ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊

𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ
Sub-item There There, Poem for class, Thingys of interest

Descripción Kuru Kuru~

Retake En progreso

We’re going to look at race and ethnicity as well as Race and ethnicity in the
>USA, from racial stereotypes to Racism and the ethnic/racial issues, ethnic
literatures.

Race and ethnicity are two major social categories that influence identity, power,
and social structures. Although they are often used interchangeably, they have
distinct meanings and functions in society.

What is ‘race?’
Race is a socially constructed category (as we already know racism is something
that has existed for years on end and still affects us nowadays even though not in
the same way as in previous years) based on perceived physical differences
(phenotypes). Sociologists emphasize that race is an externally imposed system
of categorization (meaning that we ‘categorize’ black people judging by whatver
criteria we had at the time) rather than an inherent or biological trait. Historically,

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 1

 race has been used to justify colonialism, slavery, and social hierarchies. Modern
science has debunked the biological basis of race, showing that genetic
differences among racial groups are minimal.
In humans, a phenotype refers to the observable characteristics or traits of an
individual. These traits result from the interaction of a person's genotype (their
complete set of genes) with the environment. Think of the genotype as the
blueprint and the phenotype as the actual structure built from that blueprint, with
some influence from the surrounding conditions.
Phenotypes in racial studies are skin color, also the shape of eyes, whether you’re
taller/shorter, if you go to the Netherlands, these physical differences are visible,
it’s not based on genetics, it’s based on visible, tangible aspects that people can
see the idea of race is permanent, this ideas is cosubstancial with our essence,
our race, our species etc etc, these differences can be real or imaginary, these
differences should be contextual , the idea is smth that’s put externally, it’s put by
others, the main difference with ethnicity is smth closer and it’s something that we
can come to identify with, thisis complicated becaiuse there is a lot of mixing and
there is no genetic evidence for these phenotypes (some examples to know where
you come from are DNA testing, where you can compare your phenotypes with
others), if we were to say that black was a race (race assmth biological) would
seem to say that a black horse is a different race form a white horse, horses are
still hore and homo Sapiens are still homo Sapiens. All these things are a relation
of the environment, race is an ida and it is a social construct that we have created,
the idea of race can be traced when it enters the dictionary, in the first place this
general idea of racism , the century where we can see discourses about race is in
the 17th century, we can relate it to capitalism developing,whivh is very closely
linked to the history of >America, race is mostly a product of colonialism
We also find justifications of this ‘white supremacy’, which is what people usedto
justify racism amids other subjects in the bible in real life, saying that black people
were inferiorin one way or another in the bible and from other things too, so the
enlightement and this stage we are moving further away from the strereotype, in a
way they are reeinforcing it. This idea of science as smth empirical, the process of
drawing conclusions, which allows the development of race and racism which
serveto justify this opression

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 2

 The conclusion that we draw from this text is that race isn’t a biological reality
even if it’s just a physical difference, but it has lots of effects on people (Read text
after this)
This text isused for a tool for colonization ‘Race is a term that’s used for the
classifications of humaan beings into genetically distinct groups, the notion of
race, for postcolonial studies are very distinct and they are transmitted through the
blood and then we have the pura arian citizens and the rest that are mixeed, we
start getting vocabulary like infection, domintaion etc etc, the other thing is that it
is presumed that this categories influence behaviour’
Beecause you’re black doesn’t make you more of a criminal, as it was previously
believed, the capacities that we have also allow us to classify the race depending
on what their qualities are (many studies that were done during that era actually
showed that people who were of color were inferior to those who were belonging
to the white race), race in the postcolonialis a very effective system to control and
dominate people, justifying the imperial enterprise.

We need to invent hierarchies in order to do so and this relies in postcolonialism,

this european race thinking values this hierrarchy abd it’s difficult to dislodge
because we can’t erase the term of racism (remember that at first this term didn’t
exist, it would later be implemented and used in later years), there are many
implicit biases in many cultures, some in more than others, the idea of physical
difference wasn’t seen as smth negative at first, since no one really noticed the
difference between the skin color that people had, but as time went by people
started using this term till it was coined into our vocabulary, because there is a lot
of evidence where color wasn’t a difference (before the 17th century which is one
of the first recordings where we have the word ‘Race’ in them)

Key Characteristics of Race:

It is externally imposed by society. ⇒ If we remember correctly the term ‘race’
was imposed by us humans around the 16th century which was when
colonization was starting to expand all around the world

It is used to classify and rank people into hierarchical groups.

It has been historically linked to colonialism, slavery, and racial

discrimination. ⇒ Some of these themes will later be mentioned on ohter

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 3

 aspects such are the fact that they used to justify racism and they would use it
to futher create morestereotypes as time goes by

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 4

 ‘Race’ is a term for the classification of human beings into physically, biologically,
and
genetically distinct groups. The notion of race assumes that humanity is divided
into
unchanging natural types, recognizable by physical features that are transmitted
‘through the
blood’ and permit distinctions to be made between ‘pure’ and ‘mixed’ races.
The term implies that the mental and moral behaviour of human beings, as well as
individual
personality, ideas, and capacities, can be related to racial origin. This is the origin
of racism. It
was created a pyramid that position white people on the top.

‘Racism’ is not so much a product of the concept of race as the very reason for its
existence.
Without the underlying desire for hierarchical categorization implicit in racism,
‘race’ would not
exist. The concept race would not be needed if there was not the need of
categorising people.
Racism is not a result of race .

What are the origins of each term?

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 5

 race originated within the terms of colonialism during the 15thcentury, even
though the termracewouldn’t really be used until approxiamtely the 17th century
where the word race started ti get used more when we refer ourselvesto the era of
colonialism, since before the 15the century there were eno distinctions of race (or
atleast they weren0t recorded yet, as the first recordings as mentioned before
were during the 16thcentury, the definition/conntoation of the term race initially
had a positive undertone, but as years went by and because WW2 started and
distorted the term of race further than it was already distorted so now the term
raceis used to refer ourselves to negative descriptions about someone for being
someway or smth like the style) (such are the origins of the word race which
comes from the initials of journalism and so on)
On other ocassions ethnicity comes from ww2, same as race at first ethicity was
initially thought to be with positive terms (as the term ‘ethnicity’ was gennerally
used when we are referring to a literary & cultural movement that happened during
the Harlem Reinassance period, which was usede to refer to, in words of the
people who started this literary movement to rfer to a group of united black
people, and create a black unified society without judgement, thatwas the original
idea that this movement haf), but as years passed by, and becaus of the influence
of WW2, the term of ethnicity generally went into darker spaces due to the effects
that racial sgregation had, so even though both terms started in a positive light
beecause of the criticism it revieved and the connotations it acquired nowadays
it’s seen as something negative
The term racism ⇒ Originally had good connotations, was first coined in 1646,
later the word ‘Race’ would spread to other languages and so on, but as time went
by the term ‘Race’ was started to be identified as smth negative (the term ‘Race’
has more negative connotations than ethnicity) race, as the text says got
‘compromised by it’s fascist abusers’
Ethnicity ⇒ Coined in 1772 and even though it was rarely used at first (during the
creation/beginning of the word in 1570, as it was described it was a rare
ocurrence) after WW2 it started to get commonly used (Ethnicity is typically seen
as smth more positive than Race, which is seen as something that’s more
negatively viewed, and therefore why the word ethnicity is much more used today
than race) Reminder: Race generally had a good meaning at first but as time went
by the term race started to veer into darker territorry

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 6

 According to Stephen Cornell and Douglas Hartmann in 1998 ethnicity and race
are different in
five different features:

1. Racial identity is typically externally imposed by outsiders, as when whites

created the
Negro race to homogenize the multiple ethnic groups they conquered in
Africa or brought
as slaves to America.

2. Race is a result of early globalization when European explorers

“discovered” and then
conquered peoples with radically different phenotypical traits.

3. Race typically involves power relations, from the basic power to define the
race of
others to the more expansive power to deprive certain racial groups of
social, economic,
or political benefits.

4. Racial identities are typically hierarchical, with certain races being

perceived as superior
to others.

5. Racial identity is perceived as inherent, something individuals are born

with.

What do they have in common?

Race and Ethnicity both have in commonthat they arose in 1772, but etchnicity is
seen in a much more positive was used more after WW2, due to fascist abusers,

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 7

 the first recording of race was in 1646 and it’s first meaning was a thing of
generation, as a lineage, of a group, in origin these two words originally had
positive connotations and they later mpoved from ‘positie to negartive’, so
originally it was positive but later it veered into negative, . Etnicity was obcure and
racce but later it was flourished again, we will later continue with this division but
we’ll later delve more into this Neither Markers nor categories are
opredetermined as biological factors
Ethnicity is defined as common ancestry which is based on cultural
attachements , religious affiliations, or some physical traits

Ethnicity vs. Race

Unlike race, ethnicity is based on cultural identity rather than physical
appearance. Ethnicity can include:

Language (e.g., Arabic, Spanish, Swahili)

Religion (e.g., Judaism, Islam, Hinduism)

Nationality (e.g., Irish, Chinese, Brazilian)

Cultural traditions (e.g., food, music, clothing)

While race is externally imposed, ethnicity is more self-determined. A person

may be categorized as “Black” but may identify ethnically as Jamaican, Haitian,
or Nigerian. Similarly, a person classified as “White” in the U.S. may ethnically
identify as Italian, Irish, or Ashkenazi Jewish.

Thus people who are racially categorized as black may possess a variety of ethnic
identities (mostly bcause of the DNA tests we know that there are a plethora of
ethnic identities) based either on African (as we may remember there was African
slave trade during those eras so it would not be surprising that there are people
who actually have mixed identities from one place and another place, which then
again can be prooven through a DNA test) national or cultural markers or the
newer, national sub-national or trans-national identities created through the mixing
of enslaved populations in the Americas

Race as “a human group defined by itself or others as distinct by virtue of

perceived common physical characteristics that are held to be
inherent….Determining which characteristics constitute the race… is a choice is a

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 8

 choice human beings made. Neither markers nor categories are predetermined by
any biological factors”, there are many differenes, between those who assigns
these? so we need a category to call them, a result of globalization the need to
call these peoiple something and then control, this is why race always holds power
relations, the whole notion of race is a unidirectional way, a hierarchichal
methodology
A minority group is any distinct group in society that shares common group
characteristics and
occupies low status in society because of racism, prejudice, and discrimination.
The group that assigns a racial or ethnic group to subordinate status in society is
called the dominant/hegemonic group. Agroup may be classified as a minority
based on ethnicity, race, sexual identity, age, religion, class

Minority groups are people who aren’t white and therefore ar mostly unfavored by
society or get pushed away because they are essentially different to what we are
used to seeing, they aren’t the majority of the population, this depends on many
factors as well, the divide us by many different categories, minorities depend on
what we choose is tha main too, the concept of discrrimination si important as
they are a group that doesn’t have the same amount of power as other groups (in
this case the white race)

Usa census
Mainly serves as some source where the input regaring population (number,
percentage and so on, including the different ethnicities that live within a country
is recorded), which is controlled and registered within the several diffrnt countries

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 9

 across the globe (especially in the US where it is fairly complicated to become a
citizen since they have standards for whar kinds of immigrants can come and
which cannot enter in the US, as well as a lot of paperwork that has to be done in
order to acces the US,especially when it comes to southern americans, southern
immigrants have a lot of stigma and it’s v), below we have the different immigrants
that live in the USA

White: A person having origins in any of the original peoples of Europe, the
Middle East, or North Africa.

Black or African American: A person having origins in any of the Black racial
groups of Africa. [Consider heritage of enslavement vs. newer arrivals:
hyphenated-Americans of African origin.]

American Indian or Alaska Native: A person having origins in any of the

original peoples of North and South America (including Central America) and
who maintains tribal affiliation or community attachment.

Asian: A person having origins in any of the original peoples of the Far East,
Southeast Asia, or the Indian subcontinent, including (for example) Cambodia,
China, India, Japan, Korea, Malaysia, Pakistan, the Philippine Islands, Thailand,
and Vietnam.

Native Hawaiian or Other Pacific Islander: A person having origins in any of the
original peoples of Hawaii, Guam, Samoa, or other Pacific islands.

Some Other Race: people who do not feel identified by these categories, as
we can very clearly see there is a lot of classification depending on skin color,
nationality, which could be seen as a example of institutional racism

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 10

 Then again, in the US
there are many
different ethnicities
(remember the
immigration rates that
existed in the USA) that
exist within the US
territorry (some of
these come already
from colonial times and
after the independence
of the USA as well,
meaning that they
aren’t really ‘native’ to
the american teritorry
as such), but many
people who don’t like
this argue that in the
end the US will have no
‘native’ people who
actually come from the
country and will mainly
consist of immigrants
that have arrived in the
US for x reason (most
likely the reason for
this would be that in
their countries the
standards of living are
below average
therefore why they
come to other
countries in hopes of
finding a better life)⇒
which in a way this

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 11

 type of thinking comes
to say that these
themes actually
contribute to the
ideology of white
supremacism

As we can see in the next image there is an astounding change in numbers

between native population and the immigrant population (In the first dominant
group there are the white people, or in other words the percentage of American
citizens that live in the USA and in the second group, which the dominant race can
be considered the people that beelong to other ethnic groups that reside within
the USA)

Ethnicity determines whether a person is of Hispanic origin or not. Ethnicity is

divided into two exclusive categories: Hispanic // Not Hispanic
Hispanic origin ⇒ the word ‘Hispanic’ may not mean what we are used to hearing
when we talk about someone who has these origins as they ar typically viewed
throughout the heritage, nationality, lineage, or country of birth of the person

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 12

 accordinf to the US (or the person's parents/ancestors) before arriving in the
United States.
Race and ethnicity are independent of each other. Both Hispanics and non-
Hispanics may report as any race or combination of races. In addition, categories
of race include national origin or sociocultural groups.
According to the data the country is more mixed with a population racially and
ethnically diverse. The most prevalent racial or ethnic group for the United States
was the White alone non-Hispanic population at 57.8%. This decreased from
63.7% in 2010.
The Hispanic or Latino population was the second-largest racial or ethnic group,
comprising 18.7% of the total population. The Black or African American alone
non-Hispanic population was the third-largest group at 12.1%.
People with near ancestors who comes from other country do not consider
themselves as African American but as for example Kenyan American. Having
close family members who have experience other countries culture makes it
easier to feel part of this community. Normally people referred as African
American have slaved ancestors making it impossible to feel part of othercountry
culture or tradition.

Great replacement theory

The great replacement theory is a theory where it is argued that the natve
population within the USA, that bcause of the great influx of migrants that exists
within the USA, the native population will be overpowered by what the people
consider it to be the extinction of the native people within the USA, however this is
a stereotype which was created because of the amount of migrants that were
coming to the USA
Americans, during the 18th-19th century believed that the indians (or in other
words, native Americans) were in the USA (this arises because of the immigrant
that was arriving in numbers where the USA couldn’t handle it so the conspiracists
started inventing theories as to how these influx and the non-native people that
arrive to the USA would end up making those who were native to the USA go
extinguished and that the population in the USA would reduce to the vast majority
being migrants from other countries) just to slowly replace the europeans that

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 13

 were living there at that time (also implying that the indians would take over
america), this theory still exists nowadays and it’s considered a harmful stereotype
toward the native population that lives within the Americas.
Many immigrants from other countrieswithin several american states and people
fear that the immigrants will eventually take over the USA (and this theory is also a
white supremacist ideology), therefore why it sprouted from there, so this sprouts
from an irrational fear of getting replaced by immigrants

The "Great Replacement Theory" is a dangerous idea that some people in the
United States believe, this theory is not based on facts and has been used to
justify violence and discrimination against certain groups of people.
The theory claims there's a secret plan to replace white people in the United
States with immigrants and people of color. This plan is being orchestrated by
powerful people who want to change the country's demographics and culture.
White people are losing their majority status and will eventually become a minority
in their own country. ⇒ This mainly arose due to immigration problems that
previously existed within the USA especially during the eras where there were
massive migration waves
The theory is often promoted by white supremacist and far-right groups, who use
it to stoke fear and hatred of immigrants and minorities. They argue that these
groups are being brought into the country to undermine the power and influence
of white people.

A census is when the government/institution that reigns , the government orders

the recopilation of the percentage of population that is an immigrant in a specific
census whilst the othr part of the population (those who were born here), are kept
in a separat record and joining both records togeether we have the total amount of
people that are within a country registered. A census appart from registering the

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 14

 total amount of population, it can also record the amount of population in % that
are from another race/ethnicity, normally, as we will see in previous images we
can deduce the amount of immigrants that there ar in a country according to the
population that we have in the country
In Spain, weirdly enough the influc of migrants isn’t recorded because of various
reasons, so we don’t know that many different races or the different cultures,
amidst other reasons one woud be that they’d have to send their census to the
European Union and have to pay taxes justto hav the migrant influn that exists
inspain within the European Union

Notes Tuesday :3
Stereotypes are an oversimplified and subjective beliefs about a member of a
social group, when we get into racial stereotypes, salience is what sticks out to us,
depending on our culture and our place something will stick out to us or not,
salience is determined by our own culture. "Salience" is a word that means how
noticeable or important something is. So, when we talk about "salience" in
literature and ethnicity, we're looking at how much an author makes a character's
ethnicity stand out, and why
Racism is a racial stereotype which is connected to race or ethnicity to this idea
marked by predjudices, so these they allow us to devalue them, make them
socially and culturally inferior, racism is typically negative and it serves to justify
the stereotypes

Stereotypes are oversimplified and generalized beliefs about a group that a

collective places on individuals without any motive of any sorts and these
beliefs are placed forcefully within a group of individuals.

Example: The stereotype that “Asians are good at math” ignores individual
differences and creates unfair expectations. ⇒ later explained within Fanon’s
philosophy

Racial Stereotypes are often based on salient (obvious) physical traits, also
known as phenotypes, which are seen as the physical differences that an
individual may have, as we have explained beforehand in this unit , meaning
people tend to categorize others by what they notice first (e.g., skin color)
and they also tend to make fake assumptions by other obvious physical

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 15

 traits/behavior etc etc, such as the stereotype that black people are more
prone to stealing something from someone just because of the way that they
look.

So you want to talk about race (book)

Published after trumps first presidency, one of the main accusations is identity
topics, what she says is basically the basic accusations that make everything
about race, what Oluo is saying is that it’s not only one thing but they are about
several factors, what she says is that It is about race when a person of color thinks
about race because it’s their opinion, it is about race when it affects other people
who are of color, the fact that you have a problem then it is also about race, it is
also about race when for example, an employee follows a employee just because
they are of color

3. FROM RACIAL STEREOTYPES TO RACISM

Different types of racism (examples seen in class)
Traditional ⇒ is also sometimes called old-fashioned racism or Jim Crow
racism. It's the kind of overt racism that was common in the United States in
the past, such as segregation and discrimination,typical KKK, abuse, people
being left out, being pushed on the line etc etc.

Aversive ⇒ Typical ‘Nono,I’m not racist as I have a black friend’. is a more

subtle form of racism, but still . People who are aversive racists may not be
aware of their own biases, but they may still discriminate against people of
color in subtle ways.

Laissez-faire ⇒ letting racism happen, not getting involved or difusing a

situation is a type of racism in which people do not actively support racist
policies or practices, but they also do not actively oppose them. This can lead
to a situation in which racism is allowed to continue

Institutional (eg. racial profiling) ⇒ State/government have racism (like f.e

stopping more people who are of color rather than white). Racism that is
embedded in the institutions of society, such as the government, the
education system, and the criminal justice system. Institutional racism can

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 16

 lead to disparities in outcomes for people of color, even if no one is
intentionally trying to discriminate against them.

Everyday (microaggressions) is the kind of racism that people of color

experience in their daily lives, such as microaggressions. Microaggressions
are subtle, often unintentional, acts of discrimination

Internalized is when people of color internalize negative stereotypes (the

philosophy that Franz Faon has and how he is determined to change this in
order to make Black people more comfortable about their appearance and
their customs, Fanon essentially teaches them to embrace their customs and
leave aside white stereotypes) about their own race. This can lead to feelings
of self-hatred and low self-esteem. ⇒ what Fanon talks abt

Colorism is discrimination against people with darker skin tones, even within
the same racial group.

Color-blindness is the belief that everyone should be treated the same,

regardless of their race. While this may seem like a positive goal, it can
actually be harmful because it ignores the fact that racism still exists.

Othering is the process of treating people who are different from us as if they
are not fully human. This can lead to discrimination and violence.

Examples of Racist Incidents

Trump’s 2017 comment: "Mexico is sending criminals and rapists" (Traditional
racism).

Tyre Nichols' case (2023): Black police officers involved in the killing of a
Black man (Institutional racism).

9-year-old Black girl reported to police for killing insects (Racial profiling).

L.A. City Council scandal (2022): A politician referred to indigenous migrants

as "short and ugly" (Colorism and xenophobia).

Despite there being a generally clear theme in here there is more than one type of
racism

What is privilege?

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 17

 Privilege is unearned access or advantages granted to specific groups of people
because of their
adscription to a specific social group. Privilege can be based on a variety of social
identities such
as race/ethnicity, gender, religion, socioeconomic status, ability status, sexuality,
age, education
level and more
It’s his idea that you have a benefit in comparison to others, it can be compred to a
veriety of things because of adscription to a specific social group, when we
identify where our privelege intersects someone else’s opression

Racial and ethnic privilege is like having a hidden advantage or benefit based
on your race or ethnicity in a society where certain groups are valued more
than others. It's not something you've earned or asked for, it's just there.

Race and ethnicity are just two things that can bring privilege. Think about it
like this: someone who is considered "white" in a Western country might find it
easier to find jobs or housing compared to someone who is seen as "Black" or
"Asian," because society often gives preference to the dominant group. This is
an example of racial privilege.

"What about MY privilege?" It's not about feeling guilty or bad about having
privilege. Instead, it's about recognizing that it exists. Like the quote says,
when we realize how our privilege connects with the struggles of others, that's
when we can actually start making things better and fairer for everyone.

Different forms of privilege: Privilege isn't just about race or ethnicity. It can
also be about things like your gender, religion, how much money your family
has, your abilities, and even things like your age or education. And it's
important to remember that privilege can change depending on the situation or
where you are.

Franz Fanon
As well as being a Marxist, Fanon is known as a radical humanist thinker on the
issue of decolonization and the psychopathology of colonization.

His works have incited and inspired anticolonial liberation movements for more
than four decades.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 18

 His service in France’s army (and his experiences in Martinique) influenced
Black Skin, White Masks (1952). It is an approach to the psychology of
racism. It explains the mental processes black people undergo under the
conditions of white rule and its perverse effects.

Born in Martinique, under French colonial rule.After France fell to the Nazis in
1940, Vichy French naval troops were blockaded on Martinique. Forced to
remain on the island, French soldiers abused the Martiniquan people. This
racist situation influenced Fanon, reinforcing his feelings of alienation and his
disgust with colonial racism. When he was eighteen, Fanon fled the island as a
”dissident” and traveled to British controlled Dominica to join the Free French
Forces. He fought in North Africa and France. After qualifying as a psychiatrist
in 1951, Fanon did a residency in psychiatry at Saint-Alban under the Catalan
psychiatrist François Tosquelles, who invigorated Fanon’s thinking by
emphasizing the role of culture in psychopathology. He supported the Algerian
struggle for independence and joined the Algerian National Liberation Front.
Fanon did not live long enough to see the independence of Algeria, for he died
of leukemia

The fact of blackness ⇒ From book (there is a chapter, so it’d be

useful to read it)
“I was responsible at the same time for my body, for my race, for my ancestors. I
subjected myself to an objective examination, I discovered my blackness, my
ethnic characteristics; and I was battered down by tom-toms, cannibalism,
intellectual deficiency, fetichism, racial defects, slave- ships, and above all else,
above all: 'Sho’ good eatin’.”
"On that day, completely dislocated, unable to be abroad with the other, the white
man, who unmercifully imprisoned me, I took myself far off from my own
presence, far indeed, and made myself an object… All I wanted was to be a man
among other men” (Fanon 112)

Internalization: Fanon talks about how Black individuals internalise the racist
ideas imposed on them, leading to a sense of inferiority. This though, can lead
to a fight for recognition: “there remains only one solution: to make myself
known.” The struggle becomes not just about being seen, but being known on
one's own terms, not through the filter of racist myths.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 19

 Acceptance of race as an identity factor, but not as a totalizing one. The
individual must fight against the limiting definitions imposed by a racist
society, meaning that he has to identify which terms are based on racism and
which aren’t, or in other words, accepting his native identity and what comes
with the acceptance of that identity, such as customs that may come amidst
other stuff.

