Showing 101 - 110 of 174 annotations tagged with the keyword "Racism"
Streetwise, smart, and tough Winter Santiaga is the "phat" and "fly" daughter of a Brooklyn drug kingpin, and is also the main character in this novel. She and her sisters, Lexus, Mercedes, and Porsche have grown up used to a life of luxury afforded by her father's protective but lavish attentions on them.
They are contemptuous of all but the best labels for clothes, perfumes, and shoes. Her mother dresses like a queen and, with her family, enjoys life in a beautiful house that Winter's father buys them in the suburbs. The life all comes crashing down around them when her father is arrested and locked up, and the government takes all the family's money and possessions.
Winter's younger sisters are farmed out to foster families and her mother descends into crack cocaine addiction. Sister Souljah, who in a move many critics call a serious misstep, casts herself in the novel as the moral compass, opens her home to Winter, who lives there for a while, listening to Souljah's messages of self-love and community building. Never buying the rap, Winter drifts from man to man, finally herself is arrested for drug related charges and winds up serving a 15-year sentence for having (as she says) "a bad attitude."
This beautifully written novel describes the death of Absalom Goodman of brain cancer and takes us into the lives and hearts of his family. The novel is written largely from the perspective of this dying husband of Gwen and father of Sonny and Rainey. In a semi-conscious state, Absalom alternates between memories of the past, psychic connections with his family members, sometimes delirious ruminations and what at times appear to be out of body experiences.
Throughout, one is immersed in a gripping drama of this working class black family and their efforts to overcome terminal illness, racism, poverty, inner city turmoil and the effects of the drug culture. One is caught up in anticipatory grief, identifying with the pain and unresolved questions of Gwen, Sonny and Rainey. The reader is moved by the love, the spirituality, the ultimate defeat of the streets and the continued hopes for the future.
Summary:A brief, but to the point description of Zora Neale Hurston's visit to the office of a white physician in the mid 1900's. In a very few words, she provides a description of blatant racism. Although referred by a white friend, Hurston is badly received by a white nurse and physician. Separated from the other patients, she is placed in a closet-like waiting area with soiled towels and uniforms. The physician shows significant lack of interest in this patient, examining her in a rushed and desultory manner.
Summary:Chamoiseau, a graduate student, arrives in Texaco, the illegal settlement above Fort-de-France, and is knocked unconscious by a rock. One volatile inhabitant has responded viscerally to the city official come to order the razing of his home. Others notice the coincidence between Chamoiseau's arrival and more positive events. Thus, in hope, and fear of police reprisal, they revive this "Christ," and bring him to Marie-Sophie Laborieux. In "the battle of her life" Texaco's founder begins to persuade the "Bird of Cham" to preserve her story and that of her people, to spare her town.
An insidious plague infests an isolated town in a land that suggests a location like Australia. Although the affliction is not fatal, the enigmatic epidemic is characterized by a discoloration of the skin, generalized malaise, and occasionally aching eyeballs. Its spread seems somehow linked to the lack of rain and the group of native "savages" who inhabit the harsh land outside the town.
Prejudice and paranoia are clearly greater threats to the townspeople than the relatively benign plague that has infiltrated the city. Rayner is a sympathetic and lonely doctor who finds himself caught between the residents of the town and the savages. When both he and his girlfriend, Zoë, develop the pathognomonic pigmentation of the plague, their lives acquire deeper meaning.
The novel ends with an army of soldiers originally intent on exterminating the savages instead withdrawing after the troops witness a mystical native ceremony. Rain clouds overhead are poised to unleash a deluge.
The story is told from the perspective of Julian, a recent college graduate who appears to be waiting for employment commensurate with his education; he lives at home with his solicitous widowed mother. The setting is the recently integrated South of the 1960’s. Events unfold during a ride on an integrated bus, in which all of the story’s complex relationships are played out: the vindictive, self-deluding dependency of Julian on his mother; the insightless yet well-intentioned doting of his mother, who is tied to the societal conventions in which she was raised; the condescension of "enlightened" whites toward blacks; the resentment of blacks toward well-meaning whites- all depicted with great skill and humor.
The crisis occurs in a confrontation between Julian’s mother and a black woman wearing the same hat, when the mother tries to give a penny to her counterpart’s child. In the incident, Julian’s mother suffers a stroke to which Julian is at first oblivious, being so consumed with fury at his mother’s (to him inappropriate) gesture to the child. When he realizes how disabled his mother is, Julian is overwhelmed with grief and fear; the extent of his self-deception is fully confirmed.
In these "narrative recollections" poet Gary Soto reflects on his Mexican American childhood in the ethnically mixed laboring-class neighborhoods of Fresno, California. His was a life lived at the margins--economic margins and cultural margins. In these recollections of family relationships, youthful mischief-making, farm and factory jobs, adolescent rebellion, and the transition to professional writing Soto subtly and humorously draws our attention to the discontinuities between the lived lives of Chicanos and Anglos.
