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Hating white women - spiked
White women are scum. That’s the message of a column published by the New York Times on Saturday. Written by Alexis Grenell, and titled ‘White Women, Come Get Your People’, the piece is an unhinged screed against the ‘gender traitors’ who apparently make up the vast bulk of white womankind.
whites  regressiveleft  leftism  identityPolitics  racism  NYT  whitePrivilege 
12 days ago by Jswindle
JG Brown - Scraping a Deerskin (1904)
Experts believe Brown was motivated to depict rustic septuagenarians not only to secure his own legacy, but also out of concern for the way the U.S. was changing. The 19th century was a time of industrialization and urbanization throughout the nation. The Ashcan School (also represented in the Scott Galleries), and other American artists, captured the excitement and anxieties of modern life in their pictures. Brown, conversely, sought to preserve the figure of the hunter-farmer-craftsman, whose “self-reliant,” agrarian ways appeared to be headed for extinction.
Brown evidently felt no responsibility for the disagreeable social, economic, and environmental changes that, in his opinion, were spoiling the pastoral republic—though he was an urbanite who skillfully interpreted the tastes of fellow New Yorkers, most of whom made their money through the new mechanisms of industrialization. Indeed, the artist adopted these strategies himself, increasing his sales through patenting, mass-production, and investment. In Scraping, however, Brown cast himself as a rural hunter, preserving “traditional” America in his own image—an ironic act considering he was a new arrival to the country.

Art historian Kathleen Placidi has noted that Brown was able to claim this heritage without criticism because he came from Britain, like the predecessors of most New Englanders who made up the art-viewing public of the day. She further observes that, among this public, such nostalgic images as Scraping bolstered convictions that the nation was composed of two groups: those originating from Anglo settlers and embodying “true” American values; and those newly arrived Irish, Italian, Chinese and Eastern-European immigrants—frequently blamed, at the time, for the country’s ills.
John  George  Brown  Bears  Painting  Huntington  Los  Angeles  Whites 
4 weeks ago by dbourn
Kelly Marie Tran: I Won’t Be Marginalized by Online Harassment
I want to live in a world where children of color don’t spend their entire adolescence wishing to be white. I want to live in a world where women are not subjected to scrutiny for their appearance, or their actions, or their general existence. I want to live in a world where people of all races, religions, socioeconomic classes, sexual orientations, gender identities and abilities are seen as what they have always been: human beings.
Kelly  Marie  Tran  Whites  Racism  Star  Wars  Film 
8 weeks ago by dbourn
James Baldwin - An Open Letter to My Sister Miss Angela Davis (1970)
Or, to put it another way, as long as white Americans take refuge in their whiteness—for so long as they are unable to walk out of this most monstrous of traps—they will allow millions of people to be slaughtered in their name, and will be manipulated into and surrender themselves to what they will think of—and justify—as a racial war. They will never, so long as their whiteness puts so sinister a distance between themselves and their own experience and the experience of others, feel themselves sufficiently human, sufficiently worthwhile, to become responsible for themselves, their leaders, their country, their children, or their fate. They will perish (as we once put it in our black church) in their sins—that is, in their delusions. And this is happening, needless to say, already, all around us.
James  Baldwin  Angela  Davis  Blacks  Activism  Whites  Racism  Vietnam  War  1970  1970s 
9 weeks ago by dbourn
What the Provincetown AIDS Memorial Leaves Out
ven now, proper care is fully available only to those whom the aids activist movement comprised and represented: men from wealthy countries, themselves mostly middle-class, mostly white, mostly educated—the kind of men who refused to accept that something so terrible might just happen to them, who demanded that the government, the researchers, and the doctors do something. Most people, when faced with calamity, do not react with such outrage; most accept that their tragedies are but a ripple in the vast world ocean of tragedy.
Queer  AIDS  Health  Illness  Public  History  Provincetown  MA  Memorialization  Whites 
10 weeks ago by dbourn
White Gays and their Foci
Queers of color on Tumblr cast side-eye
Whites  White  Gay  Racism  Humor 
11 weeks ago by dbourn
Kondwani Fidel: How a young boy has been decaying in Baltimore since age 10: A Death Note
A list of things I’ve seen at funerals: fist fights amongst friends, family, and I’ve even seen a pastor get knocked out by a quick jab. Drunken fathers have jumped in the ground screaming, “I want to be buried with my son,” at burial sites. I even know of some people who committed suicide after losing a loved one. When anger has been bottled up for ages, anything is liable to take place.

