to the creation of a third category of “coloreds.” This was designed to keep Black Africans out of power. I wondered about that when reading Trevor Noah’s memoir, Born a Crime, Stories from a South African Childhood, which is by the way, a compelling and intimate look at the last days of apartheid.
I am still reading three important books on race, butCaste will be up next. I ordered it from an independent bookseller in the Bronx: The Lit. Bar. If you can afford the postage, I recommend that you do too. They raise money for other independent book stores.
Part of why Ihaven’t finished the non-fiction books on my night stand is because of my preference for fiction.
This novel looks at the issue of colorism through the lens of identical twins who are light enough to pass for white.One makes the decision to do so and vanishes from her twin’s life while the other makes an opposite decision by having a child with a very dark Black man. The idea of erasure and transformation is further explored through a transgender character.
Desiree and Stella Vignes were once inseparable, fleeing their small southern town to build a life together in New Orleans. But when Stella makes the decision to pass as white—disappearing from her sister’s life in order to pursue the “American Dream” of whiteness—the twins’ paths diverge, determining not just their own futures, but the futures of their daughters and their relationship to Black womanhood. As the sisters mature into mothers and their daughters into adulthood, each woman must confront her own relationship to her past, to family duty, and to her own autonomy.
Lest you findme too serious, let me admit in closing that my new guilty pleasure is a reality show called, Blown Away.It’s a glass blowing competition that fills the void left by The Great British Baking Show.
I finished four books in the first week of 2018, a fact that’s a little less impressive given that I’d already read 2/3’s of one and 1/2 of another and that one of them was a slender volume of poems. And Shakespeare? The text is limited to the facing pages, so that went fast, too. Also: I tend to be terrific out of the gate, flag at the mid-range and die towards the end. The real test for this challenge (#theunreadshelfproject2018) will be mid-summer and fall.
Jesmyn Ward’s book, “Sing, Unburied, Sing” has everything (except sex): addiction, death, redemption, a road trip, one character’s coming of age, parenting (both deficient and exemplary), prison and release, the long shadow of slavery, and ghosts.
Set in contemporary Mississippi, the story features three generations and centers on themes of caregiving, racism, and secrets. There are acts of self-destruction and acts of mercy. The author also takes an interesting look at the porous line between death and life.
The elders, who are both African Americans, take care of their two bi-racial grandchildren. Their drug addicted daughter, Leoni, drives north to pick up her white husband, who’s about to be released from Parchman Prison. Leoni gathers up her 13 year old son, her toddler daughter, and a friend for the drive. That journey parallels two others that are happening simultaneously: the journey of her cancer-ridden mother toward death and that of her son, who approaches adulthood by grappling with the harsh truths around him, some of which have previously been secret.
I can tell you without spoiling too much that the novel features two ghosts. Early on, we learn that Leoni’s brother was “accidentally” killed by her husband’s cousin (we are meant to see it otherwise). She can see her brother’s ghost, but only when she’s high, a fact that made her addiction both more complicated and understandable. The other ghost appears to her son during the drive to Parchman. He is a former inmate and will be instrumental in releasing a long-held secret of Leoni’s father.
The 13 year old boy is a better caretaker of his sister than their mother, something that causes Leoni no end of defeated bitterness. The scenes of mother lashing out in frustration are rendered well and, for obvious reasons, hard to take. We see one of the costs of drug abuse up close and personal.
The author shifts point of view by chapter so that we get different perspectives throughout, but every chapter features haunting, gritty, and lyrical prose.
To follow Jesmyn Ward’s book with a slave narrative made for powerful and damning echoes. [Trump’s “shithole countries” comment came two days ago, so there is no escaping the specter of white supremacy these days, said a person with white privilege].
One of the most startling parallels between Ward’s novel and Northup’s narrative can be found in the labor scenes. It was shocking but not shocking that the field work scenes depicted at Parchman Prison were barely distinguishable from those of a plantation (think: patrollers and dogs; unpaid labor. Think: Ava DuVernay’s “The Thirteenth”).
Both Ward’s novel and Solomon Northup’s story contain details of racially animated violence almost too awful to bear.
I won’t go more into the slim and eloquent “Twelve Years a Slave” because I imagine many of you have seen the film, except to say this : reading the narrative is very worthwhile even if you’ve seen Steve McQueen’s movie. To hear the words of this free black is powerful. To slow down and see the world through his eyes, also powerful.
Also read: A Midsummer Night’s Dream and an issue of the literary journal, Rattle.
Some time ago, I received a challenge on Instagram about my use of images of African Americans. After watching an episode of Henry Louis Gates, Jr.’s show, “Finding Your Roots”, I had triple exposed photos of a quilt I’m working on (from the “Middle Passage” series) with a TV screen capture of an enslaved woman near a river in Louisiana. The result was haunting and satisfying enough that I wanted to share a few of the variations, and did. Undoubtedly, copyright violations. But were they acts of cultural appropriation?
Through both quilting and photo collages, I have been letting my imagination range in service of writing a piece of historic fiction set in South Carolina in the eighteenth century. As an intensely visual person, working with photos and cloth often comes more readily than writing a historical scene, particularly one with dialogue.
But whether in cloth, photography, or text, when is the use of an African American image or topic by a white artist an act of cultural appropriation? And if it is, how do you tell? Can a white audience/creator ever be the judge? Do the artist/writer’s intentions matter? And if a work offends even one African American, should I defend it?
Initially, I did defend the images. ‘Exploration in service of understanding. American history/my history. Blah, blah.’ But then, after following tags like #whitefragility on twitter and reading articles with titles along the lines of, “why I won’t discuss race with my white friends anymore”, I sent a private apology and deleted them.