Body as a battleground: His physical appearance marks him out as different,

and that difference is filled with racist assumptions: savagery, illiteracy,
primitivity, etc. The mere presence of a Black teacher or doctor was a moment
of “wonder” for white society because Black people were seen as exceptions
to their stereotypes, not individuals.

“Negroes are savages, brutes, illiterates. But in my own case I knew that these
statements were false. There was a myth of the Negro that had to be destroyed at
all costs. The time had long since passed when a Negro priest was an occasion
for wonder. We had physicians, professors, statesmen. Yes, but something out of
the ordinary still clung to such cases. ‘We have a Senegalese history teacher. He
is quite bright. . . . Our doctor is colored. He is very gentle.’ It was always the
Negro teacher, the Negro doctor” (Fanon 117).

He wants to destroy the “myth of the Negro” as savage, illiterate, etc., which
portrays Black people as backward or inherently inferior. He illustrates this
through the reductive ways in which Black professionals are spoken of: a
“Negro doctor” is not just a doctor, but a token of racial progress, always
framed by their race.

“Black Magic, primitive mentality, animism, animal eroticism, it all floods over me.
All of it is typical of peoples that have not kept pace with the evolution of the
human race. Or, if one prefers, this is humanity at its lowest. . . Yes, we are—we
Negroes—backward, simple, free in our behavior. That is because for us the body
is not something opposed to what you call the mind. We are in the world” (Fanon
126-127).

Alienation: Fanon because of the white stereotypes feels alienated to conform

with the standards that have been posed by the white society and he tries to
find ways to break away from the standards and become someone who isn’t
defined by the standards (self-made negro man???? idk for sure) touches on
the alienation Black people feel as they are exoticized and stereotyped by

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 20

 white society: they are seen as either "primitive" or "eroticized," and their
minds and bodies are seen as less developed or “backward.”

Not the “childhood of mankind”, not Rousseau’s “good savage": Fanon

rejects the idea that Black people represent the “childhood of mankind,” a
reference to the idea of the “noble savage” popularized by philosophers like
Rousseau. He critiques the notion that Black people are closer to nature or
innocence in a condescending way, as it still implies inferiority and a lack of
development.

Summary of Franz Fanon’s philosophy

Frantz Fanon: Black Identity and the “White Gaze”

Fanon argues that Black identity is shaped by racism.

“Double Consciousness” (W.E.B. Du Bois): Black people see themselves

through the eyes of White society, leading to internalized oppression.

Example: Barack Obama’s memoir, Dreams from My Father, discusses his

struggle to balance his Black and White heritage.

Modern Identity Struggles

Blackness and Whiteness are socially constructed categories.

Example: Someone considered "White" in Brazil might be considered "Mixed"

in the U.S.

Ethnic and racial studies.

Ethnic and racial studies are the interdisciplinary field of study of race and
ethnicity, as understood
through the perspectives of major underrepresented racial groups in the United
States. Started in the 1960s, it focuses on the sociocultural, intellectual, and
historical experiences that inform the
construction of racial, gender, and cultural identities. It can be studied in the
following fields:

• History.
• Literature.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 21

 • Sociology and political science.
• Gender studies.
• Cultural studies.
• Postcolonial studies.
• Anthropology.
• Law and criminal justice

WHAT IS ETHNIC LITERATURE?

Ethnic literature refers to works by authors whose cultural, racial, or ethnic
backgrounds have often been marginalized or excluded from the dominant literary
tradition, which in the United States has historically centered around white authors
and perspectives. Rather than fitting neatly into the mainstream literary canon,
these writers bring voices, experiences, and perspectives that have been
considered "other"—that is, different from and often outside of what has
traditionally been upheld as the norm in literature.
The writers included under the umbrella of ethnic literature often come from
communities that have faced systemic underrepresentation, including African
Americans, Latinx and Chicano/a writers, Asian Americans, Native Americans,
Arab Americans, and Jewish Americans. Their work explores issues central to
their identities and communities, which makes ethnic literature not just a category
of authorship but a vital means of exploring cultural history, identity, and
resistance.
Within this broad category, there are several specific areas of academic and
literary focus. These include black or Africana studies, which focus on the African
diaspora and black experiences; Latinx studies, which explore the complexities of
Latin American heritage in the U.S.; Asian American studies, which look at the
diverse stories of people with Asian roots in America; and Native American
studies, which consider the histories and contemporary realities of Indigenous
peoples. Other areas like diaspora studies, migration studies, and transnational
studies reflect how movement, displacement, and global identity shape ethnic
literature. Arab American and Jewish studies similarly examine the specific
cultural, historical, and political experiences of those communities within and
outside the U.S.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 22

 Ethnic literature doesn't just portray experiences of race and identity—it actively
engages with them. Often, race is not simply a background detail but a central
force shaping characters’ lives, choices, and challenges. Literature becomes a
form of resistance here, a way of pushing back against racist ideologies and
offering alternative narratives that reclaim identity, dignity, and cultural memory.
Moreover, it challenges the dominant ways literature has traditionally been written,
read, and interpreted. Ethnic literature invites readers to move beyond the
boundaries of the white literary framework and to adopt a broader, more inclusive
understanding of what literature can be and whose voices it should include.

Focuses on authors whose identities have been historically framed as “other” to a

predominantly
white canon and/or have been under-represented within that canon. These are:
African Americans,
Latinxs / Chicanos/as, Asian Americans, Native Americans, Arab Americans, and
Jewish
Americans.
The subfields are black studies (or Africana), Latinx studies, Asian American
studies, native
American studies, diaspora studies, migration studies, transnational studies, Arab
American
studies, and Jewish studies.
Race in literature is sometimes set at the centre of cultural life but literature is a
way of
resistance against racism. The literary and ideological communities have different
modes of
representation, different motivations behind those representations, and different
tensions in racial
thought. To understand, we need a more expansive understanding of literary
history beyond the
white framework.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 23

 Unit 2
Bering Bridge theory
This is a theory that essentially says (according to studies that were made during
the era and that were continued nowadays) there was a piece of land that
connected both northern and southern America, also known as the Bering Bridge
theory where natives, when they had to cross territorries between the northern
and the southern territorries, where there was supposedly a small piece of land
(nowadays we don’t know what happened to that small piece of land, but we
assume that it went underwater), recent studies have shown that there are
instances of boats being used to travel to america, but some people argue that the
theory isn’t true and they try to explain it thrpugh other ways, but we still have
doubts on wether this theory was something that actually happenned
The Bering Land Bridge: Connecting Continents

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 24

 According to the traditional theory, people living in Asia at that time were able to
walk across this land bridge into North America. They were hunter-gatherers,
following animal herds and searching for new resources. Over thousands of years,
they gradually migrated eastward, eventually populating the entire American
continent.
The map shows different aspects

Timeframes: The image shows that the land bridge was exposed at
different times, with the largest area appearing around 21,000 years ago.

Migration Routes: The image includes arrows showing the possible routes
people took as they migrated across the land bridge and southward into the
Americas.

Alternative Theories: The image also mentions that there are other
theories about how people first arrived in the Americas, including the
possibility of coastal migrations by boat.

While the Bering Land Bridge theory is widely accepted, it's not without its
challenges. Some scientists argue that the land bridge may not have been open
long enough for people to cross, or that the environment may not have been
suitable for supporting human populations. Additionally, many Native American
groups have their own creation stories that don't align with the Bering Land Bridge
theory.
Scientists are still actively researching the peopling of the Americas, using a
variety of methods including archaeology, genetics, and linguistics. While the
Bering Land Bridge theory remains a strong contender, there are still many
unanswered questions and ongoing debates.

Scientists have been looking at things like old tools and where people used to
camp to understand how they might have gotten here. One idea that many
scientists think is possible is that people walked across a piece of land that once
connected Asia and Alaska. It's like a bridge that's now gone. They think these
early people might have been following animals or looking for new places to live.

Over time, these people spread out, built amazing civilizations, and created unique
cultures. Think about the Inca in South America or the Maya in Central America –
their histories are filled with incredible stories!

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 25

 But here's where it gets interesting. Not everyone agrees with this "land bridge"
idea. Some Native American communities have their own stories about how they
came to be here, stories that have been passed down through generations. They
believe that their ancestors have always been on this land, or that they arrived in
other ways, maybe by sailing across the ocean.
Some Native Americans feel that the "land bridge" theory doesn't accurately
represent their history. They believe it simplifies their origins and potentially
excludes important aspects of their culture. They are concerned that this theory
overshadows their own understanding of their history, and that their perspectives
are not being given enough attention.
So, what's the real story? Well, it's still a mystery! Scientists are still finding new
clues and learning more about the past. Maybe one day we'll have a clearer
picture, but for now, it's a bit like trying to put together a giant puzzle with some
pieces missing.
But one thing's for sure: it's a reminder that history isn't always simple. There can
be many different ways of understanding the past, and it's important to listen to all
the voices and stories, especially those that have been ignored or forgotten. The
story of the first Americans is still being written, and everyone has a chance to be
a part of it!

Explanation as to how the Europeans judged the Amerians

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 26

 The passage you've shared discusses how early European explorers tried to
understand the origins of Native Americans by relying on the Bible.
Here's why:

Limited Perspective: The Bible offered a specific historical timeline and

lineage that didn't align with the diverse histories and origins of indigenous
peoples in the Americas.

Misinterpretation: The explorers misinterpreted biblical texts to justify their

belief in European superiority and the idea that Native Americans were
"primitive" or less civilized.

Ignoring Indigenous Knowledge: This approach disregarded the rich and

complex oral traditions, histories, and origin stories of Native American tribes
themselves.

Dominant science: Ewen is talking about the mainstream scientific thinking of

a particular time, likely in the past.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 27

 Concept of superiority: This refers to the idea that one group of people is
better than another based on race, ethnicity, or other factors. Sadly, some
scientists in the past used their work to try and prove that certain groups were
superior, often with flawed studies and biased interpretations.

Believed in: This highlights that it wasn't just a few individuals with these
beliefs. Racist and discriminatory ideas were embedded in the way science
was conducted and interpreted.

Justification of the white superiority ⇒ probably important

Genetic inferiority or stages of civilization: Some scientists thought that
Native Americans were either biologically inferior or less "advanced" in terms
of their cultural development. These are both racist ideas that have no basis in
reality.

"Primitives": The passage mentions that some scientists viewed Native

Americans as "primitive," which is a derogatory term that implies they were
less civilized or sophisticated than Europeans. This is simply not true. Native
American cultures were incredibly diverse and complex, with rich histories and
traditions.

Bering Strait: Because they didn't believe Native Americans could have
navigated the oceans, these scientists concluded that they must have traveled
to North America by land, crossing the Bering Strait from Asia. While the
Bering Strait theory is supported by some evidence, it's important to
remember that it's not the only possible explanation and that Native American
origin stories often include other possibilities.

The most popular theory, for a long time, was that people walked across the
Bering Land Bridge from Asia. Imagine a time when sea levels were much lower,
and you could actually walk between continents! That's how many scientists
believe the first people made their way to North America.
But, recent discoveries have made this story much more interesting and complex.
For example, there's evidence of people using boats to travel across the Pacific
Ocean even during these ages where people supposedly didn’t know about things
like this.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 28

 The truth is, we don't have a complete answer yet (this theory is still being
debated so we cannot really know for sure). The variety of ancient cultures (as
we already know from remains in america there were many different people and
variety of cultures/societies) and settlements found across the Americas suggests
that people arrived from different places and at different times. It's like a big
puzzle that scientists are still trying to solve!
The image also gives us clues about how long people have been in the Americas.
For instance, it mentions early agricultural settlements around 200 BCE, which is
over 2,000 years ago! That means people were already building communities and
growing crops in the Americas a long, long time ago.
And, in the Southwest, there's evidence of an agricultural society between 900
and 1500 CE. It shows that people weren't just wandering hunters, but were
developing complex societies with farming, art, and probably even governments.
Plus, there are traces of a unique culture near the Mississippi River from around
800-1000 CE. This tells us that different groups of people were developing their
own ways of life and creating their own distinct cultures all over the Americas.

Indigenous people before the 16th c.

These diverse peoples didn't identify as "Indians, they were all part of different
indigenous tribes" That label was imposed upon them by European colonizers.
They possessed their own distinct names, often translating to "The People" or
"The First People," reflecting their deep connection to their communities and
lands.
indigenous communities formed a vast network of interconnected groups, each
maintaining its own distinct identity while sharing common cultural elements.
Social structures varied greatly across Indigenous societies. Gender roles were
often more fluid and egalitarian than in European cultures. Women frequently held
positions of power and influence, participating in governance and decision-
making. Some societies were matrilineal, tracing lineage through the mother's line,
while others were patrilineal, tracing it through the father's.
Traditional narratives often depict warfare and hunting as primarily male domains.
However, recent evidence challenges this assumption, revealing that women also
engaged in hunting activities. Warfare served various purposes, including

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 29

 demonstrating strength, asserting identity, and resolving conflicts. Diplomacy and
trade also played significant roles in intergroup relations.
Spirituality ⇒ several gods, so they didn’t believe only in on god, these genereally
permeated all aspects of Indigenous life. They believed that all elements of the
universe, from rocks and wind to thunder and celestial bodies, possessed a spirit.
This animistic worldview emphasized interconnectedness and respect for the
natural world. Rituals and ceremonies served as conduits for accessing spiritual
power and maintaining balance within the community and the cosmos. Failure to
uphold these spiritual obligations could have dire consequences, such as famine
or illness.
In essence, Indigenous societies before the 16th century were incredibly diverse
and complex, with rich cultural traditions, sophisticated social structures, and
profound spiritual beliefs. They were not a monolithic entity but rather a mosaic of
distinct nations, each with its own unique identity and contributions to the vibrant
tapestry of human history. (Img below is self-explanatory ig)

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 30

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 31
 Spain: "Doctrine of Discovery & Occupation" (late 15th century)
This framework was based on the idea that Christian rulers had a God-given right
to claim lands inhabited by non-Christians. The justification stemmed from papal
decrees, essentially official pronouncements from the Pope, the head of the
Catholic Church. These decrees granted Christian monarchs the authority to take
possession of territories inhabited by people who were not Christian, provided
these lands were not already under the control of another Christian ruler.
The concept of "occupation" further solidified this claim. It meant that simply
"discovering" a land was not enough; the conquering power had to actively take
control, settle, and establish their authority in the territory. This included
establishing governance, exploiting resources, and imposing their culture and
religion.

Spain: Doctrine of Discovery (late 15th C.): the pope granted right to Christian
royalty to claim lands of non-Christians still unconquered by other Christian

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 32

 crowns.
Mass enslavement, torture, murder → Bartolomé de las Casas: Indians were
capable of voluntary conversion
France and England: "Right of Conquest" (late 16th century)
This framework emphasized the importance of military dominance followed by
actual possession. The idea was that merely defeating a people in battle was
insufficient to claim their land. A conquering power had to demonstrate effective
control by occupying the territory and establishing a lasting presence. This
included building settlements, establishing defenses, and implementing systems
to extract resources.
The notion of "legitimate" possession meant that the conquering power had to
demonstrate that they were actively using and benefiting from the land. This often
translated to the exploitation of natural resources, such as minerals, timber, and
agricultural products. The idea was that if a conquering power was not actively
using the land, their claim to it was not fully valid.
France and England: Right of Conquest (late 16th C.): Claiming a territory was not
enough, a crown had to occupy and defend new lands to possess them
”legitimately”
Canada: Indian Act / Loi sur les Indiens
This framework pertains to the legal status and rights of Indigenous peoples in
Canada. It established a system of governance and control over Indigenous
communities, defining who was considered an "Indian" under Canadian law. One
of the key aspects of this legislation was its imposition of a patriarchal system of
descent.
Prior to this Act, many Indigenous communities followed matrilineal systems,
where lineage and identity were traced through the mother's line. The Indian Act
disrupted this tradition by defining Indian status primarily through male lineage.
This meant that a person could only be recognized as an "Indian" if their father
was registered as such. This had significant consequences for Indigenous women
and their descendants, often leading to the loss of status and rights within their
own communities.
These frameworks, while presented as legal justifications, were fundamentally
used to legitimize the exploitation, displacement, and oppression of Indigenous

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 33

 peoples in different parts of the world. They represent a history of power
imbalances and the imposition of foreign systems of law and governance on pre-
existing societies.
A matrilineal system is a way of organizing families and societies where lineage, or
family ties, are traced through the mother's side of the family
Essentially, it means that the mother's line is the most important for determining
family relationships and inheritance. There are many different ways that matrilineal
systems can work, and they have existed in various cultures around the world.

Harmful stereotypes
Virgin land
Tryiung to understand cultures by their myths their literatures etc etc, this myths
relate to manifest destiny and they can be traced back to anglo-american tribes,
the puritan beliefs were later secularized meaning that you didn’t have to oficcialy
believe in them which turned into manifest destiny, the idea of being a city upon a
hill is the idea that they have been chosen by god and that they are shining upon
the rest europe is corrupt and they are god’s chosen etc etc, manifest destiny
serves to bring advancement to the world which is later turned to american
exceptionalism because certain rules don’t apply with them, virgin land is the idea
of ariving in this place and that place being empty of people, like they can
reestart.
The myth of the virgin land is a term used to describe the belief that the Americas
were a vast, empty wilderness before the arrival of Europeans. This myth has
been used to justify the colonization and displacement of Indigenous peoples, as
well as the exploitation of natural resources.
The myth of the virgin land is based on the idea that Indigenous peoples did not
actively manage the land and were therefore not entitled to it. This idea is false.
Indigenous peoples have been living in the Americas for thousands of years and
have developed complex systems of land management, including controlled
burns, terracing, and crop rotation. These practices have helped to create and
maintain the biodiversity of the Americas.
The myth of the virgin land is also based on the idea that Indigenous peoples were
nomadic and did not have permanent settlements. This idea is also false.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 34

 Indigenous peoples have built cities, roads, and other infrastructure. They have
also developed complex systems of governance and trade.
The myth of the virgin land has had a devastating impact on Indigenous peoples. It
has been used to justify the loss of their land, their culture, and their lives. It has
also been used to justify the ongoing discrimination and oppression of Indigenous
peoples.
It is important to remember that the myth of the virgin land is a myth. It is not
based on facts. Indigenous peoples have been living in the Americas for
thousands of years and have developed complex systems of land management,
culture, and governance. We must recognize the truth about the history of the
Americas and work to repair the damage that has been done.

The noble savage

Simpler definition:

The noble savage trope is a concept in literature and media that idealizes
indigenous or non-Western peoples as pure, innocent, and uncorrupted by
civilization. This portrayal often emphasizes their connection to nature and a
perceived moral superiority over industrialized societies, suggesting that they
possess an innate wisdom and goodness that is lost in modern life. While the trope
can seem positive, it oversimplifies complex cultures and perpetuates
stereotypes, failing to recognize the agency and diversity of these communities.

The "noble savage" is a stereotype that was used to describe indigenous people.
It is based on the idea that people who live in nature are more pure and good than
people who live in cities. This is a harmful stereotype because it ignores the
diversity and complexity of indigenous cultures.
The term "noble savage" was first used by the French philosopher Jean-Jacques
Rousseau in the 18th century. Rousseau believed that people were naturally good,
but that they were corrupted by society. He saw indigenous people as being
closer to nature, and therefore less corrupted by society.
However, the idea of the noble savage is a myth. Indigenous people are just as
diverse and complex as any other group of people. They have their own unique
cultures, traditions, and beliefs. To lump them all together as "noble savages" is to
ignore their individuality.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 35

 The stereotype of the noble savage has been used to justify the oppression of
indigenous people. It has been used to argue that indigenous people are not
capable of governing themselves, and that they need to be "civilized" by
Europeans.
It is important to remember that indigenous people are human beings, just like
everyone else. They should be treated with respect and dignity. We should not
make assumptions about them based on stereotypes.

The innoble savage

The "ignoble savage" is a literary and ideological stereotype that depicts
indigenous or non-European peoples as inherently brutal, immoral, and
uncivilized. This concept stands in direct contrast to the "noble savage," which
idealizes such peoples as pure, innocent, and uncorrupted by civilization. The
ignoble savage stereotype was especially prominent during periods of European
colonial expansion, serving to justify conquest, domination, and the imposition of
Western
values
The ignoble savage is constructed through a range of negative attributes,
including:

The ignoble savage is portrayed as unpredictable, enjoying acts of violence,

torture, and even cannibalism. Attacks on innocents, especially women and
children, mutilation, and betrayal are common motifs

This figure is often depicted as lacking any sense of honor, faith, or moral
code. Practices such as sodomy, sexual "abnormality," and disregard for
natural laws are emphasized as signs of ignobility.

Ignoble savages are described as having no arts, letters, or social order. They
are seen as living in a state of perpetual conflict, echoing Thomas Hobbes's
idea of life as "solitary, poor, nasty, brutish, and short".

The stereotype extends to describing these peoples as less than human, often
using animalistic or monstrous imagery, which further distances them from
European norms.

The ignoble savage trope gained traction during the height of European
imperialism. As Europeans encountered new peoples, especially in the

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 36

 Americas and Africa, they often lacked nuanced understanding and instead
projected their own fears, anxieties, and
perceived "shadow selves" onto these groups

This projection functioned as a means of self-definition for Europeans,

marking the "Other" as everything they were not-violent, lawless, and
uncivilized

The ignoble savage stereotype was used to rationalize colonial violence and
dispossession. By portraying indigenous peoples as threats to order and
morality, colonial powers could frame their actions as bringing civilization and
progress to "savage" lands

Aspect Noble Savage Ignoble Savage

Morality Innocent, pure, virtuous Depraved, cruel, immoral

Relationship to
Harmonious, peaceful Wild, destructive, bestial
Nature

Social
Simple but just Chaotic, lacking order
Organization

Function in Justification for

Critique of civilization's corruption
Discourse conquest/violence

The term "ignoble savage" is used to describe a negative stereotype of

indigenous people. It is based on the idea that indigenous people are savage and
uncivilized. This stereotype is often used to justify the oppression and
mistreatment of indigenous peoples.
The term "ignoble savage" is often used in contrast to the term "noble savage".
The "noble savage" is a romanticized view of indigenous people as being
inherently good and uncorrupted by civilization.
The stereotype of the "ignoble savage" is often based on the idea that indigenous
people are violent and aggressive.
The stereotype of the "ignoble savage" is also based on the idea that indigenous
people are unintelligent and incapable of governing themselves. However, this is
also not true. Indigenous people have complex and sophisticated cultures and
traditions. They have their own forms of government and social organization.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 37

 The stereotype of the "ignoble savage" has been used to justify the colonization
and oppression of indigenous peoples. It has been used to argue that indigenous
people are not capable of governing themselves and that they need to be
"civilized" by Europeans.

vanishing indian
The "Vanishing Indian" myth is a pervasive stereotype and cultural narrative that
portrays Indigenous peoples of the Americas as a doomed, disappearing race-
destined to become extinct or assimilated into mainstream society until nothing of
their original cultures or identities remains. It suggests that Native Americans
were inevitably and naturally fading away, either physically through disease and
death or culturally through assimilation and loss of traditions.
this constant march west and this constant conquering of the land was somehow
naturally said that the indoiaan woid vanish, like it was somehow part of the
natural plan (connected to manifest)
The term "vanishing Indian" is a stereotype that has been used to describe
Indigenous peoples in the United States. It is based on the idea that Indigenous
peoples are disappearing or have already disappeared. This idea has been used to
justify the colonization and dispossession of Indigenous peoples from their lands.
The term "vanishing Indian" was first used in the 19th century, as Indigenous
populations declined due to disease, warfare, and forced removal. However, the
idea that Indigenous peoples were disappearing was also promoted by
government officials and others who sought to justify their policies of assimilation
and land acquisition.
The stereotype of the "vanishing Indian" has had a number of harmful effects. It
has been used to erase Indigenous peoples from history and to deny their
continued existence. It has also been used to justify discrimination and violence
against Indigenous peoples.
Here are some examples of how the stereotype of the "vanishing Indian" has been
used:

In the 19th century, government officials used the idea of the "vanishing
Indian" to justify the forced removal of Indigenous peoples from their lands.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 38

 In the 20th century, the stereotype of the "vanishing Indian" was used to
promote assimilation policies that sought to eliminate Indigenous cultures and
languages.