I can’t count how many shoulders I cried on, nor the amount of people I lent shoulders to.

Everyone in my city knows someone who’s been murdered. Thousands of people are suffering from some type of mental anarchy that stems from violence. As I started to do research on violence and murder, the tragedies in Baltimore started to make sense.
Kondwani  Fidel  Blacks  Whites  Racism  Baltimore  MD 
12 weeks ago by dbourn
New Black Gothic
TOWARD THE END of Jesmyn Ward’s 2017 novel, Sing, Unburied, Sing, one of the narrators, a black teenager named Jojo, comes across “a great live oak […] full with ghosts.” “[W]ith their eyes,” the ghosts speak their violent deaths to him in unpunctuated prose:

He raped me and suffocated me until I died I put my hands up and he shot me eight times […] they came in my cell in the middle of the night and they hung me they found out I could read and they dragged me out to the barn and gouged my eyes before they beat me still.

This litany of brutal torture and death spans the history of black life in America. The ghosts’ attire, “rags and breeches, T-shirts and tignons, fedoras and hoodies,” brings together in a single Gothic image the brutality of slavery and Jim Crow–era lynchings and the more contemporary and familiar violence that claimed the lives of Trayvon Martin and Mike Brown. In the logic of the novel, Ward’s ghosts are “stuck” and unable to “cross the water,” the final transition in the Yoruba cosmology that also makes its way into Louisiana Voodoo culture. They are confined to the terrestrial realm, searching for “keyholes” of human misery and need through which they can slip into the lives of the living and amplify their suffering, while approximating a sort of half-life for themselves.

Ward’s award-winning novels are among a number of works, literary and otherwise, that rework Gothic traditions for the 21st century. As my graduate student Cynthia Snider has observed in my class on contemporary fiction and book prizes, Ward engages specifically the Southern Gothic tradition. In American literature, there is a long tradition of using Gothic tropes to reveal how ideologies of American exceptionalism rely on repressing the nation’s history of slavery, racism, and patriarchy. Such tropes are, as numerous critics have noted, central to the work of Toni Morrison.

But unlike in, say, Morrison’s Beloved, the spectral reappearance of America’s violent history in recent fiction is neither about recovery nor representation. Ward’s ghost tree does not recover the lost stories of the voiceless. For Ward, there is no buried trauma that must be converted into language for its victims to move on. Instead, racial violence has never gone away. It is indeed, as the ghosts are, at home with us. Ward’s ghosts speak to an ever-present and visible lineage of violence that accumulates rather than dissipates with the passage of time. Gothic violence remains a part of everyday black life.
Blacks  Horror  Racism  History  Literature  US  Arts  Whites 
july 2018 by dbourn
MIT and the Legacy of Slavery
The first class of the "MIT and Slavery" undergraduate research project ran in the fall of 2017, set in motion by MIT President L. Rafael Reif with Dean Melissa Nobles. As the research project continues over coming semesters, MIT is also conducting a community dialogue series that creates opportunities for shared discussions of the findings and our responses to the emerging research.

At this dialogue event, held on May 3, 2018, four MIT historians respond to community questions about the MIT & Slavery research project and share insights about the power of historical knowledge for making a better world.

The historians are Lerna Ekmekçioğlu, Malick Ghachem, Tanalis Padilla, and Craig Steven Wilder. Melissa Nobles, Dean of the School of Humanities, Arts, and Social Sciences, and a professor of political science, is the event moderator.
MIT  Slavery  History  MA  Cambridge  Whites 
may 2018 by dbourn

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