"The Beauty Contest" describes how young Gary entered his younger half-brother in a playground beauty contest. "Strong build, a chipped tooth, half Mexican and half white--he might win, I thought." (43) Gary knows that only a lighter complexioned child could meet the Anglo standards of beauty that prevail. In fact, he has internalized those standards himself: " . . . we were awed by the blond and fair skinned kids in good clothes. They looked beautiful, I thought." We are led to infer that the Anglo contestants come from a world of comfort and parental attentiveness whereas Gary has been left on his own to tend to his brother while his parents are away at their work of manual labor.
In "Looking for Work" Gary wanted to imitate the Anglo families of the television programs that he continually watched. He tried to convince his siblings to wear shoes to dinner and improve their appearance so that "[w]hite people would like us more." (26) In "1,2,3," Soto reconstructs the shocking vindictiveness of an Anglo father after his young daughter falls off of a swing that is being pushed by Gary's Chicana friend, Rosie. Soto ends this piece, "I wanted to . . . explain that it was a mistake; that we also fell from the swings and the bars and got hurt . . . ." (15)
Soto foregrounds violence as an integral part of his childhood. The lead-off sketch, "Being Mean," recounts childhood pranks involving the setting of fires and abuse of pets. But this violence also included and was a response to verbal violence from others, such as being called "dirty Mexicans." (3) "Bloodworth" chronicles the evolution from fisticuffs--"all through elementary and junior high school, it was bob and weave, jab and stick" (95)--to the more controlled violence of the high school wrestling team.
Soto tells of his back-breaking farm laboring and factory jobs in "One Last Time" and "Black Hair." There is no romance in these episodes, "no grace" (124) in the miserable conditions, and no comfort. Rather, there is always the fear that he will forever have to "work Mexican hours, and in the end die a Mexican death, broke and in despair." (123)
The speaker remembers his childhood in which "[w]e were sentenced to watch / The rich on TV --." While the sitcom characters (the Donna Reed Show, Ozzie and Harriet) played golf, ate steak, and dressed fashionably, the speaker and his friends tried to relate the television lives to their own. The disparity between what they saw on television and what they saw every day at home was enormous, required a different dictionary: "While he swung, we hoed / Fields flagged with cotton . . . . "
The poet returns to the present. For many life is relatively luxurious--" Piano lessons for this child, / Braces for that one . . . . " But watch out--when there's a power failure and the lights go off " . . . in this town, / a storefront might / Be smashed, . . . And if someone steps out / With a black and white TV, / its because we love you Donna, / we miss you Ozzie."
Yoshino has written a book that is both treatise and memoir. Taking his cue from Erving Goffman's introduction of the term "covering" (in Stigma: Notes on the Management of Spoiled Identity), Yoshino writes from his own experience as a young gay Japanese American who is also a lawyer and scholar at Yale University. Covering, Yoshino proposes, is "to tone down a disfavored identity to fit into the mainstream" (ix). He identifies three historical and individual stages of dealing with disfavored identity: conversion, in which the individual and/or society try to transform an identity to render it more acceptable (for example, attempts to convert homosexuals into heterosexuals); passing, in which the individual hides the undesirable identity to a greater or lesser extent depending on circumstances; and covering, in which the individual openly acknowledges the undesirable identity but suppresses behavioral aspects of the identity that could draw unwelcome attention (for example, a gay male publicly holding hands with or kissing another gay male).
The author discusses these concepts specifically with relevance to his gay identity in part one of the book, detailing how he went through these three phases himself. Part two elaborates on racial and sex-based covering, and part three discusses Civil Rights and legal issues that surround covering. Yoshino argues that contemporary American society imposes covering on certain groups--gays, blacks, women, disabled people, Jews, Asian Americans--and ultimately in some manner on everyone. The bases for this imposition are pressures to conform and to assimilate. He identifies "covering axes: appearance ( . . . 'I own brown suede bucks'); affiliation ('I listen to National Public Radio . . . '); activism ('I do not mind how white television casts are . . . '); and association (' . . . I married a white woman')" (125).
Beyond that, according to the author, our laws and their interpretation by the Supreme Court "instruct the mainstream to ignore [difference] and the outsider group to mute it" (182). This is an inevitable result of the great pluralism of contemporary society--the courts cannot protect all separate groups that exist.
In the final chapter Yoshino proposes a new paradigm for Civil Rights: universal liberty (rather than equality among groups) based on "our common humanity." This paradigm would allow individuals to live "authentically" and in good psychological health. Yoshino invokes the concept of health proposed by theorist, D. W. Winnicott: living according to one's "True Self" while the "False Self" "is reduced to a 'polite and mannered social attitude,' a tool available to the fully realized True Self" (185).
Having previously described his seven years as a family practitioner in rural Minnesota (Healing the Wounds, Pantheon Books, New York, 1985) Hilfiker now has turned his attention to a decade in inner-city Washington, D.C., where he practiced what he calls "poverty medicine." These introspective essays are written in a style similar to that of his first book and detail the profound struggles of the overwhelmingly African-American community he serves and lives with.
Also examined are his and his family's battle to live with their white middle-class privileges in the midst of this impoverished community. This book very effectively alternates between the numerous stories of his personal encounters with patients and deeply reflective commentary about those encounters. Prescriptions are not offered other than that a new art of caring for the poor is needed.