In popular culture, the stereotype of the "vanishing Indian" has been used in
movies, books, and other media to create a false image of Indigenous peoples
as a people of the past.

Frontier (same as correoso)

The frontier is a term that has been used to describe different things throughout
American history.1
In the early days of the United States, the frontier was the line between the
settled areas and the wilderness. It was a place of danger and opportunity, where
settlers could find new land and build a new life.2
As the United States expanded westward, the frontier moved with it. By the late
19th century, the frontier had reached the Pacific Ocean, and the country was
considered to be fully settled.
The idea of the American frontier centers exclusively on the edge of settled
territory as it moved westward across the North American continent. It represents
a dynamic and ever-shifting boundary between the established and the untamed.
At its core, the frontier was a zone of low population density, often defined
statistically as having fewer than two to six Euro-American inhabitants per square
mile. This sparseness contributed to a sense of openness and vastness, a
landscape seemingly free for the taking and shaping.
The frontier was characterized by a process of constant advance, a wave of
settlement pushing westward from the initial European colonies on the Atlantic
coast towards the Pacific Ocean. This movement involved not only physical
expansion into new geographic areas but also a recurring encounter with
"primitive conditions." Life on the frontier often demanded a reliance on basic
survival skills, hunting, and rudimentary agriculture.

American progress (painting) is the allegory of manifest destiny, now if we look

there we see american people running away, saying that progress is innavitable ⇒
Okay put what I have in other subject here

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 39

 Melting pot
The "melting pot" is a metaphor that is used to describe the United States.1 It is
based on the idea that the United States is a country where people from all over
the world come together and mix together, like different ingredients in a pot, to
create a new, uniquely American culture.
The metaphor of the melting pot is often used to describe the United States in a
positive way. It suggests that the United States is a welcoming and inclusive
country where everyone has the opportunity to succeed.
However, the metaphor of the melting pot has also been criticized. Some people
argue that it is not an accurate description of the United States. They argue that
the United States is not a melting pot, but rather a salad bowl, where different
cultures remain distinct and separate.
Others argue that the metaphor of the melting pot is harmful because it suggests
that people should abandon their own cultures and assimilate into the dominant
culture. They argue that this can lead to the loss of cultural diversity and the
erasure of people's identities.

Despite these criticisms, the metaphor of the melting pot remains a popular way to
describe the United States. It is a reminder that the United States is a country
made up of people from all over the world, and that this diversity is one of the
country's greatest strengths.

my own definition of meltin pot

The melting pot is a harmful stereotype that was created by white people when
they settled into America, some of the tennants that this theory supports and
actually promotes that native people from America leave their own identity and
adopt American culture, historically it has been defined as "The cultural
integration and even assimilation of immigrants into the US. The melting pot theory
is often illustrated by the metaphor of a foundry’s smelting pots in which the
elements iron and carbon are melted together to create a single, stronger metal—
steel." (ECPS - European Center for Populism studies), this theory is still very
much used nowadays to describe people who have had native roots have had to
adapt to their new lives and eventually forget where they came from, leave their
customs and essentially what makes them themselves (this may relate to other
things that we have seen within the course.)

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 40

 This melting pot theory may be showcased under a positive light, but as explained
before the melting pot theory is something that actually harms people and what
they have the moment they arrive int this unknown country, which is their identity,
and how this eventually gets stripped from them because of what we impose on
them (which then again can relate to Franz Fanon's the fact of blackness.)

Spanish missions

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 41

 Spain wants to expand its territory and influence in the late 1700s. They came up
with this idea of building religious outposts, which they called missions. These
weren't just churches; they were like mini-settlements with farms, workshops, and
living quarters.
The main goal was to spread Christianity among the Native American populations.
The Spanish believed their religion was the only true one and wanted to convert
the indigenous people. They saw it as their duty to "save" them.
But it wasn't just about religion. The missions also served a political purpose. By
establishing these settlements, Spain could claim the land as their own and keep
other European powers out. It was like planting flags to say, "This is ours!"

And then there was the economic aspect. The Spanish hoped to use the missions
to develop agriculture and industry in California. They wanted to grow crops, raise
livestock, and produce goods that could be traded. This would benefit both the
missions and the Spanish Empire.
Now, the image you sent shows a map of these missions. You can see how they
spread across California, starting with San Diego in 1769. Each mission had a
number, showing the order in which it was founded. It's like a timeline of Spanish
colonization.
The missions were run by Catholic priests, mostly Franciscan friars. They would
try to convert Native Americans by teaching them about Christianity and offering
them food, shelter, and other resources. Some indigenous people joined the
missions willingly, while others were forced or pressured to do so.
Life at the missions was tough for the Native Americans. They were often required
to work long hours in the fields or workshops. They were also subjected to strict
discipline and punishment if they didn't follow the rules. Many Native Americans
died from disease, malnutrition, or overwork.
The missions had a devastating impact on the indigenous population. Their
traditional way of life was disrupted, their cultures were suppressed, and their
numbers were drastically reduced. It's a dark chapter in California's history.
Eventually, the missions declined and were secularized by the Mexican
government in the 1830s. But their legacy remains, both in the beautiful
architecture that can still be seen today and in the ongoing struggle for recognition
and justice for Native American communities.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 42

 Oratures
Orature, in its essence, refers to the rich and diverse world of oral literature. It
encompasses all forms of creative and cultural expression that are transmitted
through spoken words rather than written text. Think of it as the vibrant tapestry of
stories, poems, songs, proverbs, myths, legends, histories, and performances that
are shared and preserved through the human voice across generations.
The term "orature" itself is a relatively recent one, gaining prominence in the latter
half of the 20th century, particularly within African literary and linguistic studies. It
was coined to give due recognition and academic standing to the sophisticated
and complex artistic traditions of cultures that primarily relied on oral
communication. Before this, these traditions were often marginalized or simply
categorized under the umbrella of "folklore" or "oral tradition," terms that
sometimes carried connotations of being less sophisticated or less "literary" than
written works.
However, orature is far from being a simple collection of quaint tales. It is a
dynamic and multifaceted art form with its own unique characteristics and
conventions. Here's a deeper dive into what makes orature so significant:
Key Characteristics of Orature:

Oral Transmission: This is the defining feature. Orature lives and breathes
through the act of being spoken, sung, or performed. Its preservation relies on
memory, repetition, and the continuous engagement of communities, it also
relies on transmission through oral methods in order to keep the oral story
alive, later these oral stories would be recopilated in written style, but
nowadays since we don’t know the native languages many oral stories have
been lost because we don’t know what the written text means, nor do we have
a transcription.

Performance Element: Unlike written literature, orature is often deeply

intertwined with performance. Storytelling can involve gestures, facial
expressions, vocal inflections, music, dance, and audience participation. The
meaning and impact of an orature piece are often realized fully in its
enactment.

Communal Ownership and Variation: While there may be skilled storytellers

or performers who are central to the transmission, orature often belongs to the

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 43

 community as a whole, we also have to remember that copyright didn’t exist in
this era so stories and songs were edited and more story plot was added as it
was passed orally until it reached different tellers or singers which then again
introduced their own variations based on their creativity, the audience, and the
specific context of the performance. This fluidity is a key aspect of its
resilience and adaptability.

Contextual Dependence: The meaning and significance of orature are often

heavily reliant on the specific social, cultural, and historical context in which it
is performed. Understanding the audience, the occasion, and the broader
cultural background is crucial to interpreting its message.

Integration with Other Art Forms: Orature frequently intersects with other
artistic expressions such as music, dance, visual arts (like body painting or
ceremonial decorations), and ritual practices. These elements often work
together to create a holistic and immersive experience.

Didactic and Social Functions: Orature often serves important social and
educational purposes. It can transmit cultural values, moral lessons, historical
knowledge, social norms, and practical skills from one generation to the next.
It can also be a powerful tool for social commentary, conflict resolution, and
the expression of collective identity.

Memory and Embodiment: In oral cultures, memory plays a crucial role in

preserving and transmitting knowledge. Orature is often embodied in the
performers themselves, who act as living libraries, carrying vast amounts of
information and artistic expression within them.

The Significance of Studying Orature:

The study of orature is vital for several reasons:

Preserving Cultural Heritage (mostly native, which thanks to recopilation we

can havesomee of these stories, but sadly most of them were lost due to the
colonizing process): It helps to document and safeguard the rich cultural
heritage of oral societies, many of which are facing rapid social and
environmental changes that threaten their traditions.

Challenging Eurocentric Literary Perspectives: The recognition of orature as

a legitimate form of literature challenges the historical dominance of Western,

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 44

 print-based literary traditions and broadens our understanding of what
constitutes literary artistry and knowledge.

Understanding Diverse Worldviews: Orature offers invaluable insights into

the worldviews, philosophies, social structures, and historical experiences of
diverse cultures around the globe.

Appreciating the Artistry of Oral Performance: It highlights the sophisticated

linguistic skills, narrative techniques, and performative abilities inherent in oral
traditions.

Informing Contemporary Arts: Orature continues to inspire contemporary

artists in various fields, including literature, music, theatre, and film, leading to
innovative forms of creative expression.

Understanding Human Cognition and Communication: Studying how

knowledge and stories are transmitted orally can offer valuable insights into
human memory, communication, and social interaction.

Examples of Orature Across Cultures:

Orature takes countless forms across the world. Here are just a few examples:

African Griots: In West Africa, griots are highly skilled oral historians,
genealogists, musicians, and storytellers who preserve and transmit their
communities' histories, traditions, and cultural values through song, poetry,
and narrative.

Indigenous Storytelling: Indigenous cultures around the world have rich

traditions of storytelling that often incorporate myths, legends, and historical
accounts to teach lessons, explain the natural world, and maintain cultural
continuity.

Epic Poems: Oral epic poems like the Iliad and the Odyssey (which were
initially transmitted orally before being written down) showcase the power of
memory and storytelling over vast periods.

Folktales and Fairy Tales: These stories, often passed down through
generations by word of mouth, carry cultural values and entertain audiences.

Proverbs and Sayings: These concise and memorable expressions

encapsulate wisdom, social norms, and cultural beliefs.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 45

 Songs and Chants: Musical traditions often carry historical narratives,
religious beliefs, social commentary, and personal experiences.

Ritual Performances: Many cultures have oral traditions embedded within

their rituals and ceremonies, where spoken words, songs, and chants play a
crucial role.

In conclusion, orature is much more than just "unwritten literature." It is a vibrant,

dynamic, and essential aspect of human culture and communication. It represents
a wealth of knowledge, artistic expression, and cultural heritage that deserves
recognition, study, and preservation. By understanding and appreciating orature,
we gain a deeper understanding of the diversity of human experience and the
power of the spoken word.

What Are Oratures?

Oratures are oral stories which ar transmited from generation to generation, these
oratures have different themathics and genres that come with them, as well as
several figures which help with the development of the story, such as the figure of
tricksters, which are a comical relief in the story and they normally ar the ones that
steal from the audience and lateer let themselves get caught to tach the audience
a lesson on why they shouldn’t steal, asmost of these stories typically have a
moral, however, European powers saw these stories as something foolish and that
shouldn’t be taught, Europeans saw these sotries as primitive and that they had no
fund whatsoever, so they imposed their own ways of writing their own storis
wthout taking into account the native stories,

This paper starts by introducing "oratures." It's a fancy word, but it just means
"oral literatures." Think of it like this: instead of writing stories down in books,
Native American cultures passed them down through spoken words. These
weren't just simple stories, though. They were complex works of art, like really
intricate paintings or beautiful songs.

More Than Just Words: It wasn't just what was said, but how it was said. The
way someone told the story, their tone of voice, their gestures, even the place
where they told it – all of these things were part of the story itself. It's like how
a song changes when a different singer performs it, or how a play feels
different depending on the actors.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 46

 A System of Genres: The paper says oratures have "complex genre systems."
That means there were different types of stories, just like we have different
kinds of books (fiction, non-fiction, poetry, etc.). Some were about how the
world was created, some were about heroes and adventures, and some were
about teaching important lessons. Each type had its own special rules and
ways of being told.

The European Misunderstanding

Europeans arrived in North America and didn't see written books. Because of this,
they mistakenly concluded that Indigenous cultures lacked history. Their
reasoning was: no writing equals no history.
However, Indigenous peoples did have ways of preserving their history. They used
oral traditions (oratures), wampum belts (beaded records), and petroglyphs (rock
carvings). These methods served the same purpose as written records – keeping
track of the past.
The Europeans questioned where these histories were if they weren't written
down. The answer is simple: they were held in the memories of the people.
Storytellers acted as living libraries, carrying history within them. The phrase
"Each word carries within other words" highlights that these oral traditions were
rich with meaning and could offer new understandings with each telling.
The Power of Oral Archives

The paper calls these stories "oral archives." An archive is a place where
important records are kept. Even though you can't touch these oral archives like
you can touch a book, they're just as real and just as important.

Ethnographic Efforts: Luckily, people called ethnographers (who study

cultures) realized how important these stories were and started recording
them. This helped to preserve them for future generations.

Not Just the Past: The paper emphasizes that these stories aren't just old
relics. They're still alive and meaningful today. They teach important lessons
about culture, history, and the natural world. It's like how we still read
Shakespeare's plays today – they're old, but they still have something to say to
us.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 47

 "Abandon the idea of preserving the past. There, there": This is a really
interesting phrase. It means that we shouldn't just think of these stories as
something to be preserved in a museum. They're not just about the past;
they're about the present and the future too. The phrase "there, there" is like
saying, "It's okay, you don't have to worry about losing them." The stories are
strong and resilient.

Why This Matters

Understanding oratures is important because it helps us to see that there are
many different ways of knowing and understanding the world. It challenges us to
think beyond our own assumptions and to appreciate the richness and complexity
of other cultures. It's like learning a new language – it opens up a whole new world
of possibilities.
So, next time you hear a story, think about how powerful words can be. Think
about how stories can connect us to the past, the present, and the future. And
remember that there are many different ways of telling and preserving stories, and
each one is valuable and important.
Oral Literature: A Living Tradition
Oral literature is a form of storytelling that is passed down through generations by
word of mouth. It's a vibrant and dynamic way of preserving history, culture, and
values. Think of it like a living library where stories are the books, and the
storytellers are the librarians. These stories aren't just entertainment; they teach
important lessons, explain the world around us, and connect us to our past.

Genres of Oral Literature

Let's break down the different genres mentioned in your image:
Understanding Oratures and Their Main Genres
The slide provides an overview of the major genres found within oratures-that is,
oral literatures or oral storytelling traditions, particularly those of Indigenous
peoples in the Americas. Orature is a term that combines “oral” and “literature,”
emphasizing that these stories, histories, and performances are passed down
through spoken word rather than written texts. This oral tradition is central to many
cultures, serving as a way to preserve knowledge, beliefs, history, and social
values from one generation to the next.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 48

 The slide identifies three main genres of orature:
Songs and Ritual Dramas
This genre represents the largest body of oral literatures. Songs and ritual
dramas are not merely entertainment; they play a crucial role in expressing and
reinforcing the fundamental relationships people have with the natural world.
These performances can include chants, songs, dances, and dramatizations that
are often performed during ceremonies, seasonal events, or important communal
gatherings. Through these rituals, communities transmit their understanding of the
world, their respect for nature, and their spiritual beliefs. These performances are
often deeply symbolic and can serve as a means to teach younger generations
about the values and cosmology of their people.
Origin and Emergence Stories
Origin and emergence stories are foundational myths that explain how the world,
humanity, animals, and other creatures came to exist. This genre is common
across nearly all cultures worldwide-examples include biblical creation stories,
Sumerian myths, and Greek cosmogonies. However, the slide highlights a key
difference in Indigenous American traditions: unlike many Western religions,
Indigenous Americans generally did not believe in a single, supreme, and eternal
being (such as the concept of “God” in Christianity) as the sole origin and moral
authority of the world. Instead, their stories often reflect a worldview where
humans are not fundamentally different from other creatures, since all share a
common origin. This fosters a sense of kinship and respect toward all living things
and the natural world.
The slide references “Turtle Island,” a term used in several Indigenous North
American cultures to describe the continent and its origins, emphasizing the
uniqueness of these stories. In addition to explaining cosmic origins, these stories
often include cycles that describe social relationships, daily subsistence activities
(like planting, hunting, and fishing), and significant life events such as birth,
puberty, and death. These narratives help communities understand their place in
the universe and their duties to one another and to the environment.
Historical Narratives
Historical narratives are oral accounts that describe important historical events
for a nation or community. These stories can blend actual historical facts with

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 49

 myth and tribal beliefs, making it sometimes difficult to separate what is literal
history from what is symbolic or allegorical. Despite this blending, many of these
narratives provide valuable and accurate records of significant events, especially
those involving encounters with European colonizers. They offer a counter-
narrative to the often triumphalist stories told by Europeans, providing insight into
Indigenous perspectives on colonization, resistance, adaptation, and survival.
These narratives are crucial for understanding history from the viewpoint of
Indigenous peoples, who often experienced and remembered events very
differently from the colonizers. They challenge the dominant narratives of
“progress” and “civilization” that European stories promoted, instead highlighting
resilience, continuity, and the ongoing presence of Indigenous cultures.
Conclusion
In summary, this slide emphasizes the richness and diversity of orature among
Indigenous peoples, categorizing it into three main genres: songs and ritual
dramas, origin and emergence stories, and historical narratives. Each genre
serves a unique function-whether it’s reinforcing spiritual and natural
relationships, explaining the origins of the world and humanity, or preserving the
memory of historical events. Importantly, the slide also draws attention to the
differences in worldview between Indigenous traditions and European or Western
perspectives, particularly regarding the nature of divinity, the relationship between
humans and nature, and the recording of history. This understanding is essential
for appreciating the depth and value of oral traditions in Indigenous cultures.

The Importance of Oral Literature

Oral literature is a vital part of cultural heritage. It preserves stories, values, and
traditions that might otherwise be lost. It also plays a crucial role in shaping
identity, fostering community, and providing entertainment.

Before the written word became widespread, Native American tribes relied on
spoken words to transmit their history, beliefs, and values across generations.
These spoken stories weren't just simple narratives; they were complex and
nuanced works of art, akin to written literature but with their own unique
characteristics.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 50

 There's a huge variety of Native American languages. Over 350 different
languages were spoken in North America. Each one has its own collection of
stories, songs, and chants. These spoken art forms include many kinds of stories,
like long poems, tales about how the world began, funny stories, and personal
thoughts.
Think about the sheer variety of stories in the world today – novels, short stories,
poems, plays – each with its own style and purpose. Similarly, Native American
oral traditions boasted a rich array of narrative forms, each serving a specific
function within the community.
These spoken stories weren't just told; they were acted out. A skilled storyteller
would hold the attention of everyone listening with their voice, hand movements,
and pauses. This performance made the story more meaningful and emotional,
creating a powerful experience for those hearing it.
Unlike written literature, which is fixed and unchanging, oral narratives are fluid
and adaptable. Each time a story is told, it might be slightly different, reflecting the
storyteller's individual style and the audience's response. It's like a jazz piece
that's improvised differently each time it's played, yet the underlying melody
remains the same.

The themes explored in Native American oral traditions are as diverse as the
cultures themselves. They encompass creation stories, tales of heroes and
tricksters, legends of animals and spirits, and accounts of historical events. These
stories often convey important moral lessons, cultural values, and practical
knowledge about the natural world.

The styles of these oral narratives vary widely, reflecting the unique artistic
traditions of each tribe. Some stories are poetic and lyrical, while others are more
straightforward and conversational. Some rely heavily on symbolism and
metaphor, while others are more literal and descriptive.
The performance of oral narratives is also highly diverse. Some stories are
chanted or sung, while others are spoken in a rhythmic cadence. Some involve
elaborate costumes and props, while others are more minimalist in their
presentation.

In essence, Native American oral traditions are a vibrant and dynamic art form that
reflects the rich cultural heritage of indigenous peoples. They are a testament to

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 51

 the power of spoken words to transmit knowledge, inspire wonder, and connect
communities across generations.
Let's talk about storytelling before books were widely available. Imagine a world
where stories weren't written down, but instead shared out loud, passed from
person to person through speech, chants, and songs. These spoken stories, what
we sometimes call "oral literature," weren't just simple tales. They were complex
and artful performances!

One of the key things about these stories is that they were meant to be heard by
an audience. It wasn't just one person reading quietly to themselves. Storytellers
would gather people together and share their stories in a lively, engaging way.
Think of it like going to a concert or a play – it's a shared experience.
And the audience wasn't just passive listeners. They often joined in! They might
shout out words of encouragement, ask questions, or even sing along with parts
of the story. It was a conversation, a back-and-forth between the storyteller and
the listeners.

These stories weren't just a jumble of words. They had structures, like a good
movie or a well-written book. But instead of chapters or paragraphs, storytellers
used things like repetition to hold the story together. Important phrases or verses
might be repeated over and over, making them memorable and emphasizing key
ideas.

The storyteller's voice was like an instrument, going up and down in volume and
pitch, changing tone to express different emotions or portray different characters.
They might even use silence as a way to create suspense or give the audience a
moment to think about what they'd just heard.

Because these stories were spoken, not written, they were always changing. Each
time a storyteller shared a story, it might be a little different depending on their
mood, the audience, and the occasion. It's like a song that gets slightly
rearranged each time it's played live.
Think about how different that is from reading a book. When you read, you're
usually by yourself, and you can take your time. You can even go back and reread
a part you didn't understand. But with oral stories, it's a live event. You have to
pay attention in the moment, and you experience the story together with everyone
else who's listening.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 52

 That's why oral literature is so special. It's not just about the words themselves,
but about the connection between the storyteller and the audience, the shared
experience of hearing a story come to life. It's a way of keeping traditions alive,
passing down knowledge and values from one generation to the next.

Native American Literature

Writing Literature (in English) — Early Native American Writing

By the mid-17th century, Native Americans began to adopt the English language as
a tool for expressing their own cultural experiences, challenges, and perspectives.
This shift wasn't necessarily voluntary—it occurred in the context of colonization,
Christian missionary activity, and cultural upheaval—but it became a significant
means by which Native individuals could speak both to and within colonial and
eventually U.S. society.

The earliest forms of English-language literature produced by Native Americans

were primarily autobiographies and sermons. These texts were often written by
Indigenous leaders who had received formal education, usually through Christian
missionary schools. Their writings had dual purposes: they served their own
communities by preserving stories, values, and resistance to colonial oppression,
but they also addressed non-Native audiences, aiming to correct
misunderstandings and prejudices.
Samson Occom: A Pioneering Native Voice

One of the most prominent and early figures in this tradition was Samson Occom,
a Mohegan minister and intellectual. Occom’s legacy is significant for several
reasons. First, his sermon against alcoholism, published in 1772, critiques the use
of alcohol as a tool of “colonial trickery.” European traders and colonists
frequently introduced alcohol to Native communities, often as a means of
manipulation and control. Occom used Christian rhetoric to condemn this practice
and tried to persuade his Native audience to resist such destructive influences.
This sermon is recognized as the second known Native American publication in
English, marking a key moment in the development of Native American literature.
Occom was not merely writing in English—he was using the language

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 53

 strategically, to resist colonial exploitation and uplift his community through moral
and spiritual instruction.