But now I’m posting them again. Have I learned nothing? I am not sure about any of this.
[Just to explore the idea that my results would be ‘truer’ using topics closer to my own ancestry, I layered the same quilt image with a TV screen-capture of Irish gangsters from ‘Peaky Blinders’. The results were more compelling, but I don’t think it was the Irish connection that made them so].
I am a firm believer in genetic memory. Just so you know.
In the foreword to her book, “The Logbooks — Connecticut’s Slave Ships and Human Memory”, journalist Anne Farrow describes a conversation with a black friend who challenged her choice of topic. Her friend said, “‘When white people take up black stuff, there’s always a reason. There’s always something there.'” My sister refers to that ‘something’ as “hinky”.
So, am I entitled to the topic of slavery? Is there any way to get it right? I like to think I’m self-aware, without major amounts of hinkiness lurking. The only thing I can come up with is this: I don’t want to spend this much time with fictional material closer to my own suffering — and maybe so much so, that I’d rather leap across three centuries and a tricky racial divide. Okay, but is that ‘hinky’?
‘The research I’ve done about slavery has made me a better citizen’ is something I have asserted from time to time. And indeed, if healing the wound of racism requires acknowledging the complexity and horror of our history, then shouldn’t all of us white people be learning a little? And maybe even, a lot? You cannot read about the transatlantic slave trade and the practices of enslavers and be unmoved or unchanged. And, if you follow the news, you cannot learn about this historic stuff and think, “glad that’s over”.
In Ta-Nehisi Coates’s intense and informative article, “The Case for Reparations“, he asserted that the fact that one’s white ancestors were not here during the 250 years of slavery in no way makes us exempt. And why would we be, when we dwell in white privilege? For purposes of white privilege, it doesn’t matter when our grandparents arrived. It only matters that they were white. Even if they were shabby, uneducated, Catholic, Irish. Still white.
Watching Ken Burns’ “Civil War” series for the third time, I hear Shelby Foote‘s words with new ears. He said something like, ‘oh, sure we’ve had other important conflicts in our history like the Revolutionary War, but you cannot understand the American psyche unless you understand the Civil War.’
[Case in point: how can you understand the rise of the Tea Party without understanding the Civil War? And Trump? Clearly, his hat should read (I didn’t think of this): “Make America White Again”. As if it ever was].
Around the time the controversy about the novel ‘The Help’ erupted, I watched a documentary about the making of the film “Nat Turner”. The movie was based on William Styron’s novel, “The Confessions of Nat Turner“. Most of the interviewees harshly criticized Styron and the movie because they diminished a hero in African American history, especially, but not exclusively, by making him lust after a white woman.
Lots to learn and note from the documentary, but since I was busy writing scenes of another slave rebellion (The Stono Uprising, SC, 1739) and wringing my hands about ‘getting it right’, my take away came from Henry Louis Gates, Jr., who voiced a contrary view. He said something like, “if others have a different version of Turner, let them write their own novel.”
Pondering all of this, I found an an article on the site “The Root” entitled, “White Writer/Black Characters: Bad Idea?” by Desmond-Harris. After establishing that no writing pleases every audience, she asked, does that mean you should abandon your interest in making black women your protagonists?She continued:
“No way,” says Marita Golden, author of a dozen works of fiction and nonfiction, including Skin Deep: Black Women and White Women Write About Race. “White people, because of the emotional legacy as well as the historical and political legacy of racism, often feel that they do not have access to the black soul and the black spirit,” she told me, “but I think writers have the right to write about anything.” In fact, she said, “I really feel that white people should write about black characters.” …
So here’s a start. Develop relationships that will allow you to become confident that you can begin to speak to that experience, because you know African-American women as individuals. “Usually, white people who write meaningful books with black characters, they do have black people in their lives who they know deeply and respect,” said Golden. To be clear, that’s “as friends, not as research. Serious, meaningful, complete friendships with black people.”
I wonder about jinxing my writing efforts with such a public discussion, but this is where I am. Where I dwell. (I like Saskia claiming the word, ‘dwelling’ — there’s a lot to that word. And it seems like it resonates with ‘remembering’ (Liz) and ‘flourishing’ (Peggy)).
This might be a selfish post dressed up as risk taking, but there’s so little cloth in my hands these days and the business of creating one page after another is so solitary that the urge to connect here with where I dwell wins out over cautionary superstition!
To be clear: I am not looking for permission or rigid definitions. I am curious. What do others think about cultural appropriation, the uses of the imagination, artistic subject matter, genetic memory? What about this business of facing suffering straight on vs. from the side?
In the winter, after the leaves fall, our first floor is flooded with light. It’s one of the things I like most about this house.
One day last week, when I was feeling a little at odds with myself (I can’t remember why), I found myself thinking, “But this light, I get. This light doesn’t confuse me.” How to address the brutal history of slavery in a quilt DOES confuse me. For one thing, there is the question — is this my story to tell? That query triggers the question – does that matter, and if so, how? More on those thoughts later.
The working title for this ‘Trayvon Martin’ quilt is: Strange Fruit, triggered by an email conversation with the fiber artist, Kit Lang. Ms. Lang responded to the Zimmerman acquittal with two quilts, one of which she titled “Strange Fruit – Stand Your Ground.” You can see it here.
Being reminded of that haunting Billie Holiday song informed the choice of the fabrics printed with trees and vines. The ship in the lower right references slave ships, as does the brown batik with horizontal striping.
I got away from the initial idea of a white house with a white fence beyond which a black boy could not safely go. One of the other Martin quilts may preserve and explore that initial design impulse.