Furthermore, Occom is credited as the first Native American to publish an

autobiography. This was a groundbreaking act. The autobiography gave Native
people a direct voice in a literary form that was predominantly dominated by
Europeans. Through his life story, Occom offered readers a perspective that
countered prevailing colonial narratives that portrayed Native Americans as either
savage or vanishing.

Christianity, Dartmouth, and the Great Awakening

Occom’s journey into Christianity was shaped by the Great Awakening, a period of
intense religious revivalism in the American colonies during the 18th century. This
movement emphasized personal religious experience and piety, and it also
created educational opportunities for individuals who were not part of the colonial
elite, including Native Americans.
Occom studied under Eleazar Wheelock, a minister who had ambitions of training
Native Americans to become Christian missionaries to their own people. Wheelock
later founded Dartmouth College in 1769, allegedly with the intention of
educating Native Americans in Christian theology. However, while the original
vision was to serve Indigenous students, in reality, the institution ended up
primarily serving the children of White colonists and future ministers. Occom
himself criticized Wheelock for misusing the funds raised for Native education.

Occom’s life, therefore, reflects both the promise and the betrayal of colonial
education efforts. He seized the tools of English literacy and Christian theology to
advance Native voices, but he also encountered deep injustices within the very
institutions that claimed to serve Native people.

Writing Literature (in English) — Protest and

Resistance in the 19th Century
after sequoyah was invented,duringt the 19th century,the indian removal act was
emmanded, the indian removal actssentially consisteed of the colonial powers
removing indians from the land just because the colonial powers are expanding,
the indians were forced to leave the land to unnocupied territorries, many tribes
did this peacefully whilst other territorries posed resistance, which led to the

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 54

 military regime getting involved because some tribes were opposed to this, they
didn’t want to leave their designated territorries which led to many indians getting
evicted forcefully from their trrirorris One of the most tragic examples is the forced
relocation of the Cherokee Nation during the winter of 1838–1839. Over 4,000
Cherokees died due to disease, exposure, starvation, and exhaustion on the
journey—an event remembered as the Trail of Tears.

As the 19th century progressed, English-language writing by Native Americans

evolved from primarily spiritual or autobiographical expressions into a powerful
mode of political protest, resistance, and cultural empowerment. This
transformation was particularly visible during and after the period known as the
“Removal Era,” following the passage of the Indian Removal Act of 1830.

The Indian Removal Act and the “Trail of Tears”

The Indian Removal Act, signed into law by President Andrew Jackson, gave the
federal government the authority to relocate Native American tribes living east of
the Mississippi River to territories west of the river. The policy was framed as a
way to “protect” Native Americans from encroaching settlers, but in practice, it
served settler expansion and economic interests. So in other words, manipulating

Many Native tribes were forced to leave their ancestral homelands, often under
military pressure. Although some tribes attempted to negotiate or resist peacefully,
many resisted relocation, leading to violent confrontations and military
enforcement. One of the most tragic examples is the forced relocation of the
Cherokee Nation during the winter of 1838–1839. Over 4,000 Cherokees died due
to disease, exposure, starvation, and exhaustion on the journey—an event
remembered as the Trail of Tears.

In this climate of oppression and loss, writing became an essential act of

resistance. Native authors began to speak out against the injustices committed by
the U.S. government and to assert the dignity, rights, and cultural worth of their
people. Their work served to challenge stereotypes, document atrocities, and
preserve cultural memory.

William Apess: A Voice of Indigenous Self-Worth

Among the most influential voices of this period was William Apess (sometimes
spelled Apes), a Pequot minister and writer from Massachusetts. Apess had a

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 55

 unique perspective—though he was Indigenous, he was raised for much of his life
by White families under a form of indentured servitude, which exposed him to
both Christian theology and the racial discrimination embedded in American
society.
Apess became a minister and public speaker, using his platform to argue for the
full humanity and spiritual equality of Native Americans. He wrote sermons,
essays, and autobiographical works that critiqued the hypocrisy of a Christian
nation that claimed to believe in equality while oppressing Native peoples.

He also articulated a strong sense of Native pride, asserting that Indigenous

people had a history, morality, and intellect equal to that of White Americans. This
was a radical message at a time when Native people were widely dismissed as
inferior or doomed to vanish.

Sequoyah (c. 1770-1843)

Sequoyah, a Cherokee silversmith born around 1776, made a profound impact on
his people and the broader history of written language. In 1821, Sequoyah sought
to give the Cherokee people a way to represent their spoken language in written
form, inspired by the "talking leaves" of European settlers-written words on paper.
His solution was not an alphabet, but a syllabary: a set of written symbols, each
representing a syllable rather than a single sound or letter. The Cherokee syllabary
he created contains 85 unique symbols, each corresponding to a different syllable
in the Cherokee language.
This invention was revolutionary. By the late 1820s, almost all Cherokees could
read and write using the syllabary, accelerating literacy and communication within
the nation. Sequoyah is renowned as the only known person in history to have
single-handedly created an entirely new system of writing for an entire language-a
rare and remarkable achievement.
The impact of the syllabary extended far beyond literacy. It became a tool for
cultural preservation, allowing the Cherokee to record their laws, religious texts,
and oral histories. It also enabled the rapid spread of information and ideas among
the Cherokee people at a time when their autonomy and culture were under
increasing threat from European-American expansion and forced assimilation
policies.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 56

 Elias Boudinot (1802–1839): Advocate, Editor, and Controversial Figure
Elias Boudinot was born in 1802 to a family of mixed Cherokee and European
ancestry. He became a leading figure in the Cherokee Nation, especially through
his work as the editor of the Cherokee Phoenix (a newspaper of the era), the first
bilingual Native American newspaper, published in 1828. The newspaper was
printed in both English and the newly developed Cherokee syllabary, making it
accessible to a wide audience and serving as a powerful tool for communication,
education, and advocacy.
The Cherokee Phoenix was the first Native American newspaper and was
launched in 1828 by the Cherokee Nation. It was published in both English and
Cherokee, using the Cherokee syllabary invented by Sequoyah.

Here’s what makes it important:

It gave the Cherokee people a voice to share their views, preserve their
culture, and report news affecting their communities.

It played a key role in resisting removal policies by spreading awareness and

rallying support, especially during the lead-up to the Indian Removal Act.

The newspaper reflected a blend of traditional Cherokee identity and modern

political strategy, showing how Native people were using tools like literacy
and the press to defend their rights.

It was first edited by Elias Boudinot, a Cherokee intellectual, and was printed in
New Echota, the Cherokee capital in Georgia.
Boudinot envisioned the Cherokee Phoenix as a way to give a "voice to the
American insiders"-Cherokees and other Native Americans who were being
marginalized and forced into the status of outsiders by the encroaching European-
American society. Through the newspaper, Boudinot and other Cherokee leaders
could represent their people's perspectives, share news, and advocate for their
rights and interests.
However, Boudinot's legacy is complex and controversial. He supported the Indian
Removal Act and the treaty that authorized the forced removal of the Cherokees
from their ancestral lands-a position that ultimately led to his murder in 1839 by
fellow Cherokees who saw this as a betrayal. Boudinot believed that removal was
inevitable due to the overwhelming pressure of European settlers (take into

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 57

 consideration that this was an era where Migration was pretty common and the
demand to have new territorries was bcoming more noticable in terms of demand
each time) and that acculturation-adapting to some aspects of European-
American culture-was the only way for the Cherokee Nation to survive.

Cultural and Political Context

The early 19th century was a period of intense upheaval for Native American
nations, particularly the Cherokee. As European settlers pushed westward,
indigenous peoples faced increasing pressure to cede their lands and assimilate
into the dominant culture (loss of idetity themes) . The Cherokee responded in
part by adopting certain aspects of European-American society, such as a written
constitution, formal education, and, crucially, a written language.
Cherokee writers and leaders used their new literacy to represent their cultural,
religious, and industrial achievements, as well as to advocate for their rights. They
used the written word to educate both their own people and the broader North
American public about Cherokee customs and perspectives.

Boudinot’s Advocacy and Writings

One of Boudinot’s most famous contributions is his 1826 speech, "An Address to
the Whites," in which he challenged prevailing racial prejudices and argued for the
equality and dignity of Native Americans. He questioned the notion of inherent
difference between Indians and whites, asking, "What is an Indian? Is he not
formed of the same materials with yourself?" He appealed to shared humanity and
the idea that all nations are created by God from "one blood." Boudinot urged his
audience to help raise the Cherokee Nation to equal standing with other nations of
the earth, emphasizing that differences in circumstance, not inherent nature,
accounted for disparities between peoples.
The Lasting Impact

The work of Sequoyah and Boudinot had lasting effects on both the Cherokee
Nation and the broader history of indigenous peoples in North America.
Sequoyah’s syllabary remains a unique and enduring achievement in the history of
writing systems. The Cherokee Phoenix set a precedent for Native American
journalism and advocacy, and the debates surrounding removal, acculturation, and
identity continue to resonate.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 58

 acculturation is a process where someone takes customs from whatvr country
they aare in and forcefully make them adapt to the customs that they have (or in
this case is adapt something which doesn't belong to your culture into your daily
routine because you have no other choice)

Together, these two figures exemplify the resilience, adaptability, and intellectual
achievements of the Cherokee Nation during a period of profound challenge and
change. Their legacies are a testament to the power of language, literacy, and
advocacy in the face of adversity12.

By the early 19th century, writing had become an essential tool of cultural
expression, resistance, and survival for Native American communities. Among the
Cherokee, this movement was significantly advanced by two key figures:
Sequoyah and Elias Boudinot. Their contributions mark a pivotal moment in Native
American literary history, as they used written language to assert identity,
advocate for sovereignty, and resist cultural erasure during a time of escalating
colonial pressure.

Sequoyah, a Cherokee silversmith, played a foundational role by creating a

syllabary in the early 1800s that consisted of 85 characters, each representing a
syllable. Unlike the English alphabet, which is based on individual letters and
phonemes, Sequoyah’s syllabary was uniquely suited to the Cherokee language,
allowing it to be written and read easily by native speakers. This invention was
revolutionary—it enabled the rapid spread of literacy among the Cherokee people.
By the late 1820s, a majority of Cherokees had learned to read and write using the
syllabary, making the Cherokee Nation one of the most literate Indigenous
communities in North America at the time.

Building on this literary foundation, Elias Boudinot, a Cherokee of mixed ancestry,

became a prominent writer and public figure. In 1828, he published the first issue
of the Cherokee Phoenix, the first newspaper printed in both English and a Native
language. The paper served multiple purposes: it was a platform for cultural
expression, a tool for political advocacy, and a way to inform both Cherokee
citizens and the broader American public about tribal affairs, laws, customs, and
challenges. The Cherokee Phoenix was an early example of how Native writers
strategically used the English language to reach outside audiences while still
preserving and promoting their own traditions and perspectives.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 59

 During this era, writing became more than a means of communication—it was a
form of protest, resistance, and empowerment. This was especially true after the
Indian Removal Act of 1830, which led to the forced displacement of Native
peoples from their ancestral lands to areas west of the Mississippi River. The
Cherokee were among those most affected, and despite legal resistance—
including a successful Supreme Court case—they were eventually subjected to
forced removal during the winter of 1838–1839. This brutal relocation, in which
4,000 Cherokees died, became known as the “Trail of Tears.”

Writers like Boudinot and William Apess (a Pequot minister and contemporary
Native author) used their voices to challenge stereotypes and assert the moral and
intellectual equality of Indigenous people. Boudinot, in particular, engaged directly
with White American audiences. He addressed topics such as racial prejudice,
cultural identity, and the right of Native nations to self-govern. Though he
supported the controversial Treaty of New Echota, which helped pave the way for
removal, his motives appear rooted in a belief that adaptation and negotiation
were the only viable paths for Cherokee survival under colonial expansion.

Through their writings, Cherokee intellectuals preserved cultural identity and

recorded their resistance during a period of intense upheaval. Their legacy
demonstrates how Indigenous literature in English became a powerful means of
both survival and transformation—a testament to the resilience and creativity of
Native communities facing existential threats.

(there is info missing here) ⇒ read on notes

David Cusick
was the first person who wrote in his book, called Sketches of the Ancient History
of the Six Nations that was specifically targeted toward the native americans, he
wrote a book where native american mythology and history was recorded, most
were images t showcase the creatures that the native americans believed in

David Cusick was a Tuscarora man — part of the Haudenosaunee (or Iroquois
Confederacy) — who lived during the late 18th and early 19th centuries. Around
1827, he published a remarkable book called "David Cusick's Sketches of Ancient
History of the Six Nations". This work is extremely important because it is one of
the first written accounts of Native American history and mythology created and

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 60

 published by a Native American author himself, instead of being filtered through a
European or outsider perspective.

Cusick’s main goal was to preserve the traditions, history, and mythology of the
Haudenosaunee people (also known as the Iroquois Confederacy, which included
the Mohawk, Oneida, Onondaga, Cayuga, Seneca, and Tuscarora nations). During
his lifetime, he recognized that Native American cultures and histories were
being misunderstood, misrepresented, and even erased by European settlers. He
saw writing as a way to protect and record this valuable knowledge for future
generations — both Native and non-Native.
His book, as the title suggests, is not just a history book; it is also a collection of
oral traditions, mythological stories, origin tales, and historical events. For
example, he talks about the creation of the world, battles between good and evil
spirits, ancient migrations, the founding of the Confederacy, and wars with other
tribes. His stories blend mythology and actual history, which was typical for Native
oral traditions, where the two were often seen as part of a single truth.
Importantly, Cusick didn’t just write the text — he also created illustrations to go
along with his stories. These drawings helped readers visualize the events and
figures he described, making the work even more engaging and vivid. His
illustrations show scenes from the myths, such as battles between supernatural
beings and the organization of the Six Nations.

However, Cusick faced many challenges. First, publishing was difficult and
expensive, especially for a Native American man in the early 19th century. His
English was also not considered "standard" by the people of his time, and some
critics unfairly dismissed his work because of that. But today, scholars recognize
how groundbreaking his work was — he showed that Native Americans had
complex, rich histories and cultures that deserved to be taken seriously.

In a way, Cusick was ahead of his time: he insisted that Native history was worthy
of being recorded in writing, using the settlers’ own tools (like books and printing)
but preserving Native voices and perspectives. He was one of the earliest
Indigenous historians to publish in English for a broad audience.
In summary, David Cusick used writing and art to capture the stories and histories
of his people at a time when Native cultures were under heavy attack. His book,
blending words and illustrations, helped ensure that the traditions and
achievements of the Haudenosaunee would not be lost.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 61

 William Apess (1798–1839) was a groundbreaking figure in American history. He
was a Pequot Native American, a writer, preacher, and activist who worked
tirelessly to fight for Native American rights during a time when Indigenous people
were being stripped of their lands, cultures, and autonomy by the expanding
United States. What makes Apess particularly important is that he was one of the
first Native Americans to publish extensive works in English, and he used his
writing not only to tell his personal story but to challenge the injustices done to
Native peoples.

Early Life and Identity

Apess was born into a very difficult life. He experienced extreme poverty,
violence, and racism from an early age. He also converted to Christianity, which
played a huge role in shaping both his worldview and his later writings. However,
unlike many others, he did not abandon his Native identity when he became
Christian. Instead, he used Christianity as a powerful tool to argue against white
hypocrisy, showing that the settlers who claimed to follow Christian values often
acted in ways that were anything but Christian toward Native Americans.
A Son of the Forest (1829)

This is Apess’s autobiography, and it's incredibly important because it was the
first published autobiography by a Native American. In A Son of the Forest,
Apess tells the story of his life with brutal honesty: he talks about the abuse he
suffered as a child, his struggles with alcoholism, his experiences with racism, and
his journey to becoming a Methodist preacher.

What’s important here is that Apess wasn't just telling his story for sympathy. He
was making a bigger point: that Native Americans were human beings who
deserved dignity, respect, and rights, just like anyone else. His autobiography tried
to humanize Native people at a time when white Americans often saw them as
"savages" or obstacles to expansion.
He also uses his Christian faith in this book to criticize white society — saying
essentially: if white Christians really believed in equality and compassion, why did
they treat Native people so terribly? In a time when Native voices were often
silenced or misrepresented, Apess boldly spoke for himself and his people.

Indian Nullification of the Unconstitutional Laws of Massachusetts Relative to

the Mashpee Tribe (1835)

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 62

 This book is more political and activist-focused. In it, Apess tells the story of the
Mashpee Revolt, an extraordinary event where the Mashpee people of
Massachusetts stood up to the state government.

At that time, the Mashpee were under the control of white overseers, who made
decisions for them and profited off their land and labor. The Mashpee wanted self-
governance — the right to manage their own affairs without outside interference.

Apess, as an activist and writer, supported and helped organize their movement.
He saw it as a broader example of Native resistance against white oppression. In
Indian Nullification, he argued that the laws Massachusetts used to control the
Mashpee were unconstitutional — they violated the basic rights that America
claimed to offer all its citizens.

This work was especially powerful because Apess used the language of
American democracy and law to argue for Native rights. He essentially told white
Americans: if you really believe in freedom and justice, then you have to support
the Mashpee and other Native peoples in their fight for autonomy.

At a time when most tribes were being pushed off their land and stripped of their
rights, the Mashpee successfully defended a measure of their independence —
largely thanks to leaders like Apess.

The Experiences of Five Christian Indians of the Pequod Tribe (1837)

In this book, Apess tells the religious testimonies of five Christian Pequot
individuals. Again, Apess was showing that Native Americans could be Christian
— but he also used this work to make a sharp critique of white hypocrisy.

One of the most striking ideas from this book is that while Native people were
adopting Christianity sincerely, white Christians were often violating their own
principles by continuing to oppress and mistreat Native people.

Apess’s writing wasn’t shy — he directly confronted white Americans with their
moral failures. He asked them to imagine gathering all the races of the world
together and looking at the crimes each had committed. When he asks, "which
skin do you think would have the greatest?" he is clearly pointing the finger at
white Americans, accusing them of the greatest injustices, including the theft of
a continent, the murder of Native peoples, and the denial of Native rights.

This passage from "An Indian's Looking-Glass for the White Man" (1833) —
which you quoted — is one of the most famous and powerful pieces of Native

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 63

 American writing from the 19th century. It shows how Apess used sharp logic,
Christian values, and moral arguments to force white Americans to confront the
gap between their ideals and their actions.

Why Apess Matters

William Apess was revolutionary because he used white America’s own language
and ideals — Christianity, democracy, human rights — against it. He refused to
let Native people be portrayed as voiceless victims or one-dimensional characters.
Instead, he showed them as full human beings: thoughtful, religious, intelligent,
and capable of both suffering and resisting.

In a time when Native Americans were being pushed to the margins, Apess
insisted on speaking out, writing, and organizing for justice. His works paved the
way for later Native American writers, activists, and historians.

He left a legacy of courage, truth-telling, and hope that Native voices would not be
erased — that they would continue to be heard loud and clear, even in a society
that tried to silence them.

Answer these questions regarding reading Leslie Marmon Silko

(read)
1. Why do words have a weblike quality for Pueblo people?
Because the connection of words spoken from the heart like a web would
create a meaning.
Stories linked to words, words to emotions and emotions to unpremeditated.
The
crossing of words creates stories.

2. What is their theory of language?

Language is unimportant it is important is what people intend to say.

Furthermore, each word
has its own stories and language is story by itself. Stories never end because
they are combined with each other.

3. Can you provide a definition of storytelling based on what Silko explains?

Storytelling has to do with experience, and it constructs identity. Also, in the

storytelling

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 64

 process the audience and speaker are connected. The storytelling is an
impulsive process
that continuous with each generation adding their own experiences.
Storytelling is also
experimentation with English. Stories are important to learn certain things

4. What is the connection between storytelling and identity?

Storytelling creates a sense of being a family and community. All stories are
connected
connecting the individual with the community sharing a past and memories
with the same
stories.

5. What are the main differences with a Western understanding of narrative,

community, and identity?

6. Do you think the content of the essay matches its form?

Yes, it is made of examples, she uses stories within stories. She recalls older
people and
stories, so she is also being like a spider. She shows that storytelling is
tradition and
innovation.

Acculturation VS assimilation
Acculturation “comprehends those phenomena which result when groups of
individuals
having different cultures come into continuous first-hand contact, with
subsequent
changes in the original cultural patterns of either or both groups” (Redfield,
Linton, and
Herskovits, in American Anthropology, 2002, 258).

Assimilation is a phase of acculturation where this process takes over of the

greater
portion of another culture and most of the older cultural heritage is lost;
assimilation
implies behaviour patterns and also inner values of the culture with which they

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 65

 have come
into contact. (Redfield, Linton, and Herskovits, in American Anthropology,
2002, 262)

“Kill the Indian, Save the Man” ⇒ Associated w the red

power movement?
There were boarding and residential schools to contribute to the assimilation of
Native Americans
through education. Children were (often forcibly) separated from their families,
prevented from
speaking their language, beat and sexually abused. Many died from hardship or
disease. Violence
was the rule. Carl Schurz, the secretary of the interior in the late 1800s, argued
that it cost close
to $1 million to kill a Native American in warfare, versus just $1,200 to give his
child eight years
of schooling.

Zitkala-Ša (1876-1936)
Yankton Dakota writer, editor, translator, musician, educator, and activist. Founder
of National
Council of American Indians (NCAI) to join Native nations to fight together for full
citizenship
(suffrage)
“Why I am a Pagan”

A text written about herself and her spirit. She is describing spirituality with nature.
All
elements are approach going from one to another. She introduces senses while
describing
the nature. She is listening. She is writing in an unusual way introducing spiritual
beliefs
through examples and including herself. This connection with nature moves to
connection

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 66

 with people. And finally, there is a sense of kinship between people, creatures,
and nature.
Although human is the same there are differences. These differences are not
important in
a spiritual sense. After presenting all this, she arrives to the conclusion of staying
being a
pagan if feeling and understanding in this way the world makes her a pagan. She
is
describing herself as a small part of the world.

The red power movement was an indian movement against the European powers
that were opressing their culture, these indians organizzed themselves in several
organizations and revolts they orhcestrated to have several movements to evoke a
sense of power, these movements happened between 1960 and 1970, the most
outstanding one of them all being the occupa´tion of the prision of alcatraz, which
only lasted a day, but the objective which they wantd to rach was crat a new
society in a place (in this case the island of alcatraz) wher thy wantd to crat a nw
community whr popl with indian origins could cooxist with onanothr without
prdjudics or anything lik the sort, sadly this movmnt only lastd efor a day bfor the
govrnmnt dismantld the whol opration the indians had put on and forcd them to
rturn to the usa.

Based on the information presented in the image, the Red Power Movement during
the late 1960s and early 1970s was a period of significant political unrest and
activism driven by a multitude of interconnected issues facing Native American
communities. These issues included the devastating consequences of
displacement from their ancestral lands, pervasive poverty (as we have seen
before many of these natives were forced to flee their land because of the
american westward expansion), the tragic loss of territories guaranteed by
treaties, the widespread problem of alcoholism, and the systemic corruption
within the Bureau of Indian Affairs. This context of historical injustice and
ongoing hardship fueled a powerful desire for change and self-determination.

A pivotal event that captured the spirit and aims of the Red Power Movement
during this time was the Occupation of Alcatraz Island in 1969. This bold act,
often referred to with the defiant slogan "We Hold the Rock," saw a group of
Native American activists, identifying as "Indians of All Tribes," take possession of

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 67

 the abandoned federal penitentiary located in San Francisco Bay. This symbolic
occupation was not merely a land grab; it was a powerful statement rooted in the
assertion of treaty rights. The activists invoked an 1868 treaty that stipulated
unused federal land should be returned to Native American ownership.
The Occupation of Alcatraz served as a catalyst, igniting and inspiring numerous
marches and protests throughout the United States. It became a focal point for
drawing national and international attention to the grievances and demands of
Native American people. The occupation highlighted issues of sovereignty, land
rights, cultural survival, and the need for the U.S. government to honor its treaty
obligations. The visual of Native American people reclaiming a symbol of
confinement and transforming it into a space for asserting their identity and rights
was incredibly potent.

The text also emphasizes the intellectual and cultural underpinnings of the Red
Power Movement. It notes that the movement had its origins among Native
American students, indicating the crucial role of a new generation in articulating
and driving the demand for change. Furthermore, the passage highlights the
significant contribution of Native American writers who sought to create a new
narrative for what they called "Turtle Island" (a term used by many Indigenous
peoples of North America to refer to the continent).
These writers actively rejected narratives that either romanticized a distant,
disconnected past or ignored the contemporary political realities faced by Native
Americans. Instead, they aimed to interpret a colonized world through an
Indigenous lens, offering fresh perspectives and analyses that could empower
their people with knowledge and understanding of their historical and present
circumstances. This intellectual and artistic dimension was crucial in shaping the
ideology and goals of the Red Power Movement, providing a foundation for their
activism and demands for self-determination and cultural resurgence.

In essence, the Red Power Movement during 1969-1970, as depicted here, was a
powerful and multifaceted movement fueled by historical injustices and a strong
desire for self-determination. The Occupation of Alcatraz stands as a defining
moment, symbolizing the movement's assertive tactics and its demand for the
recognition of treaty rights and sovereignty. Simultaneously, the emergence of
Native American student activism and the development of a new intellectual and

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 68

 literary narrative played a vital role in shaping the movement's ideology and
empowering Native communities in their fight for justice and cultural survival.

NATIVE AMERICAN NOVELS

First novels written by Native Americans were John Rolling Ridge’s Life and
Adventures of
Joaquin Murrieta, the Celebrated Bandit (1854) and Sophia Alice Callahan’s
Wynema, A Child
of the Forest (1891)
“Native writers have used the form to test various responses to North American
colonialism,
from violent resistance to passive acceptance. The Native American novelist
seeks to mediate,
often subversively, between the ‘novel of resistance’ and the ‘novel of
assimilation’.” (Teuton
85)

The native American Renaissance is considered to be the red power novel. In this
period there
are some authors such as:
N. Scott Momaday (Kiowa): House Made of Dawn (1968)

Leslie Marmon Silko (Laguna): Ceremony (1977)

Louise Erdrich (Ojibwe): Love Medicine (1984); Tracks (1989)

Joy Harjo (Muscogee): She Had Some Horses (1983)
They focus on ritual and reservation experience, as well as the difficulties of living
outside of the
reservation while holding onto tradition. Authors such as Sherman Alexie rejected
many of the
formal and thematic concerns of this generation.
These novels represent different realities:

Urban novels. Greg Sarris (Pomo): Grand Avenue (1994) showing the
multicultural life
in California. And also, Irvin Morris (Navajo): From the Glittering World (2000)

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 69

 showing
pan-tribalism in the city.

LGTB experiences. Paula Gunn Allen’s Woman Who Owned the Shadows
(1983) where
she imagines lesbian life in San Francisco. And also, Craig Womack’s
Drowning in Fire
(2001)showing historical fiction and modern coming-out.

Feminist projects. Louise Erdrich’s Love Medicine (1984), Leslie Marmon Silko’s
Almanac of the Dead (1991), and Linda Hogan’s Power (1999).

Sci-fi/ fantasy. D.L.Birchfield (Choctaw) Field of Honor (2004) about an

underground
civilization. And also, Blake Hausman (Cherokee) Riding the Trail of Tears
(2011)in
which he is reinventing the future.

Louise Erdrich
B. 1954, Ojibwe (Chippewa) mother, German American father. Teachers in a
residential school.
Married to writer and anthropologist Michael Dorris. They were an important
couple in native
lectures. She always writes about the same setting and family. All her stories are
connected. Some
of her works:

Love Medicine (1984)

The Beet Queen (1986)

Tracks (1988)

The Bingo Palace (1994)

Tales of Burning Love (1997)

The Last Report on the Miracles at Little No Horse (2001)

Four Souls (2004) encompass the stories of three interrelated families living in and
around a reservation in the fictional town of Argus, North Dakota.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 70

 The Master Butchers Singing Club (2003): focuses on European ancestry
characters.
Louise Erdrich spins interconnected tales of unforgettable characters; to read her
works is to play
an active reader-role within an elaborately structured, historically allusive universe
that is rich
in layered meaning. Erdrich’s recurrent themes concern the ties between people
and geographical
locations, the importance of community among all living beings, the complexities
of individual
and cultural identity, and the exigencies of marginalization, dispossession, and
cultural survival.
Family and motherhood, storytelling, healing, environmental issues, and historical
consciousness
are likewise central, thematic emphases that thread Erdrich’s works into the
expanding web of
contemporary American Indian literature.

Themes:
Readers learn, usually for the first time from an Ojibwen perspective, the regional
history of the
Turtle Mountain Ojibwe of North Dakota, a people many times betrayed in their
reluctant, but
forced, dealings with Euro-Americans. Their collective and individual identities
have been
affected dramatically in this process. Readers also learn from indigenous points of
view how
Roman Catholicism, since its arrival in the early nineteenth century, has
transformed native
culture. Like Momaday, Silko, Hogan, and others, Erdrich explores the lasting
effects of the
spiritual as well as the material colonization of Native Americans. We hear the
voices of people
whom both Catholic and Protestant missionaries set out to “save,” but who did not
then, and do
not now, consider themselves “lost.”

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 71

 The Red Convertible ⇒
The Red Convertible ⇒ talks about how trauma changes people and how the
family is also affected by the events that have marked their family member as , the
person himself and the family around them eventually learn to live with it, since as
described within other books trauma is considered as an open wound that’s
hurting, and that open wound will eventually heal over time, but it’ll leave a scar,
that scar is what people have to cope with and learn to live with it because people
will eventually ask what happened (even though this is not the case, the part
where he accepts himself and eventually learns to live with the trauma of it, as not
everyone can live with it, as the family tries to bring this person's old self back
through objects and memories, the ending will be very evident within what we
read (since at the end the person that comes back from war ends up unaliving
himself because he cannot cope with everything, and even though he kind of
'forgets that he had been in a war during a certain period of his life, when he
remembers the good times and so on, in the end, this imagery of trauma will follow
you till the end of your times
Analysis
It is the first story published by Erdrich (1981). Included later in Love Medicine.

Plot

A story of two brothers that wanted to buy a car as they wanted to

travel around. But whenthe big brother comes back from the Vietnam
war he has changed.

Setting (time and place)

The setting is Chippewa reservation in North Dakota. Although there are

references to
Winnipeg, Montana and road trip to Alaska. There are different time
references, When Lyman was 15, When Henry is drafted (1970) and Henry’s
return and demise (four years later)

Narrator

The narrator is Lyman. He is unreliable changing perspective and the

tense in which it is
told the story. It is very evident the foreshadowing of the content of the

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 72

 story. It is narrated in a simple structure as a teenager would tell the
story. There is an identification with his brother and the car. As a
narrator he distances himself from the story. The story is written
creating a sense of melancholy.

I was the first one to drive a convertible on my reservation. And of

course, it was red, a
red Olds. I owned that car along with my brother Henry Junior. We
owned it together
until his boots filled with water on a windy night and he bought out my
share. Now
Henry owns the whole car, and his younger brother Lyman (that’s
myself), Lyman walks
everywhere he goes (103)

Characters

There are two main characters, the brothers. They are very different in
terms of personality.

Lyman Lamartine. Good with money (self-made man)this is said in

an ironic way, “I
had a touch for it, unusual for a Chippewa” (103). What is presented
as a success
story is a parody because successes are very small. He remains in
the reservation.
And also tricks his brother into believing that his car is broken with
he returns. He
acts as an active character

Henry junior Lamartine. Strong (“built like a brick outhouse” 106).

He has an Indianlooking
profile (sharp nose). In the Marine, goes to Vietnam, returns
changed by war:
“Henry was very different, and I’ll say it, the change was no good”
(107). Passive
character. He mostly reacts to Lyman actions.

Structure

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 73

 It is a chronological narration. The story is divided into 10 sections, and
it is mostly lineal but there is one that is flashforward in section 8.
Sometimes, each section is a story of its own. Moreover, there is an
internal division: Before that is happy although there is a sense of
melancholy, After Vietnam everything is more mysterious and sinister.

The structure of The Red Convertible by Louise Erdrich is primarily

chronological, divided into 10 sections that follow a mostly linear
narrative. However, there is a flashforward in section 8, breaking the
timeline briefly. Each section can feel like a small story on its own, but
they all build toward the emotional climax.

The story also has an internal division:

Before Vietnam: The tone is more joyful and light, though

tinged with melancholy.

After Vietnam: The mood turns darker, more mysterious and

tragic, reflecting the effects of war on Henry and his
relationship with Lyman.

Connected with the essay the story is built by other stories. Also, the
sense of identity, the red car is a symbol of American showing a
mixture of native and American; there is not a sense of a pure native
identity, and it is represented in this story.

Symbols.

The car offers a sense of freedom evocating to the American life. The
bond
between the brothers. The car is personalised. The car is healing henry
from his
trauma.

Photograph. Foreshadows henry’s passing, he is detached from the

family and
reality

TV set. It is colour tv and Lyman would have preferred a black and

white tv
because the colour images are more connected to reality. An element

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 74

 connected
to modernity.

Journeys to Alaska, Vietnam, and the river. The journeys are journeys
of life. The
two long journeys and a short one. The trip to Alaska is childish and
intimate with a sense of a bond between the brothers. Their youth and
happiness is interrupted
by the Vietnam war. The river is the end of his life.

Themes

Coming-of-age (as loss of innocence)

Young adult milestones. They have to deal with other people and
leave
their reservation exploring the world.

Abrupt changes brought y adulthood. Henry being obligated to join

the
army meaning the end of his childhood and innocence.

Close brotherhood interrupted by Vietnam War.

Contrast innocence and experience. Coming of age with abrupt

changes.
But also gaining maturity.

Trauma

PTSD. Memories from the war and migration always marks the
characters.

Native medicine / western medicine. Natives do not trust hospitals to

help Henry but there are no doctors in the reservation.

Clash between western values and native American values.

Ambivalent. Car as a positive or negative symbol. It is complex because

it is soul connected. The ending can be seen as the end of a chapter
for each character. The ending is sad, but it has a sense of repose.
Henry and the car are where they are supposed to be. Nature, the car
and henry become one. Henry’s death as a passive character is like an

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 75

 act of freedom finally doing what he wanted to do. The corrupted and
traumatised character receives the best ending possible for him which
is death ending with all his suffered.

Style

Style based on repetition and emphasised with certain words, different

ways and forms of repetition to emphasise the separation. The journey
together; using we in the happy moments and him in the sad ones.
Affirmative sentences are used without subordination

Occupation of alcatraz ⇒ relate to Opal.

Question ⇒ what are conditions that affect the americans

Many different problems likealcoholism and suicide rights

Bureau of Indian affairs ⇒ not seen as some sort of job

native american emergence

Literature written by natives and not being portrayed by others

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 76

 Emergence in the sense of being known although they were already there. Native
Americans
started to describe themselves becoming scholars, ethnologists, and writers.

N. Scott Momaday (Kiowa), “The Man Made of Words” (1979) reflects on the
power of words and storytelling, both in shaping our individual and cultural
identities, and in connecting us to our past and to one another. The essay is a
testament to the importance of storytelling and the role of writers in preserving
and sharing cultural heritage.

Momaday: Claimed land as literature.

Paula Gunn Allen (Laguna and Sioux): “We are the land […] The Earth is the mind
of the people as we are the mind of the earth” (“Iyani: It Goes this Way”, 1979)

Gerald Vizenor’s Word Arrows (1978): Discussed problems of internalized racism.

Native American Studies promote literature as DECOLONIZATION.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 77

 Simon Ortiz (Acoma), “Towards a National Indian Literature”: appropriation of
colonial legacies and mimicry (festivities, soldiers’ parades…)The adaptation is as
RESISTANCE.
With the emergence in literature a question appeared, Does writing about real
problems
perpetuates negative stereotypes?
“Far too often in Native American literature, particularly novel, Native protagonists
get drunk
and in self-hatred self-destruct, leaping off bridges or cliff sides. While alcoholism
and suicide
rates remain highest in indigenous communities, Native American authors run a
risk in
providing a mainstream readership with this portrait of Native self-destruction. For
too many
North American readers the unacknowledged Vanishing Indian legacy remains,
only now Native
Americans do not melt into the land (as in Walt Whitman’s fantasy) but quietly
shoot themselves.
For Native writers the impossible literary challenge lies in having to write for two
often
competing audiences, one wishing to understand and heal an often troubled social
world,
another often desiring to consume negative stereotypes to satisfy the colonial
narrative of
providential indigenous demise” (Teuton 81)

There there ⇒ Watch interview

what isn understtood as the ‘typical american’, theidea of the stoic american,
thenovel is trying to offer new perspectives on what it means to be American
nowadys, they don’t live on reservstion, they are other indians, there is this ideaof
trying to dismantkle the idea of a native indian, this idea of fixing tradition with
modernity, therefore why the powow is such a powerful ending

There there has several meaning, depending on how we interpret it ,there are 3
different interpretations of this titles, ‘just because you don’t see us, it doesn’t

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 78

 mean that we are here’, the prologue and the interlude are disturbing as they tell
us story on a more darker side

Gertrude Stein – “There is no there there”

This quote originally comes from Gertrude Stein writing about returning to her
childhood home in Oakland, California. When she says, “There is no there there,”
she’s expressing a sense of dislocation — that the place she remembered no
longer exists. It's changed so much that it feels like it’s lost its identity or meaning.
It’s no longer "home."

In There There, this quote reflects how the Native American community,
particularly in urban settings, is constantly living with the pain of historical and
present-day violence. The soothing phrase, typically something you'd say to a
child—like "It’s okay" or "You’ll be fine"—is used here as a metaphor for the way
society, or even within the community itself, tries to comfort or diminish the vast,
often overwhelming suffering.

When a child gets hurt, they often need immediate comfort to calm down, to feel
safe, and to relieve distress, but that phrase doesn’t actually address the source of
the injury—it’s more about soothing the immediate pain, not healing it. This is
significant because it parallels how the pain of Native American communities is
often "soothed" or downplayed by broader society or even within their own
cultural circles.

what do we do with this vil¡olent past? how does there there work in this context, a
violent past thats still huritmng in the present the there there of the community?.

There is no there there ⇒ referring to oakland and seeing that her childhood home
doesn’t exist, her home is still there but at the same time it doesn’t feel like home.
What is this home, what is this ‘American continent? is it home? can it be a home?’

he wants to break down the one way of being indian, the myth of a monological
indian and
the india of an urban indian. he wants to actualize the term ‘indian’- therefore thats
why there
are 12 different voices. ambiguity- what are you, what does it mean to be indian,
what makes
you indian. so this different characters have different understandings of what it

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 79

 means for
them to be indian.

12 voices ⇒ he’s trying to break the monolithic version of things, breaking the
there is only one indian stereotype, by giving us 12 voices they are giving us
different views on the types of indians that existof whatit ,eams to be indian

In There There, Tommy Orange deliberately constructs the narrative through

twelve distinct Native voices to shatter the stereotype that Native identity is
singular, fixed, or easily defined. The title itself, There There, alludes to a kind of
absence or displacement—both in geography and identity. As Gertrude Stein once
said about Oakland, “There is no there there,” which Orange reclaims to reflect the
erasure and invisibility of modern Native lives. Against this backdrop, the twelve
characters become not just individuals, but symbols of the diverse, fragmented,
and evolving reality of what it means to be Native today.
Each voice, then, is a strategic counterpoint to the dominant cultural narrative
that treats Native Americans as a homogeneous, historic, or vanished people. By
weaving their stories together, Orange rejects the “one Indian” stereotype—the
idea that Native people can be represented by a single story, image, or type.

One of its most compelling achievements is how it presents twelve different Native
American characters—each with unique backgrounds, voices, and struggles—yet
unified by the shared experience of urban indigeneity. These twelve identities
aren’t just a collection of individual stories; together, they represent a spectrum of
Native identity in contemporary America, embodying the complexity,
fragmentation, resilience, and rediscovery that define the Native experience today.
Let’s dig into what each of these characters symbolizes, and how they collectively
paint a fuller portrait of what it means to be Native in a modern, urban context.

Tony Loneman – The Masked Observer

Tony suffers from fetal alcohol syndrome, which he calls “the Drome,” and is
aware of how people perceive him. He’s often underestimated, judged, and
dismissed. Tony’s identity is shaped by how others see him and how he
internalizes that. But he’s also hyper-aware of the masks we all wear. His role as a
kind of observer (and later as someone who participates in violence despite his
gentle nature) symbolizes the internal conflict between the way the world sees
Native people—as broken, criminalized, pitied—and the complex interiority they

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 80

 actually possess. He’s the embodiment of the Native man society refuses to see in
full.

Dene Oxendene – The Archivist of Voices

Dene is the aspiring documentarian gathering Native stories for his oral history
project. He stands in for Tommy Orange himself in some ways, but more
symbolically, he represents the desire to reclaim narrative control. Dene’s mission
to record others’ stories pushes back against centuries of erasure and
misrepresentation. He symbolizes the Native storyteller who sees the value in
every voice, the cultural archivist, and the one who preserves memory and identity
through truth-telling.

Opal Viola Victoria Bear Shield – The Bridge Between Eras

Opal, who experienced the AIM movement and the occupation of Alcatraz as a
child, represents the generational trauma and legacy of activism that many Native
people inherit. Her story ties the past to the present, showing how earlier attempts
at resistance reverberate through time. She’s both a protective maternal figure and
a reminder of lost potential—someone who has survived but whose life has been
deeply shaped by dislocation and silence.

Jacquie Red Feather – The Wounded Healer

Jacquie, Opal’s sister, is a recovering alcoholic and grief-stricken woman trying to

reconnect with her family. Her journey is about redemption, healing, and the
difficulty of forgiveness—especially forgiving oneself. She symbolizes the struggle
of reclaiming Native identity after a lifetime of loss and addiction. Her work as a
substance abuse counselor also reflects a broader theme: how healing within
Native communities often comes from those who have survived the most

Orvil Red Feather – The Seeker

Orvil, Jacquie’s grandson, secretly teaches himself Native dancing via YouTube
and wants desperately to connect with a heritage he’s never been taught. He
symbolizes the many Native youth growing up without access to their culture, left
to reconstruct their identities from fragments. Orvil is the embodiment of yearning
—for belonging, for history, for connection—and he reflects the tension between
modern technology and ancient tradition.

Edwin Black – The Disconnected Intellectual

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 81

 Edwin is overweight, socially awkward, and deeply disconnected from his Native
identity—at first. His online search for his Native father and his gradual
involvement with the powwow mark a turning point. He represents the Native
person alienated by adoption, absence, or assimilation who slowly begins to
reclaim what was lost. His transformation is about reconnecting and redefining
identity on one’s own terms, showing that Native identity is not monolithic.

Calvin Johnson – The Cynic

Calvin is skeptical, emotionally detached, and caught in moral gray areas. He

becomes involved in the powwow robbery scheme, despite not fully buying into it.
Calvin represents the internal conflict within identity—the Native man pulled
between survival, loyalty, and nihilism. His cynicism is a defense mechanism, but
beneath it is the pain of cultural disconnection and a longing for something more.

Bill Davis – The Ally Turned Outsider

Bill is the white stepfather of Edwin, and while not Native himself, his presence in
the narrative highlights questions of allyship, appropriation, and family. His
awkwardness around Native traditions—like trying to help Edwin “get in touch”
with his heritage—exposes the uncomfortable role non-Natives often play in
Native lives, well-meaning but often clueless. He symbolizes both the limits and
the complexities of cross-cultural relationships.

Octavio Gomez – The Strategist of Desperation

Octavio is a key planner of the powwow heist and represents a form of radicalized
survival. He uses his intelligence to orchestrate a crime, but his motivations are
rooted in poverty, marginalization, and a lack of opportunity. Octavio symbolizes
the anger and frustration that can build when people are cut off from history,
purpose, and hope. He’s not just a criminal—he’s a product of systemic failure.

Daniel Gonzales – The Maker of Myths

Daniel, Octavio’s cousin, is the one who creates the 3D-printed guns for the
robbery. He’s a hacker and tech-savvy character who bridges modern technology
with deeper mythic themes—he records audio of stories to go with his guns.
Daniel represents how myth, modernity, and violence can intersect. He’s a tragic
figure who believes he’s preserving something even as he contributes to
destruction.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 82

 Blue – The Survivor

Blue is Jacquie’s long-lost daughter, who fled an abusive relationship and now
works for the powwow committee. She’s fiercely independent but also deeply
vulnerable. Her story is one of survival—of gender-based violence, loss of family,
and rediscovery. Blue symbolizes the resilience of Native women, especially those
who carry both cultural and familial scars, yet keep building.

Thomas Frank – The Drummer of Broken Rhythms

Thomas is a former janitor and recovering alcoholic who finds spiritual expression
through drumming. His character represents music as memory, rhythm as identity.
He is caught between the noise of addiction and the clarity of ceremony. Thomas
symbolizes the heartbeat of Native culture—sometimes irregular, sometimes
broken, but always there.

Collectively: The Tapestry of Modern Native Identity

Together, these twelve characters form a chorus—fragmented, polyphonic, and
often painful, but deeply human. The novel refuses to present a single, simplified
“Native experience.” Instead, it offers a kaleidoscope of identities: some rooted in
tradition, others disconnected; some hopeful, others resigned; some reclaiming,
others resisting.
Their journeys converge at the Big Oakland Powwow, a cultural event that
becomes both a literal and metaphorical gathering place. It’s a site of celebration,
confrontation, tragedy, and attempted healing. In this way, There There shows that
Native identity is not about purity or preservation alone—it’s about adaptation,
resilience, and survival.
In essence, the twelve characters each hold a piece of what it means to be Native
today. And only by looking at them together can we begin to see the full,
fractured, beautiful truth of their identities.

Twelve voices don’t just show variation—they form a kind of chorus. Some
characters know each other. Some are family. Some are strangers. But they’re all
heading to the same place: the Big Oakland Powwow.

That convergence isn’t just plot—it’s symbolic. It tells us that Native identity isn't
about a single voice rising above the rest, but about many voices coexisting,

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 83

 often in contradiction. That’s real life. That’s real identity.

And it’s deeply political. Orange is fighting erasure by doing the opposite of what
mainstream culture has done to Native people. Instead of one simplified figure, he
gives us a full spectrum of experiences—traumatized, proud, angry, confused,
joyful, disconnected, recovering, searching.

Powow ⇒ Blood realtions of people and family ⇒ there is a reference to a shooting

somewhere

edwin black ⇒most disguised name, he’s the one trying to find everything, at firsst
he doesn’t know he’s native, but as time goes by he understands rooting from a
conversation with his mother where he digs into his roots
Opal ⇒ explanation of names and we go to the prologue where conqu3rors give
other people names that they didn’t understand or anglo names, important in
sense of naming and language
Soothing phrase of there there ⇒ In reality there is no there there ⇒ gertrude
steins

Spider legs ⇒ Constant reminder of smth witched or smth, drawing attention to

the spider in the other sense, the idea of wieving stories these people carry their
webs within them, it could go for kilometers ther eare miles of home

What is home?⇒ place wherre you’re safe where you have a home, safe space
where you can be yoursef, even the text as a home, homw is associated with
something good, sheltering, what happens when there is no home idea

Miles of story ⇒ all stories are built in this soider web, because the spider, by
trying to replicate this the building of a spider web is storytelling, the material
to create the web is already within the spider

Trickster tales ⇒ trickster tales, which rekates to the trickster studies within the
identity within history, within wisdom, spider being home and trapped
Reflections/mirrors, he looks at himself on the reflectionof a TV screen, he is very
aware of his body and this is very important, how people look at the world isn’t
always how people feel, in a sense this alwayscomes back to a sense of identity,
all these characters are in a process of trying to findwho they are

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 84

 tony loneman’s problem is the drome, it doesn’t have to do anyhting with his
identity, how the native identity is what drives people toward different objectives,
tony Loneman is probably the representation of the mirrors

Edwin ⇒ failed writer, has essentially no purpose in life

Titles in the novel

Prologue: "The Native American experience in contemporary society"
The Prologue of There There introduces readers to the central themes of the novel
right from the start. This brief section serves as a powerful, almost meditative
reflection on the reality of Native American life today, focusing specifically on
those living in urban environments—especially in Oakland, California. It’s a direct
address to the reader, offering a raw, unsentimental look at the complexities and
struggles of Native people in the modern world.
The narrator, in the Prologue, sets the stage for the entire novel by framing the
Native experience as one of survival and resilience. The prologue highlights the
urban Native American experience, often overlooked in mainstream discussions
about Native identity. Most representations of Native Americans in popular culture
are tied to rural, reservation life or historical stereotypes of "noble savages," but
There There begins by challenging that narrative. It introduces the reality that
many Native Americans today live in cities, disconnected from their cultural roots,
and have to deal with modern-day struggles like poverty, addiction, and violence.

One of the most striking elements of the Prologue is how it acknowledges the
immense historical trauma that Native Americans have faced due to colonization,
genocide, and systemic violence. However, it also emphasizes that, despite these
hardships, Native Americans are still here—they persist. This survival isn’t
portrayed as a triumph of nostalgia or romanticism; it’s a stark, often painful reality
of living with the legacy of colonization while navigating the complexities of
modern American life.
The Prologue is crucial because it lays the groundwork for the main story by
introducing the concept of Native people’s enduring presence, but also the trauma
that comes with it. There’s an unflinching look at how history still impacts the
present day and how this trauma is passed down through generations. The
Prologue establishes the thematic undercurrent of Remain—the price of survival—

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 85

 and hints at the journey of identity that the characters will undergo. This section
signals that the road ahead will not be about simple nostalgia or revival of the past,
but an honest confrontation with the struggles that come with trying to reconnect
with one’s roots in a world that has sought to erase those roots.
In There There by Tommy Orange, the novel unfolds through different sections
titled Remain, Reclaim, Return, and Powwow, each of which threads a deeper
exploration of Native American identity, survival, and the effort to reconnect with
culture, heritage, and community. These titles are not merely structural choices
but also represent a journey that spans personal histories, collective struggles,
and the ongoing negotiation of what it means to be Native in the modern world.
Here's a closer look at how each part of the novel connects to the overarching
themes of identity, survival, and reclamation.

In There There, the idea of “remain” connects to the survival and ongoing
presence of Native identity and culture despite centuries of colonization,
erasure, and forced assimilation. While many of the characters are trying to
return to their roots and reclaim what was taken from them, “remain”
speaks to what has endured—what still lives within them. Even though
much of their culture was suppressed or stripped away, something
persisted, and that’s what gives them the strength to keep searching for
connection and meaning. To “remain” is to exist in spite of the trauma, to
still be Native even in a world that has tried to erase that identity. It reflects
resilience: the fact that, even in urban settings and fractured
circumstances, Indigenous people still live, remember, resist, and rebuild.

reclaim is the title that’s typically used when native americans want to get
back something (in this case it’s the characters of the novel that want
something back that was stolen from them) in this case the characters
want to reclaim the identity that they all lost when the colonizers came and
made them forcefully adpapt to the customs that the white people wanted,
so they want to reclain their identity and customs

return in the novel there there refers to when the characters try to return to
the roots that they have (in this case the indian roots that they all have), not
in a literal sense but in a more metaphorical sense, like they want to know
more things about the indian culture that they belong to and get to know
more about their general history and connect to their customs etc etc,

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 86

 return would be also identified with returning to their native roots somehow,
even though they can never really return there in a physical sense they can
only return in metaphorical terms

Interlude: "The interconnectedness of the characters"

The Interlude comes after the Prologue and plays a pivotal role in shifting the
narrative focus. It offers a brief but important pause between the character-driven
sections of the novel, providing a broader context for the interconnectedness of
the various characters whose stories we will come to follow. This section
reinforces the idea that while these characters appear separate in their individual
struggles, they are connected by more than just their shared Native identity—they
are all part of a larger story of survival and reclamation.

The Interlude essentially connects the dots, showing how all the characters are
bound by common threads of history, trauma, and belonging. Though their
individual stories unfold in different ways, the Interlude helps to establish the idea
that their experiences are part of the same collective Native experience. By
introducing the idea of interconnectedness at this point in the narrative, Tommy
Orange emphasizes the collective nature of the struggles that Native people face.
It’s not just about individual stories of survival but about a shared history and
future.
In a way, the Interlude also serves as a reflection on the modern challenges of
Native identity. The characters in the novel are not just struggling with personal
challenges, but they are also grappling with the complexities of being part of a
community whose history has been disjointed, erased, and marginalized by
mainstream American culture. The Interlude sets up the coming moments in the
novel, where the stories of these characters will begin to converge—emotionally,
thematically, and literally—through their shared participation in the powwow.

At the same time, the Interlude functions as a moment of reflection, showing that
these characters' individual struggles are deeply intertwined. The key to
understanding the novel’s broader themes of identity and survival lies in
recognizing the interconnectedness of the characters, and by extension, the
broader Native community. The idea that the characters’ actions, choices, and
experiences ripple out and affect each other echoes the theme of unity that will
become evident in the Powwow section, where all the characters’ narratives
converge.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 87

 Remain: "We are still here, and what is the price of still remaining?"
The title Remain sets the stage for the novel’s central question of survival and
identity. This section emphasizes the painful and complicated reality of Native
American existence in contemporary society. Despite the efforts of colonial forces
to erase Native culture, history, and identity, Native people persist, physically and
emotionally. The question of "What is the price of still remaining?" is central to the
characters' lives. The trauma inflicted by generations of violence, displacement,
and neglect has not disappeared. Instead, it is carried forward, often in subtle and
insidious ways. Many of the characters in this section, such as Orvil Red Feather
and others, struggle with being disconnected from their roots, feeling like
strangers in their own history. They experience the scars of cultural genocide and
the weight of internalized colonialism, while also grappling with the pressures of
modernity. Remain is a reckoning with the fact that survival, in this case, is a
complex and painful process, one that often comes with a feeling of fragmentation
and loss.

Reclaim: "Taking back their identity, getting more connected with this Native
identity."

Reclaim represents the characters’ efforts to take back their identities,

reconnecting with the cultural and spiritual aspects of their Native American
heritage. This section is about searching for a lost or hidden sense of self, piecing
together fragments of a culture that has been violently stripped away. It is a
deeply personal and collective journey—each character’s path toward reclaiming
their identity is different, but all are marked by a desire to rediscover something
vital about themselves. Orvil Red Feather, for example, is shown learning about his
Native culture through online videos and the guidance of his grandmother,
Jacquie. Through this, he starts to realize the importance of tradition, dance, and
the cultural knowledge that he had been separated from. Reclaim highlights the
importance of ownership—of one's culture, one's history, and one's narrative—
and the obstacles that exist in trying to reconnect with that which has been stolen
or forgotten. It’s a story of resistance and recovery, where reclaiming identity isn’t
easy but is essential for emotional and spiritual healing. Characters like Orvil, who
were born into the fractured remnants of a once-thriving culture, must first bridge
the gap of centuries of dislocation and silence.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 88

 Return: "Returning to their history, goes from the realization of you are still here
to a willful act of embracing your identity."
The section titled Return signals a shift from the passive survival of Remain to a
more active, intentional engagement with Native identity. It's about returning to the
roots that had been obscured or lost over time. The act of returning here is not
simply a physical one, but a spiritual and emotional one. It involves revisiting the
painful history of colonization, genocide, and cultural erasure while
simultaneously embracing the deep strength and resilience that have allowed
Native peoples to endure. Characters like Jacquie Red Feather experience this
return in different ways—Jacquie’s journey involves confronting past trauma,
dealing with the ghosts of her family history, and coming to terms with her role in
preserving her culture. She returns to her roots and her people in an effort to heal
from the disintegration of her own family and the fallout of addiction. Return is
about reclaiming agency in the face of a past that can often feel overwhelming
and devastating. In this section, characters begin to make deliberate choices to
reconnect with their Native heritage—not just as a means of survival, but as a way
to embrace their full identity.

Powwow: "The convergence of identities, a celebration of community."

Finally, Powwow is the culmination of the characters’ individual journeys, a
symbolic and literal coming together to celebrate culture, identity, and community.
Throughout the novel, the powwow serves as a shared focal point for the
characters. It is a community event that brings together many of the novel's key
figures, whose separate lives and stories intersect at this moment of collective
unity. The powwow is an opportunity for the characters to not only celebrate their
survival but also to reflect on the emotional, spiritual, and physical work of
reconnecting with their culture. This section represents a convergence of histories
and identities—a place where individuals who have struggled with their
connection to their Native roots come together to affirm their place in the world.
The powwow serves as a reminder that despite the challenges they face, Native
communities are still alive and still fighting for their survival, both as individuals
and as a collective.

In a symbolic sense, the powwow also represents the vitality and resilience of
Native culture, showing that even though it has been battered by centuries of
hardship, it remains vibrant and alive. The powwow is not just a celebration; it’s an

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 89

 act of defiance, an assertion that Native American culture has not been erased. It’s
a public acknowledgment of the work that must be done to heal the wounds of
history and to move forward in a way that honors both the struggles and the
triumphs of the past.

How They Thread the Story:

Together, the sections Remain, Reclaim, Return, and Powwow trace a narrative arc
that moves from survival and loss to the active reclamation of identity and culture,
and finally to a celebration of collective strength and community. These titles
represent a progression that mirrors the experiences of the characters, each at
different stages of grappling with what it means to be Native in a modern world
that often disregards or distorts Native history and culture.

Remain is about enduring the violence of history and dealing with the trauma of
colonialism. Reclaim involves the active effort to reconnect with what was lost and
to reassert control over one’s identity. Return symbolizes a deeper engagement
with history and a conscious, willful return to heritage. And Powwow marks the
point of convergence, where individual journeys of identity, struggle, and survival
come together to form a collective, shared experience.
In this way, Orange’s novel presents not only a story of survival but also a story of
resistance, healing, and community—a recognition that Native people are not just
passive victims of history, but active agents in shaping their futures and reclaiming
their place in the world.

Challenging the "Typical American" and "Stoic Indian"

Think about old movies or books you might have seen about "Indians." Often,
they show people living in tipis, wearing feathers, and speaking in a certain
way. Orange is saying that this is a very limited and outdated picture. He
shows us Native people who live in cities, use smartphones, have jobs, and
deal with everyday problems, just like anyone else.

He's also breaking down the idea that Native people are all the same. There
are many different tribes, backgrounds, and experiences. The 12 voices in the
book show us this variety.

"There There" and the Meaning of Home

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 90

 The title "There There" comes from a Gertrude Stein quote about Oakland,
where many of the characters live. It means that even though a place might
exist physically, it might not feel like "home."

For the characters in "There There," home is complicated. They may have
grown up in Oakland, but they also feel disconnected from their ancestral
lands and traditions.

Think about what "home" means to you. Is it just a place? Or is it also about
family, community, and belonging? Orange makes us think about these
questions.

The idea of the american continent as home is questioned, can it be a home?

Is it a home? The novel leaves the question open, it is left to the reader to
reflect on.

The Violent Past and Present

The prologue and interlude are disturbing because they show the violence and
injustice that Native people have experienced throughout history. This
violence isn't just in the past; it still affects people today.

The book asks, "How do we deal with this violent past?" How do we heal from
the hurt it caused?

The powwow, while a place of celebration, also becomes a site of violence,

highlighting how the past and present are intertwined.

The shooting at the powwow is a stark reminder of the violence that continues
to plague Native communities.

The Powwow: Tradition and Modernity

The powwow is a powerful ending because it brings together many of the

characters and themes of the book.

It's a celebration of Native culture and identity, but it also shows how tradition
and modernity can coexist.

The characters are trying to find their place in the world, balancing their
heritage with their lives in the city.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 91

 The powwow also represents blood relations and family, the connections that
bind people together.

Characters and Their Journeys

Edwin Black: His journey is about discovering his Native identity. He's
searching for his roots, and his name itself shows how he's trying to "find"
himself.

Opal Viola Victoria Bear Shield: Her name, and the discussion of names, are
about the power of language and how names can be used to erase or reclaim
identity.

Tony Loneman: Tony's fetal alcohol syndrome (FAS) is a real challenge, and
it's also a way of showing how historical trauma can affect generations. His
struggles with identity are mirrored in his physical challenges.

The Spider Web: The spider web is a symbol of storytelling and connection. It
shows how all the characters are connected, and how their stories are woven
together. The miles of story are the miles of home that they carry within them.

Reflections/Mirrors: The characters' reflections in screens and mirrors show

their search for identity. They're trying to figure out who they are, both inside
and out.

Trickster Tales

The trickster tales relate to the spider, and the idea of being trapped. The
trickster is a figure who challenges norms and boundaries, and the characters
in "There There" are all, in a way, tricksters themselves.

"There There" as a Compilation of Intertwined Stories:

The core of "There There" is its structure. It's not one single narrative but a
collection of interconnected stories, each focusing on different Native characters
living in Oakland. This reflects the fragmented and diverse experiences of urban
Native Americans. Just like the discussion points say, it's a "compilation of many
stories that intertwine."
Think of it like a mosaic: each character is a unique tile, and only when you step
back and see the whole picture do you understand the larger story Orange is

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 92

 telling. He's showing us that being Native in an urban setting is not a monolithic
experience, but a tapestry woven from individual struggles, hopes, and histories.
"There There" and Gertrude Stein's Influence: (already mentioned before)

The mention of Gertrude Stein is intriguing. Stein, a modernist writer, was known
for her experimental style, often repeating phrases and playing with language to
convey deeper meanings. The phrase "There is no there there," which Stein used
to describe her childhood home of Oakland after it changed, is central to Orange's
title and themes.

In "There There," Orange uses Stein's phrase to explore the idea of displacement
and the search for identity. His characters are trying to find their "there" – a sense
of belonging and connection to their heritage – in a place that often feels like it
lacks a solid foundation, a "there." Just like the discussion notes say, "Memory
from the past → Gertrude Stein." The past is a memory, a story, but not a physical
place to return to. The book is saying, "it's ok, we're going to tell your stories" to
reclaim that sense of "there."

The Question of "There":

The question, "What is the there that is not there?" is at the heart of the book. It's
the absence of a traditional, idealized Native experience in the urban setting. It's
the loss of land, language, and cultural practices. But it's also the resilience and
determination of the characters to find their "there" in new and unexpected ways.

Orange challenges the idea that "just because you feel it does not mean it is
there." Even though the characters may feel a sense of displacement and loss,
their experiences and feelings are valid. Their "there" might not be a physical
place, but it exists in their connections to each other, their shared history, and their
determination to reclaim their identity.

Twelve Characters, Twelve Voices:

The use of multiple perspectives is crucial to Orange's message. By giving voice

to twelve different characters, he breaks down the "monolithic version of being
Indian. by showcasing us that there is more" Each character represents a different
facet of the urban Native experience, showcasing the diversity and complexity of
their lives.

These twelve voices also represent "12 generations → breaking down"

stereotypes and misconceptions. They show "different levels of understanding"

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 93

 about what it means to be Native, and they all share a "will to know what it is to be
Indian."
The In(famous) Question: "What are you?" ⇒ also appears in the last novel of i
was their american dream :3

Many of the characters grapple with the question of identity, particularly in relation
to their mixed heritage. The discussion notes highlight the "ambiguity" and the
"racial slur" that some characters experience. This reflects the ongoing struggle
of Native people to define themselves in a society that often tries to categorize
and marginalize them.

The question "What are you?" is a loaded one, forcing the characters to confront
their own sense of belonging and the expectations of others. Orange shows how
this question can be both hurtful and empowering, depending on how it's
answered.
Recurring Images as Symbols:

Connection: The theme of connection is woven throughout the book. The

characters are all connected, whether they realize it or not, through their
shared heritage and their experiences in Oakland. This connection is both a
source of strength and a reminder of the challenges they face.

Family Relations, Blood Relations, "Business Relations": These different

types of relationships highlight the complexities of community and belonging.
"Blood" is a powerful symbol, representing both biological ties and the shared
history of trauma and resilience. The phrase "business relations" might refer to
the ways in which Native people have had to navigate the complexities of
capitalism and assimilation.

The Spider: ⇒ pg 125 book there there

Yes! Let’s dive deep into how spider symbolism operates in There There by
Tommy Orange—this is one of the novel’s richest metaphors, and your notes
are already on point. The imagery of the spider, web, home, trap, and the
tradition of storytelling all work together to deepen Orange’s themes of
identity, dislocation, and narrative inheritance.

🕷 Spiders, Webs, and Storytelling in There There

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 94

 “Spiders carry miles of web in their bodies, miles of story, miles of potential
home and trap. She said that’s what we are. Home and trap.”

In this poetic line from Opal Bear Shield, Tommy Orange captures an entire
philosophy of Native identity, history, and storytelling through the metaphor of
the spider. The spider in There There isn’t just a creepy crawler—it’s a mythic,
symbolic, and structural figure. It embodies the story-weaver, the identity-
maker, and the paradox of survival and entrapment.

🔗 1. Storytelling as Web-Weaving: Miles of Thread Inside ?

The spider weaves its web using material it carries within itself—this is a
direct metaphor for how stories live inside people, particularly Native people
in this novel. These aren't stories picked up from the outside. They are
embodied, inherited, and often unspoken, passed down through trauma,
silence, and resilience.
In There There, many characters are searching for or retelling their stories:

Dene Oxendene records stories to preserve Indigenous identity.

Opal carries stories from Alcatraz she never told her own children.

Orvil is trying to piece together his own history from fragments online.

Jacquie has lived stories of loss and survival but is just beginning to speak
them.

The idea is that each character, like a spider, has miles of story inside them.
The web is a metaphor for narrative, memory, and identity.

🏠 2. “Home and Trap”: The Complexity of Belonging

One of the most haunting parts of the spider metaphor is how Orange ties the
web to the idea of home and trap.

A home is where you're safe, grounded, connected.

A trap is where you're stuck, where freedom is lost, where cycles repeat.

Opal says, “She said that's what we are. Home and trap.” This reflects the
duality of being Native in America—where culture can be both a comfort and
a burden, where family and tradition can root you and limit you, where “home”
is something many characters long for but also fear.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 95

 It also connects to Stein’s quote that inspired the novel’s title: “There is no
there there.” For Native people, the idea of home—both the literal land and the
cultural home—has been taken, erased, or transformed. In its place, they carry
something fragile and internal, like a spider's web.

💔 3. The Fragility of the Web: Who Gets to Build?

A spider’s web takes time, effort, and skill to build, but can be destroyed in an
instant. This speaks to the precarity of Native identity and presence in a
colonized world:

Native culture has survived centuries of attempted erasure, yet it’s still
seen as something marginal or “past.”

The work to rebuild identity—like what Orvil and Edwin are doing—is
delicate and easily disrupted.

The novel asks: Who gets to build a home? Who gets to stay? Whose
stories are preserved?

The spider web becomes a metaphor for the effort it takes to exist, to build
identity, and how easily it can be taken away—by colonialism, poverty,
violence, or silence.

🌀 4. The Trickster Spider – Veho and the Native Tradition

In many Native traditions, especially among tribes like the Lakota and
Cheyenne, the spider (sometimes known as Iktomi or Veho) is a trickster.
Trickster figures are central to Native storytelling—they challenge norms,
expose contradictions, and often teach lessons through chaos or mischief.

This aligns beautifully with the novel’s form:

The story itself is nonlinear, fragmented, and full of different voices—like a

web.

Characters like Tony Loneman, Octavio, and Daniel embody this trickster
energy—they disrupt the expected narrative arc and force us to question
our judgments.

Even the structure of the novel, where everything converges into a tragic
climax, is a kind of trick—it pulls us in, then pulls the web out from under

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 96

 us.

In this way, There There follows in the tradition of Native oral storytelling:
stories that are circular, layered, contradictory, and woven together from many
strands.

🕸 Conclusion: We Are the Web

So when Orange returns to the spider metaphor throughout the book, he’s not
just being poetic—he’s offering a framework for understanding identity.
Native identity isn’t a straight line or a single path. It’s a web: complex, fragile,
built from within, shaped by history, and sometimes laced with danger. It’s
something each character builds out of their own internal material—their
trauma, their memories, their silence, their hope.
“Spiders carry miles of web in their bodies, miles of story.”

There There asks us to recognize and honor those stories—especially the

ones we don’t hear. Especially the ones still being woven.

The spider is a multifaceted symbol in the book. The idea of the spider web as
a metaphor for storytelling is particularly powerful. The characters "carry their
webs within them," connecting them to their ancestors and to each other.
"Miles of home" and "miles of trap" suggest that home can be both a source
of comfort and a place of confinement. The spider as a "trickster" figure also
reflects the ways in which Native people have used humor and cunning to
survive and resist oppression. The complex narrative structure of the book
itself can be seen as a reflection of the spider's web, with its intricate
connections and layers of meaning. The spider web is also a metaphor for the
structure of written and oral storytelling, where the "material to create the
story" is already within the culture and the people.

Mirrors and Reflections:

Absolutely—this is such a powerful thread in There There, and your notes
really zero in on one of the core visual and symbolic motifs in the novel:
mirrors and reflections. Tommy Orange uses literal and metaphorical
reflections—mirrors, screens, windows, TV glass—to explore how identity is
both internal and external, and how it’s often shaped by how others see us
versus how we see ourselves.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 97

 This tension between self-perception and external perception is a major
theme in There There, especially for characters like Tony Loneman and Edwin
Black, who grapple with how their appearances impact their sense of self.
Ultimately, this motif of reflection becomes a metaphor for the larger struggle
of Native identity in a colonized world—how do you define yourself when the
world is constantly trying to define you for you?

Let’s dig deep into how that plays out across the novel.

Mirrors, Reflections, and the Fragmented Self in There There

🪞Seeing Yourself for the First Time: Tony Loneman and the Mirror of
Society

One of the most pivotal lines in the novel comes from Tony Loneman, when he
says:

“I saw my face in the dark reflection there. It was the first

time I saw it. My own face, the way everyone else saw it.”

This is a deeply painful and revealing moment. Tony has Drome Syndrome
(fetal alcohol syndrome), and people often judge or dismiss him because of his
appearance. He describes how people think he looks “retarded,” and he is
hyper-aware of how others react to him. But here, in this moment of reflection,
he sees himself not through his own feelings, but through the projected
gaze of society.
This hits the heart of the novel's exploration of identity: the self is not just
internal—it is shaped by the gaze of others. Tony has always felt the world
sees him in a certain way, but now he’s seeing it too. That dissonance between
who you are and who people think you are is identity fracture, and for many
characters in the novel, it becomes the driving force behind their pain,
confusion, and search for meaning.

💻 Screens as Mirrors: Edwin Black and Digital Reflection

For Edwin Black, the mirror is digital. On page 64, we learn that Edwin is
overweight, isolated, and spends most of his time online. He doesn’t know his

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 98

 father. He’s disconnected from any Native community. And crucially—he
doesn’t know who he is.

“He didn’t have a plan for himself. No goal. He didn’t even

really know who he was.”

Edwin, like many characters in There There, is searching for identity in a

world that hasn’t given him a clear one. He scrolls the internet, stares at
screens, and obsesses over information but doesn't feel connected to
anything real. His “mirror” is a digital one, and it reflects nothing back at him
—no heritage, no purpose, no place.

But this changes when he starts to investigate his Native roots. He finds his
father. He joins the powwow committee. He begins to imagine himself as part
of something bigger, and in doing so, he starts to construct a new reflection
of himself—not one built by the outside world or the online void, but one made
by connection, community, and self-understanding.

🔄 Mirrors as Metaphor: Dual Identity and Native Visibility

The recurring mirror imagery reflects the broader question the novel asks:
What does it mean to be Native today? In a world that often only sees Native
people through historical stereotypes—headdresses, reservations, tipis—how
do urban Natives see themselves? How do they reflect back their own
identities when the mirrors society gives them are broken, missing, or warped?

Orange is showing us that for Native people in urban settings, the struggle is
often between:

How others see you (stereotypes, assumptions, invisibility)

How you see yourself (internalized trauma, shame, confusion)

Who you want to be (healing, reconnecting, reclaiming)

This trinity is at play in nearly every character, from Orvil, who learns about
Indigeneity through YouTube and costuming, to Jacquie, who drinks to forget
her past but must look in the mirror to recover it.

👁 The Double Image: The Mask and the Mirror ⇒ or double conciousness
ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 99
 Many characters in the book are essentially wearing masks—they are
performing versions of themselves to survive. Tony wears his silence. Edwin
wears his online persona. Orvil wears a dance outfit he barely understands.
Blue wears her professionalism to hide past trauma.

But the mirror—the act of seeing oneself—forces a confrontation. You can’t

hide in a mirror. You have to reconcile the performance with the truth. That’s
why mirrors in There There are so emotionally loaded. They’re about
recognition—of pain, of misrecognition, of potential, of heritage.
And mirrors, of course, also tie into the novel's title: There There. What if
“there” isn’t something you can point to on a map? What if “there” is internal—
a place you recognize in the mirror, in your story, in your community? That’s
the journey each character is on.

🪞 Conclusion: Mirrors as Identity Crisis and Awakening

Mirrors and reflections in There There are not just visual motifs—they are
symbolic tools that Tommy Orange uses to unpack the internal versus
external tension of identity. In a colonized, commodified, and often dismissive
society, Native people must navigate who they really are while constantly
being told who they should be—or worse, being ignored altogether.

Tony sees his face the way the world sees it—and it’s heartbreaking.

Edwin sees nothing, until he builds something.

The reader is the final mirror—we are forced to look at these characters
and confront our own biases, our own ignorance, and our own reflections.

By giving us these reflections—both painful and empowering—Tommy Orange

helps break apart the colonial mirror and replaces it with twelve shards of
truth, each one held by a character searching for the self they were never
given permission to fully become.

These images represent the characters' search for self-understanding. They

are constantly looking at themselves and trying to figure out "who they are"
and "how the world looks at you." The reflections can be distorted or
fragmented, reflecting the challenges of navigating multiple identities.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 100

 Absent Father: The theme of the absent father is prevalent in many of the
characters' stories. This absence can be literal, representing the loss of family
members, or metaphorical, representing the loss of cultural knowledge and
connection to the past.

Blood: As mentioned earlier, blood is a powerful symbol of both connection

and trauma. The discussion notes highlight the "messy" nature of blood, the
complexities of "native blood quantum," and the history of "dehumanization."
Blood represents the shared history of Native people, but it also raises
questions about identity and belonging.

In Conclusion:
"There There" is a powerful and moving exploration of urban Native American
identity. By using a fragmented narrative structure and recurring symbols, Orange
creates a rich and complex portrait of a community that is both resilient and
vulnerable. The discussion points you provided offer a valuable framework for
understanding the deeper themes of the book.

It's a book that invites readers to question their own assumptions about identity,
belonging, and the power of storytelling. Keep thinking about these themes and
how they connect to the characters and their experiences. You'll find new layers
of meaning each time you revisit the book.

We'll take each point and connect it to specific characters and situations in the
book, making it a super long explanation!
Blood as a Complex and Contested Concept:

"Blood is messy": In "There There," blood isn't just a simple link to ancestry.
It's tied to trauma, loss, and the complicated reality of being Native in a world
that often tries to erase or redefine Native identity. For example, consider
Dene Oxendine's struggle to understand his uncle's death and his own place
within his family's history. His journey is messy, filled with unanswered
questions and a longing for connection. Or, think about Edwin, who is
searching for his biological father. His bloodline is a mystery, and finding his
father becomes a way to find himself, but it’s not as easy as it sounds. It’s
messy.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 101

 "Native blood quantum": This concept is a tool of control and division, and
Orange shows how it impacts his characters. In the book, characters like Orvil
Red Feather are grappling with questions of authenticity and belonging. They
wonder if they are "Native enough" based on how much Native blood they
have. This idea is a reminder of the historical attempts to diminish Native
populations and control their identity. It’s not just a number, it affects how they
see themselves.

"Dehumanization": Orange portrays the dehumanization of Native people

through the characters' experiences with racism, stereotypes, and the erasure
of their history. The way some characters are treated, like when someone uses
a racial slur, shows how they are seen as "less than." The effects of historical
trauma, like the violence and displacement experienced by their ancestors, are
also a form of dehumanization. Orange shows how these experiences
continue to affect Native people today.

Remaining: Resilience and the Cost of Survival:

"The idea of remaining → We're still here": Despite the challenges, the
characters in "There There" demonstrate resilience. They are survivors,
finding ways to maintain their cultural identity in an urban setting. For instance,
Tony Loneman, despite his struggles with fetal alcohol syndrome, is
determined to find his place in the world. He shows a kind of stubborn
persistence that says, "I'm still here."

"Don't call them resilient": Orange challenges the idea of romanticizing

Native resilience. He shows that survival comes at a cost. The characters
carry the weight of historical trauma, and their lives are often marked by
poverty, addiction, and violence. It's not fair to just say, "Oh, they're strong,"
and ignore the hardships they face.

"They're still there. They exist. But, what's the price?": The characters'
survival is a testament to their strength, but it's also a reminder of the
sacrifices they've made. They've lost land, language, and cultural practices.
They've endured generations of trauma. The price of survival is high, and
Orange doesn't shy away from showing the pain and loss.

Braid: Interconnection and Community:

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 102

 "Braid → interconnection": The idea of a braid represents the
interconnectedness of the characters' lives. They are all connected, whether
they realize it or not, through their shared heritage and their experiences in
Oakland. The powwow, for instance, is a place where these connections are
made visible. The characters come together, sharing stories, music, and
dance. The braid is also a symbol of how the past, present, and future are
intertwined. The characters carry their history with them, and their actions will
shape the future of their community.

Characters: 12 Diverse Voices:

"12": The use of 12 main characters is a deliberate choice by Orange to show

the diversity of the urban Native experience. Each character has their own
unique story, their own struggles, and their own hopes. By giving voice to
these diverse perspectives, Orange challenges the idea of a monolithic Native
identity.

Reclaim: Seeking Identity and Understanding:

"They get more in tune, they get more answers about this Indian identity":
The characters in "There There" are on a journey of self-discovery. They are
seeking to understand their cultural heritage and their place in the world. For
example, Orvil Red Feather learns about his Native identity through YouTube
videos and traditional dance. He’s actively trying to find his place.

Return: Acknowledging and Embracing Identity:

"Acknowledge their identity. Willful act → I am here, I am going to embrace

this": The characters' participation in the powwow is an act of reclaiming their
identity. It's a way of saying, "I am here, and I am proud of who I am." Even
Tony, who makes a lot of mistakes, is trying to find a way to belong.

Powwow: Celebration, Community, and Belonging:

"Celebration": The powwow is a celebration of Native culture, a place of joy

and community. It's a chance to share traditions, music, and dance.

"Getting back in community": The powwow is a way for the characters to

connect with their community and feel a sense of belonging. It's a place where
they can find support and connection.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 103

 "He was a part of something": For many of the characters, the powwow is a
transformative experience. It's a moment when they feel like they are part of
something larger than themselves. It's a sense of belonging that they may
have been missing.

In "There There," Tommy Orange shows us that being Native in the urban setting
is a complex and multifaceted experience. It’s not just one story, it’s many. He
uses these themes to show the challenges, resilience, and beauty of the Native
community.

Unit 3
African american literatures
As Toni Morrison described it, writing as an African American (rather than as a US
author) means writing purposefully as an African American following the tradition:
“I would like to write novels that were unmistakably mine, but nevertheless fit first
into African American traditions and second of all, this whole thing called
literature. […] It’s very important to me that my work be African American; if it
assimilates into a different or larger pool, so much the better. But I shouldn’t be
asked to do that. Joyce is not asked to do that. Tolstoy is not. I mean, they can all
be Russian, French, Irish or Catholic, they write out of where they come from, and
I do too.”

“We younger Negro artists who create now intend to express our individual dark-
skinned selves without fear or shame. If white people are pleased we are glad. If
they are not, it doesn’t matter. We know we are beautiful. And ugly too.... If colored
people are pleased we are glad. If they are not, their displeasure doesn’t matter
either.”

“The Negro writer who seeks to function within his race as a purposeful agent has
a serious responsibility. In order to do justice to his subject matter, in order to
depict Negro life in all of its manifold and intricate relationships, a deep, informed,
and complex consciousness is necessary; a consciousness which draws for its
strength upon the fluid lore of a great people, and moulds this lore with the
concepts that move and direct the forces of history today.”

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 104

 “A Negro literature, to be a legitimate product of the Negro experience in America,
must get at that experience in exactly the terms America has proposed for it, in its
most ruthless identity. Negro reaction to America is as deep a part of America as
the root causes of that reaction, and it is impossible to accurately describe that
reaction in terms of the American middle class; because for them, the Negro has
never really existed, never been glimpsed in anything even approaching the
complete reality of his humanity. The Negro writer has to go from where he
actually is, completely outside of that conscious white myopia. That the Negro
does exist is the point, and as an element of American culture he is completely
misunderstood by Americans. The middlebrow, commercial Negro writer assures
the white American that, in fact, he doesn’t exist, and that if he does, he does so
within the perfectly predictable fingerpainting of white bourgeois sentiment and
understanding. Nothing could be further from the truth.”
“[Black people in the South] were unsuccessful in their attempts to ‘disappear’
because the whites themselves reminded them that they were still, for all their
assimilation, ‘just coons.’ And this seems to me an extremely important idea, since
it is precisely this bitter insistence that has kept what can be called ‘Negro Culture’
a brilliant amalgam of diverse influences. There was always a border beyond
which the Negro could not go, whether musically or socially. […] The Negro could
not ever become white and that was his strength; at some point, always, he could
not participate in the dominant tenor of the white man’s culture, yet he came to
understand that culture as well as the white man. It was at this juncture that he
had to make use of other resources […]. And it was this boundary, this no-man’s-
land, that provided the logic and beauty of his music. And this is the only way for
the Negro artist to provide his version of America – from that no-man’s- land
outside
the mainstream. A no-man’s-land, a black country, completely invisible to white
America, but so essentially part of it as to stain its whole being an ominous gray.
Were there really a Negro literature, now it could flower.”

“These days I find myself wanting to avoid being pigeonholed, ghettoized, held in
a different category [from] other authors. And when people ask me if I’m a black
writer, or just a writer who happens to be black, I tend to say that it’s either a dumb
question or a question which happens to be dumb. I’m an African-American writer,
I’m a lazy writer, I’m a writer who likes to watch The Wire, I’m a writer who likes to
eat a lot of steak.”

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 105

 What makes African American literature African American?

Celebration of Black identity and Black culture

Awareness of being a collective with a common heritage and shared

historical circumstances

Intentional differentiation between Black culture and White culture

All of this was not consistently present before the Harlem Renaissance (1920s-
1930s), a period of creative productivity in the arts that affirmed a specifically
Black identity, and that was facilitated by the Great Migration of the 1920s from the
Jim Crow South to cities in the North & Midwest.

There was, however, an already-existing corpus of Black writing in the US before

the 1920s, that was marked by the legacies of enslavement, systemic racism and
the debates over assimilation to White culture.
A tradition that is defined in racial terms.

But before all of that (and still): the vernacular.

The vernacular tradition can be understood as the “oral archive” of African

American culture in its broadest sense (linguistic variations, sounds, music
genres, folklore), an archive that can be traced in both early and contemporary
literary texts, as well as in contemporary music genres like rap. According to The
Norton Anthology of African American Literature (1997), the vernacular is
comprised of spirituals, gospel, the blues, secular rhymes and songs, ballads,
work songs, jazz, rap, sermons, and folk tales, the rich product of an incredible
mix of African ethnicities as they persevered in the American reality.

The "vernacular tradition" refers to the oral history of African Americans, a cultural
repository encompassing spoken language, music, and narratives passed down
through generations. This "oral archive" continues to influence contemporary
expressions, notably in literature and music such as rap.

The components of this vernacular include:

Spirituals and gospel: Religious songs central to Black culture.

The blues: Soulful music expressing hardship and emotion.

Secular rhymes and songs, ballads, work songs: Everyday musical

expressions reflecting life and labor.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 106

 Jazz and rap: Significant musical genres originating from this tradition.

Sermons: Distinctive oratory styles within religious contexts.

Folk tales: Traditional stories and legends.

This cultural richness emerged from the diverse African peoples who preserved
aspects of their heritage despite the transatlantic slave trade.
The slides highlight the pervasive influence of African American vernacular on
American English. Henry Louis Gates Jr. points out that every speaker of American
English, knowingly or not, uses words and expressions that originated with African
Americans. Henry Louis Gates Jr. advocates for a comprehensive dictionary of
African American English, highlighting the widespread adoption of African
American linguistic innovations in American English. He cites examples of words
with African origins like "goober," "gumbo," and "okra." Furthermore, he notes that
contemporary slang such as "cool," "crib," "hokum," "diss," "hip," "hep," the
inverted use of "bad" to mean "good," and the use of "dig" to signify
understanding, all originated within Black American culture and evolved from their
experiences in the United States.

Despite the clear and ongoing impact of African American vernacular on the
English language, Gates notes that there has not yet been a comprehensive,
systematic study of its contributions. While individual dictionaries and studies
exist, no one has fully documented the scale and depth of African American
influence on American English using historical and linguistic principles. Gates and
other scholars advocate for the creation of a dedicated dictionary of African
American English to address this gap. Despite existing compilations of African
American vocabulary and usage, a comprehensive and systematic study of the
profound influence of Black language on American English has yet to be
undertaken.

periodization of african/american literature, the vernacular is a component, we

have to think of this as some sort of connection with the African Diaspora, but
something that underlies this tradition is the vernacular, which is connected to oral
literature

The concept of "vernacular," specifically in the context of African American

culture, transcends mere linguistic variations and extends to encapsulate a
broader "oral archive." This archive serves as a repository of cultural memory,

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 107

 encompassing diverse elements such as linguistic idiosyncrasies, sonic
expressions, musical genres, and folklore. It is not a static entity confined to the
past but rather a dynamic force that permeates both historical and contemporary
literary works, as well as modern musical forms like rap.

As articulated in The Norton Anthology of African American Literature (1997), the

vernacular is a multifaceted construct, encompassing a spectrum of expressive
forms including spirituals, gospel, blues, secular rhymes and songs, ballads, work
songs, jazz, rap, sermons, and folk tales. This rich tapestry of cultural output is a
testament to the confluence of diverse African ethnicities that coalesced and
persevered within the crucible of the American experience. It represents a vibrant
and resilient cultural legacy, born from the unique historical circumstances faced
by African Americans.

The significance of the vernacular is further underscored by the advocacy of

scholars like Henry Louis Gates Jr., who has championed the creation of a
comprehensive dictionary of African American English. This initiative highlights
the recognition of the vernacular as a distinct and legitimate linguistic system,
worthy of scholarly attention and documentation. It acknowledges the inherent
complexity and sophistication of African American language, moving beyond
simplistic notions of it as merely a deviation from standard English.

In essence, the vernacular is not merely a collection of words or sounds; it is a

living, breathing entity that embodies the history, experiences, and cultural identity
of African Americans. It serves as a vital link between the past and present,
preserving and transmitting cultural knowledge across generations. Its influence
is palpable in various artistic and cultural expressions, demonstrating its enduring
relevance and significance in shaping the broader American cultural landscape.
Understanding the vernacular is crucial for comprehending the depth and breadth
of African American cultural contributions and appreciating the richness of
American cultural diversity.
(copy/paste diaspora)

Countries of the white diaspora: USA, Canada, Australia, New Zealand. These
literatures emerge from European settlers who emigrated and created their own
cultures in new lands, but still dialogue with their European roots.

Areas of the Black diaspora: African countries, West Indian countries, African
American literature. These literatures often address themes of slavery, racism, and

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 108

 the struggle to regain a cultural identity in opposition to colonialism and slavery.

Vernacular: It’s a part of a language, in this case we have to thinkof the vernacular
as language work songs, black music, spirituals which come from the work songs,
jazz rtc etc, where we can bring it all down to crap, the vernacular is in the
background of everything as we also get the stories that we tell each other, whgat
shenis suggesting is that this si a mix of people who have very different eth icities
and they sre percieved as trying to survive in other places around the world

The vernacular in African American literature refers to the use of language

specific to Black communities. It encompasses the unique linguistic features,
dialects, and expressive styles that have developed within African American
culture. This vernacular reflects the history, experiences, and cultural identity of
Black people in the United States.

Here are some key aspects of the vernacular in African American literature:

1. Dialectal Variations: African American Vernacular English (AAVE) is a prominent

example. It has distinct phonological, grammatical, and lexical features that differ
from standard American English. Writers may incorporate AAVE to portray
authentic speech patterns, character development, and cultural realism.

2. Cultural Expressions: The vernacular includes culturally specific idioms,

proverbs, slang, and wordplay. These expressions reflect shared experiences,
values, and perspectives within African American communities. They add depth,
humor, and cultural richness to the literature.

3. Oral Tradition: African American literature has strong roots in oral tradition,
including storytelling, music, and religious practices. The vernacular carries
elements of this oral tradition, such as call-and-response patterns, rhythmic
language, and improvisational styles.
4. Resistance and Identity: The vernacular can be a tool for resistance against
dominant cultural norms and a powerful marker of Black identity. It allows writers
to express their unique cultural perspectives and challenge mainstream
representations.

5. Evolution and Diversity: The vernacular is not static but constantly evolving,
reflecting the dynamic nature of African American culture. It also encompasses
regional and generational variations, showcasing the diversity within Black
communities.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 109

 Writers like Zora Neale Hurston, Langston Hughes, Toni Morrison, and Alice
Walker have masterfully utilized the vernacular in their works to create authentic
portrayals of African American life, language, and culture. The vernacular adds
depth, richness, and cultural significance to African American literature.

(Watch video TW: linching) ⇒ take notes of meaning and watch it on my dads
computerHandout 8. Transitivity-4.pdf

Souls of black folk ⇒ Webb DuBois and the idas h proposs

Du Bois: The souls of Black folk: Washington proposes to make and educate
themselves, they also need economic independence, the maindialectic here is this
one, as DuBois rejects this generalist approach

The Souls of Black Folk. The book's essays on race were groundbreaking and
drew from Du Bois's
personal experiences to describe how African Americans lived in the U.S. The
book contains Du Bois's famous quote: "The problem of the twentieth century is
the problem of the color-line." Du Bois believed that African Americans should,
because of their common interests, work together to battle prejudice and inequity.

W. E. B. Du Bois Booker T. Washington Another prominent author of this time

period is Booker T. Washington (1856–1915), who in many ways represented
opposite views from Du Bois. Washington was an educator and the founder of the
Tuskegee Institute, a Black college in Alabama. Among
his published works are his self-help autobiography, Up From Slavery (1901), The
Future of the American Negro (1899), Tuskegee and Its People (1905), and My
Larger Education (1911). In contrast to Du Bois, who adopted a more
confrontational attitude toward ending racial strife in America, Washington
believed that Blacks should first lift themselves up through education and work
and prove themselves the equal of whites before asking for an end to racism.

Black people are born into a veil ⇒ Veil is a thing that separates blacks from
whites, the veil is something that blacks have and that the veil `revents the black
people from reaching the light that the whit6e people have, he's saying that he's
different, Dubois says that he wants the same things as any other human, he satys
that they are all the same but the veil is the thing that's covering them

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 110

 The Veil: “Then it dawned upon me with a certain suddenness that I was different
from the others, or
like, mayhap, in heart and life and longing, but shut out from their world by a vast
veil.” (Du Bois 2018, 6)

The veil, as Du Bois presents it, represents the division created by racism. It's a
symbolic barrier that separates Black people from the rest of American society.
This separation isn't about physical walls, but about social and psychological
ones.

Black individuals, according to Du Bois, experience a "double-consciousness"

because of this veil. They are forced to see themselves through the lens of a
society that often devalues them. This means they are constantly aware of how
they are perceived by others, in addition to their own sense of self.
Simultaneously, the veil obstructs the ability of white society to fully recognize the
humanity and experiences of Black individuals. It creates a lack of understanding
and a distorted view.

Essentially, the veil symbolizes the systemic and societal obstacles faced by Black
people, the imposed separation, and the struggle to achieve true equality. It's the
condition of being seen, yet not fully understood, within a racially divided society.

The veil is defined as the mirror of the opression and the opression itself the veil is
thee reflection, they can see what the opression looks like but they still cannot see
it. It’s not great to have a second conciousness, in a way you cannot know
yourself independently

According to W.E.B. Du Bois in The Souls of Black Folk, double consciousness is

a peculiar sensation, a psychological and social condition experienced by Black
Americans in the United States.1 It is the feeling of "twoness"—of being both an
American and a Black person—in a society that historically and systemically
devalues Blackness and creates a fundamental conflict between these two
identities

Du Bois eloquently describes this phenomenon by stating that the Black person is
"born with a veil, and gifted with second-sight in this American world,—a world
which yields him no true self-consciousness, but only lets him see himself through
the revelation3 of the other world." This "veil" is the color line, the pervasive and
deeply ingrained societal division that separates Black and white Americans. It

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 111

 acts as a barrier, preventing Black individuals from achieving a unified and
authentic sense of self. Instead, their identity is constantly mediated and shaped
by the perceptions and prejudices of the dominant white society.

The "second-sight" that Du Bois mentions is the ability of Black people to see
themselves not only through their own eyes but also through the often distorted
and negative lens of white America. They are forced to be constantly aware of
how they are perceived, judged, and treated by a society that often views them
with "amused contempt and pity." This constant awareness creates a profound
internal conflict, a struggle to reconcile their own self-perception with the external,
often demeaning, reflections cast upon them.

This internal struggle manifests as "two souls, two thoughts, two unreconciled
strivings; two warring ideals in one dark body, whose dogged strength alone
keeps it from being torn asunder." Black individuals are constantly navigating the
demands and expectations of two often contradictory worlds. They strive to
embrace their American identity, with its ideals of freedom and equality, while
simultaneously grappling with the realities of racial prejudice, discrimination, and
the historical legacy of slavery. This creates a sense of being perpetually on
guard, constantly negotiating their existence in a society that does not fully accept
them.
Double consciousness is not merely an intellectual understanding of being seen
differently; it is a lived experience that permeates the very being of Black
individuals. It affects their self-esteem, their aspirations, their interactions with
others, and their overall sense of belonging. It can lead to feelings of alienation,
frustration, and a constant need to prove one's worth in a society that often starts
with a presumption of inferiority.

Furthermore, double consciousness can also be a source of unique insight and

resilience. The ability to see the world from two perspectives can provide a
deeper understanding of societal dynamics and injustices. The "dogged strength"
that Du Bois mentions is the resilience and fortitude that Black people have
developed to navigate this complex and often hostile reality, to resist being "torn
asunder" by the internal and external pressures they face.

In essence, double consciousness, as articulated by Du Bois, is a foundational

concept for understanding the psychological and social impact of racism on Black
Americans. It highlights the internal divisions and external pressures created by a

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 112

 society structured by racial hierarchy and the enduring struggle for a unified and
self-determined identity in the face of systemic oppression. It remains a powerful
and relevant concept for understanding the ongoing complexities of race and
identity in the United States and beyond.

Double-consciousness:

“…the Negro is a sort of seventh son, born with a veil, and gifted with second-sight
in this American
world, —a world which yields him no true selfconsciousness, but only lets him see
himself
through the revelation of the other world. It is a peculiar sensation, this double-
consciousness, this
sense of always looking at one’s self through the eyes of others, of measuring
one’s soul by the tape
of a world that looks on in amused contempt and pity. One ever feels his twoness,
—an American, a
Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in
one dark body,
whose dogged strength alone keeps it from being torn asunder.” (Du Bois 2018, 7)

Alain Locke, “Enter the New Negro” (1925)

“Recall how suddenly the Negro spirituals revealed themselves; suppressed for
generations
under the stereotypes of Wesleyan hymn harmony, secretive, half-ashamed, until
the
courage of being natural brought them out—and behold, there was folkmusic.
Similarly the
mind of the Negro seems suddenly to have slipped from under the tyranny of
social
intimidation and to be shaking off the psychology of imitation and implied
inferiority.
By shedding the old chrysalis of the Negro problem we are achieving something
like a
spiritual emancipation. Until recently, lacking self-understanding, we have been
almost
as much of a problem to ourselves as we still are to others. But the decade that

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 113

 found us
with a problem has left us with only a task. The multitude perhaps feels as yet only
a strange
relief and a new vague urge, but the thinking few know that in the reaction the vital
inner grip
of prejudice has been broken.”

Langston Hughes “The Negro Artist and the Racial Mountain”(1926).

“…the mountain standing in the way of any true Negro art in America—this urge
within the
race toward whiteness, the desire to pour racial individuality into the mold of
American
standardization, and to be as little Negro and as much American as possible.” “She
wants
the artist to flatter her, to make the white world believe that all Negroes are as
smug and as
near white in soul as she wants to be. But, to my mind, it is the duty of the younger
Negro
artist, if he accepts any duties at all from outsiders, to change through the force of
his art
that old whispering ‘I want to be white,’ hidden in the aspirations of his people, to
‘Why
should I want to be white? I am a Negro—and beautiful!’”

Vernacular
Let's delve into the intricacies of African American literature, focusing on its
periodization, the role of the vernacular, and its connection to the African
Diaspora, without relying on specific examples.

Periodization of African American Literature:

The study of African American literature necessitates a framework for

understanding its evolution over time. This framework, known as periodization,
involves dividing the literary tradition into distinct eras, each characterized by
unique themes, stylistic approaches, and socio-political contexts. These periods
are not rigidly defined, but rather serve as analytical tools to trace the
development of literary expression within the African American experience.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 114

 The process of periodization acknowledges that African American literature is not
a monolithic entity, but a dynamic and evolving body of work that reflects the
changing realities of Black life in the United States and within the broader context
of the African Diaspora. Each period is shaped by historical events, social
movements, and cultural shifts, which influence the themes and concerns
addressed by writers.

The establishment of these periods allows for the identification of recurring

motifs, the examination of literary trends, and the analysis of the relationship
between literature and society. It provides a lens through which to explore the
ways in which African American writers have responded to the challenges and
opportunities of their time, and how their work has contributed to the ongoing
dialogue about race, identity, and social justice.

The Vernacular as a Foundational Element:

Black literature was born by creating the African American vernacular. This
vernacular was
composed by sacred forms which were songs, prayers and sermons, and also
secular forms
which were work songs, secular rhymes and songs, blues, jazz, and stories. Blues
is an expressive
mood that highlights the tragic and the comic aspects of black experience (Ralph
Ellison) and it
is also the origin of other forms of popular music (e.g. rap) based on speech and
orality. They
used the blues and jazz rhythms to write their works transforming music into
words.

A crucial component of African American literary tradition is the vernacular. The

vernacular, in this context, refers to the language practices, expressive forms, and
cultural traditions that originate within Black communities. It encompasses a wide
range of oral and performative expressions, including linguistic variations,
storytelling traditions, musical forms, and other cultural practices.

The vernacular is not merely a linguistic phenomenon, but a complex and

multifaceted cultural expression that embodies the history, values, and
experiences of Black people. It serves as a repository of cultural memory,
transmitting knowledge, beliefs, and traditions from one generation to the next.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 115

 The significance of the vernacular lies in its connection to orality. Oral traditions,
which have historically played a central role in African and African American
cultures, provide a foundation for literary expression. The spoken word, with its
emphasis on rhythm, repetition, and improvisation, shapes the stylistic and
thematic characteristics of African American literature.

The vernacular is not confined to oral expression, but permeates written forms as
well. Writers draw upon the linguistic resources and cultural traditions of the
vernacular to create authentic and evocative representations of Black life. The
incorporation of vernacular elements into literary works serves to affirm cultural
identity, challenge dominant narratives, and create a distinct literary voice.

The African Diaspora and Literary Connections:

African American literature is inextricably linked to the African Diaspora, the

historical dispersal of African people across the globe, primarily due to the
transatlantic slave trade. This diaspora created interconnected communities and
shared experiences across vast geographical distances.

The concept of diaspora highlights the transnational connections that exist

between African American literature and the literatures of other Black
communities throughout the world. It recognizes the shared history of
displacement, oppression, and cultural resilience that unites Black people across
continents.

The literatures of the African Diaspora often engage with common themes, such
as the legacy of slavery, the struggle for liberation, and the quest for cultural
identity. These themes reflect the shared experiences of Black people who have
been subjected to colonialism, racism, and discrimination.

The recognition of these transnational connections expands the scope of African

American literary studies, fostering a broader understanding of the cultural and
historical forces that have shaped Black literary expression. It encourages the
examination of comparative literary traditions and the exploration of the complex
relationships between local and global contexts.

OCTAVIA BUTLER ⇒ Author of the novel Kindred, make

scheme with characters and what moves them to act
the way they do

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 116

 She grew up in Pasadena, Cal. Her family was very humble, and her mother had to
rise her and
her siblings. Her grandmother worked in a plantation in Louisiana, raised 7 children
and moved
to California during the Great Migration (1920s). Her mother worked as a
housemaid, so essentially Octavia got the influence from her own mother. Octavia
Butler was so shy that she had social problems. Moreover, she suffered dyslexia,
and this made
her look as if she learnt slow, due to this she contemplated suicide as a teenager
and was an avid
reader of comic books and sci-fi. She rewrites series she shows on tv and was
concerned of the
lack of black representation. She shares some similarities with the main character
of her story.

“Their lives seemed so terrible to me at times—so devoid of joy or reward. I

needed my
fantasies to shield me from their world” (269).

In her house her family preferred her to work in other practical works. One of her
aunts told her:
“Negroes can’t be writers”. She attended Pasadena City College.
“To me, the attraction of science fiction is just the freedom, that there isn't
anything I can't do in
it. There isn't any issue that I can't address. I don't know that I can address things
better
because I'm writing science fiction; it's just that I can address more things”
(interview 1998)
She participated in Clarion Workshop for science-fiction writers and Harlan Ellison
told her to
“write black”. She preferred trying to write rather than smile and pretend.

“Poverty is a constant, convenient, and unfortunately valid excuse for inaction.”

She became an acclaimed writer. She won several awards and published 11
novels, 3 series, short
stories and novellas.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 117

 “I never bought into my invisibility or non-existence as a Black person […] As a
female and as
an African American, I wrote myself into the world. I wrote myself into the present,
the future,
and the past” (Journal entry, 1999).

What is the title?

Kindred means Kindness, it means of similar nature/character orr same ancestry,
Dana is talking about his parthner and she saws that he was like her a kindr7ed
spirit, kindred is an adjective and as a noun it’s a grup of related individuals
Kindred also relates to kindness, kin, how is kindness related to kin, which is the
family or the pople you care about, kindness is reated to all this, especially to how
Dana keeps protecting Rufus now matter how bad she is treated as she needs to
be there in order to save Rufus of the dangers he gets himself in, hrefore kindred
is similar but also carries the idea of family bonds, Dana and the descendency that
she has, which is of slave-owning family, and even so she still wants to protect
them (more because of duty as if her family hadn’t been born she wouldn’t be able
to exist), this generally suggests kindread, which is that she should be afraid of
her maternal family

Understanding "Kindred"

Core Meaning:

At its heart, "kindred" relates to the idea of shared connections. This can
be connections of blood, meaning family or ancestry, or connections of
spirit, meaning shared qualities and beliefs.

So, when someone is described as a "kindred spirit," it means they share a

similar outlook or personality.

"Kin" and Family:

The word "kindred" is closely tied to "kin," which refers to family

relationships. This highlights the idea of belonging and shared heritage.

Therefore, "kindred" can refer to a group of people who are related to

each other.

"Kindness" and Connection:

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 118

 While not directly from the same etymological root, the word "kindred"
does invoke a sense of connection and care, which aligns with the concept
of "kindness."

People who are "kindred" share a bond, and this bond often implies a
sense of mutual support and understanding. So, there is an indirect link
between the words.

Within families, and among those that share common bonds, kindness is a
natural out growth of the bond that is shared.

"Kindred" in Literature:

In literature, "kindred" often emphasizes deep, meaningful connections

between characters. It can suggest:

A shared destiny.

A sense of belonging.

A profound understanding.

In the case of the novel "Kindred" by Octavia Butler, the word takes on
a much deeper, and more troubling meaning, that is tied to ancestry,
and the horrors of slavery.

"Kindred" and its implications:

When Dana uses the term "kindred spirit" when talking about her partner, she
is expressing that they share a deep connection, and understanding.

When considering the book "Kindred" the word takes on a much more literal
meaning. Dana is "Kindred" to the people of the past, because they are her
ancestors. This creates a very complex situation, because those ancestors are
slave owners, and enslaved people.

Therefore, the word "kindred" can also bring about feelings of fear, and
distrust, because of the possibility of negative ancestral actions.

KINDRED
Kindred is a novel about the trauma of the past, but it is not a historical novel, it’s
closer to fiction, even though it is mixed a bit with this idea of the time travel and
the actual historical fiction. With this novel

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 119

 she wanted to connect the past and the present. The author wanted to explain
how slavery worked
as a machine and wanted to proof with her character Dana that it was difficult to
be a rebel due
to the dehumanisation they experienced and mostly the fear of getting whipped
that all slaves had, since most the time they hadto swalloe their wordsin order to
avoid a h¡beating because they had said soemthing harmful or essentially another
slave had framed you, meaning that you can’t even trust other slaves.
The main theme of the story is the connection between historical trauma that
Octavia’s fam suffered (as we have seen Octavia’s mother worked at a slave
plantation and she was generally abusedbythe owners, the mother didn’0t let
anything happen to Octavia, so octavia has experienced first hand what it looks
like when someone is given the bare minimum to live), so this novwl is between
the past and the present. Also, how to understand the machine slavery was with a
20th mindset. Also, how enslaved people
internalised the system due to the dehumanisation.

Butler on her main character

The story is about surviving to the harsh conditions that were seen in the 19th
century; to see if a person with a 20th mindset could survive in a very taught
historical moment since it was during the peak point of slavery and no one knew
what could happen to them. If it was already difficult and horrible for a man to
survive, it was even worst for a woman as they suffered even more violence just
for being so as she suffers gender violence, as well as possible rape from their
masters since women essentially had no rule over themselves and they were all
subjected to male control.

A woman was less able and less threatening, so it is very interesting for a
character having these
characteristics. It can be argued that gender works in the main character’s favour
but only because
she would not be killed, this does not imply that she did not suffer as mainly here
Dana had to learn to fend for herselfinan era where black people’s rights were
essentially non-existent and where people could do whatever they wanted since
there were no lawsthat protected black people from the whites, she also says, like
manyother authors that racism isstill present nowadaysmeven though itsnot seen
in the same way as it was done before.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 120

 “I wanted to take a character, when I did Kindred, back in time to some of the
things that our
ancestors had to go through, and see if that character survived so very well with
the knowledge
of the present in her head. Actually, I began with a man as main character, but I
couldn’t go on
using the male main character, because I couldn’t realistically keep him alive. So
many things
that he did would have been likely to get him killed. […]The female main character,
who might
be equally dangerous, would not be perceived so. She might be beaten, she might
be abused, but
she probably wouldn’t be killed and that’s the way I wrote it. […]That sexism, in a
sense,
worked in her favour. Although if you could take the character and give her life and
ask her if
she thought she had been favoured, it would be likely that she wouldn’t think so,
because of what
she suffered” (Rowell 51)

Title and plot

The word kindred first appear in connection with Kevin. She describes Kevin as a
kindred spirit
crazy enough to keep trying. This word has different meanings, it has to do with
family but also
with community. It is also connected with kindness and things that are alike,
relationship and
connection. It may also understand fear of relatives and ancestors.

“He was like me—a kindred spirit crazy enough to keep on trying” (57).
The title works with Dana and Rufus connection, Danna trying to be part of the
community. The
special connection with Alice that is also very toxic and protective almost
sisterhood. Also, the
character of the cook that creates a contrast because she is not rebellious
enough. The cook is
represented with the stereotype of the happy slave and the mommy role in this

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 121

 time. This
stereotype was very fixed in the south because families treated them under the
idea of being one
more in the family.

The title goes even beyond this; slavery is a system that dehumanise everyone
and play with the
idea of slaveowners taking care their slaves, almost protecting as a family. This is
a reason
why many black people did not know how to be without a white person.
Furthermore, there were many interracial relationships. Dana discovers her
ancestry, which includes whites, as well as
enslaved Africans, and this implies being kindness towards whites and blacks.
That is to say,
Kindred is very complex because in this plantation and the history of US were
connected and
family. Both races were not as separated as white people pretended. Black and
white folks are
kin, deconstructing the myth of separate “races”, and dependent on one another
for survival.
Additionally, Danna is seen as an outsider in the plantation community not only for
her skin colour
but also because she is too educated and accused of acting white.

Genre
It is not a sci-fi novel, but it has the time travels, nor a historical novel but with
historical elements.
Due to this, it can be argued that the novel is more fantasy than the other genres.
Sci-fi projects
to the future while fantasy has to do with past. Experts argue that the best term to
characterise this
novel in a genre would be speculative fiction playing with both sci-fi, fantasy,
gothic, dystopia,
and utopia, and ucronia. This novel does not deal with real characters so it cannot
be historical
novel.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 122

 In other words, it is possible to claim the novel to be speculative fiction or neo-
slave narrative,
with elements of other genres such as fantasy, historical elements, and others.
Also, it is important
to keep in mind the term Afrofuturism.
“a form of fiction that deals principally with the impact of actual or imagined
science upon
society or individuals […] Afrofuturism combines elements of science fiction,
historical fiction,
speculative fiction, fantasy, Afrocentricity, and magic realism with non-Western
beliefs. In some
cases, it’s a total reenvisioning of the past and speculation about the future rife
with cultural
critiques” (Womack 9)

Afrofuturism
The term ‘Afrofuturism’ was coined in 1990s by cultural critic Mark Dery.
“Speculative fiction that treats African-American themes and addresses African-
American concerns in the context of 20th century technoculture — and more
generally, African-American signification that appropriates images of technology
and a prosthetically enhanced future” (Dery 1994: 136).

More than a sci-fi subgenre it is a Literary and cultural aesthetic mode. Ytasha
Womack; “an intersection of imagination, technology, the future, and liberation.”
(Womack 2013: 9).

Afrofuturist literature
There are some common threads which are themes of reclamation, black
liberation, and revisioning of the past and predictions of the future through a black
cultural lens. Afrofuturist literature frequently blends these genres science-fiction
(or speculative fiction), magic realism and African myths and cosmologies. Some
authors W.E.B DuBois and Ralph Ellison (considered predecessors); Martin Delany,
Charles Chesnutt, and Edward Johnson (1950s); Octavia Butler, Samuel Delany
(1970s); Nnedi Okorafor, Tananarive Due, Nisi Shawl, Colson Whitehead…

Afrofuturism and race

Afrofuturism can be seen as both a reaction to eurocentrism and/ or white

supremacy,

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 123

 and to the use of science and technology to justify racism and white or western
dominance and normativity.

The topics in Afrofuturism are:

Exploration of the social construction of race.

Identity and power.

Gender, sexuality and class.

Oppression ad resistance.

Colonialism and imperialism.

Capitalism and mythology.

Imagination and real life experience.

Utopias and dystopias.

Sources for hope and transformation.

Structure and chronology

There are different sections with different chapters. Each episode has to do with
Rufus and Rufus’
reasons to bring Danna into the past and her fear that brings her back to her
present. It is a fear of
death novel. The prologue is adding some kind of mysterious atmosphere.
The first allusion to Danna’s race is done when she firstly talks with Rufus, and he
calls her the
n-word. Danna and Kevin were an interracial couple. This creates the idea of race
not being
important until Rufus pointed out.

There are time references because Rufus tells Danna so. There is not a lineal
structure. The
prologue and the epilogue occur both in the present and the rest of the chapters
take place in both
past and future. Despite these changes, there is some kind of circularity because
the prologue
and epilogue take place in the same moment. Kevin in the past is a reminder of
how violent racism

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 124

 was; a white man cannot understand the suffering of the black community. The
perception of the
characters changes with the timeline.

The title of each section reveals something that will happen in the chapter that we
will read, for example within the first chapter we already know that Dana will safe
Rufus from drowning in a river and this goes on for every chapter that appears
within the book, so each title gives usa vry slight hint of what causes Dana to go
back in time, forced to save Rufus

The river ⇒When Dana first saves Rufus

The fire ⇒ Where Rufus almost lits fire to the whole house on fire but Dana
stops the fire before that can even happen

The fall ⇒ Dana gets called again ecause Rufus broke one leg

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 125

 The fight ⇒ Where Rufus fights another man being drunk (Rufus is the
person who is drunk)to save one of his slaves and in the meantime
saacrificing himself at the same time

The storm

The rope ⇒ When Dana finds what’s supposed to be Rufu’s wife hanging
because Rufus sold her children
(The prologue and epilogue aren’t as impotant as the rest of the novel) And
anotheer note to take into account is that each time Rufus calls dana she stays
more and more time in Rufus’ spacetime,we don’t know why this is, but we know
that this usually happens each time she returns to the present

Timeline

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 126

 The timeline evolves between 1976 and different years of the 19th century. With
each time travel
it is more difficult for Danna to return to her present because she is more resilient
towards different
violent situations.

1976. Dana wakes up in a hospital after losing an arm.

1811. First trip to save Rufus.

1815. Second trip. 1st time we realize Dana is black (“nigger” 19). Returns when
attacked
by a patroller. She realises that Rufus and Alice are related to her. Learns how
fear triggers
her return and that Rufus calls her when in danger.

1819. Kevin and Dana’s background story. It is the third trip, with Kevin. Dana
begins to
work in the plantation. Tom Weylin flogs her, she returns but in consequence
she leavesKevin behind and has to wait some time in order to get Kevin back
to safety.

1824. Dana returns home without Kevin. It is the 4th trip: Back to the past (8
days later).
Rufus is grown up, rapes Alice, blackmails Dana. Rufus threatens Dana and
Kevin with
a gun.

”Slavery was a long process of dulling” (202)

1830-1831. Dana and Kevin return home, 5 years have passed for Kevin. Dana
goes back
to the past in her 5th trip. Tom Weylin dies, and Hagar is born. Dana cuts her
wrists after
Rufus hits her

1831. Dana returns to Maryland in her 6th trip. Alice commits suicide after
being
deceived by Rufus. Rufus tries to rape her, Dana attacks him. Rufus clings to
her arm.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 127

 1976. Dana returns "home" for good, without an arm. Kevin and Dana visit
Maryland,
they learn that the Weylin state was burnt in 1831 and most slaves were sold.

Setting (place)
There are different settings connected with the time setting. These settings in time
are connecting history and the novel pointing the historical irony. These two
elements play a very important role in the novel. The two main times and settings
are:
• Present time strand.
Pasadena, California (limited to Kevin and Dana’s new house). The time laps are
June 9-
July 4, 1976, that is curiously America’s Bicentennial, anniversary of the
Declaration of
Independence. So, the main question is if all men (and women) were treated
equally as
the Declaration promised.
• 1800s-time strand.

In Talbot County in Maryland. The home of the young Frederuck Douglass,

before he wrote Narrative of the Life of an American Slave.
Narrator and Protagonist
The narrator is also the protagonist. The main advantage of doing this is that the
reader can
empathize with the story because we are forced to share their perspective. A 3rd
person narrator
would create some kind of distance. The game of Dana being part of the story and
a witness of
history makes us part of it as readers. Having her perspective is a way to
understand why the
system was so difficult to understand and how she could accept things that she
could not
understand with her 20th mindset. This way, readers could be closer to the story
that is being told.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 128

 Dana is being empathetic although she is a complex character. Her main traits as a
character are
being empath, determined, brave, balanced thinking several times being
intellectual, very brainy
and logical, quick to react, very emotional. So, it can be argued that she is a very
circled
character being completely different at the end to the character we met at the
beginning.

Dana in connection with Rufus

Both characters are connected beyond kindred, it is about how are the roles in the
place in the
context of slavery. She educates her to make him a ‘good’ master in the future
although there is
not such a thing; you are still the master and the one exerting violence on slaves.
They both
influence each other. There are many gaps, but they are always presented in
connection.

Rufus is a reason to Dana for being in the past and dana is the salvation for Rufus.
They change
together over time although in radical different ways. There is a kindred
connection that means
the survival of Dana’s family and the survival of Rufus. From the very beginning
Dana wants
to make Rufus better; she likes him and also wants to protect him. Rufus finds in
Dana a kind of
guardian angel although she does not fell, she can do it.

“The trouble began long before June 9, 1976, when I became aware of it, but June
9 is the day I
remember. It was my twenty-sixth birthday. It was also the day I met Rufus—the
day he called
me to him for the first time” (12).

“But this child needed special care. If I was to live, if others were to live, he must
live. I didn’t
dare test the paradox” (29).

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 129

 “Somehow, I found myself liking this one, though. His environment had left its
unlikable marks
on him, but in the ante bellum South, I could have found myself at the mercy of
someone much
worse—could have been descended from someone much worse” (32).

“I was the worst possible guardian for him—a black to watch over him in a society
that
considered blacks subhuman, a woman to watch over him in a society that
considered women
perennial children. I would have all I could do to look after myself. But I would help
him as best
I could. And I would try to keep friendship with him, maybe plant a few ideas in his
mind that
would help both me and the people who would be his slaves in the years to come.
I might even
be making things easier for Alice” (69)
Dana’s “re-education”
Dana has lot of expectations about herself; it can be argued that she is a game
changer through
her connection with Rufus. Despite this, it is not possible because the slave
system does not
allow it. Soner or later, these relationships will be involved with violence.
She believes that she can be the change of these roles, but this idea is impossible.
She needs to
re-educate herself because she has a certain mentality and education and with
history all that is
challenge, so she needs to learn many things such as adapting to the slaved life to
survive. At
certain point she stops behaving as a good slave, but her bad re-education makes
her start behaving
rebellious. Her attitude is very different at the beginning, middle and the end.

“At first, I stared back. Then I looked away, remembering that I was supposed to
be a slave.
Slaves lowered their eyes respectfully. To stare back was insolent. Or at least, that

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 130

 was what my
books said” (66).

“She had done the safe thing—had accepted a life of slavery because she was
afraid. She was
the kind of woman who might have been called ‘mammy’ in some other household.
She was the
kind of woman who would be held in contempt during the militant nineteen sixties.
The housenigger,
the handkerchief-head, the female Uncle Tom—the frightened powerless woman
who
had already lost all she could stand to lose, and who knew as little about the
freedom of the
North as she knew about the hereafter.
I looked down on her myself for a while. Moral superiority. Here was someone
even less
courageous than I was” (145).

“’And you let yourself be made a slave? You should run away.’
I glanced at the door. ‘Be careful how you say things like that. You could get into
trouble.’ I felt
like Sarah, cautioning” (156-157).

“I had worried that I was keeping too much distance between myself and this alien
time. Now,
there was no distance at all. When had I stopped acting? Why had I stopped?”
(220).

Rufus Weylin
It is evident the change in him and his obsession with Alice. At the beginning
readers can justify
his behaviour due to his family conditions but then readers realise that there is no
possible
justification for his behaviour. In fact, Dana justifies his behaviour relating him with
his father.
Rufus betrays Dana several times, but she keeps trying, and this proves some
selfish behaviour in
her as she is only moved by her desire of maintaining her family and ancestors.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 131

 “I shook my head wonderingly. The boy already knew more about revenge than I
did. What kind
of man was he going to grow up into?” (25).

“’I’ve been too easy on you,’ he said. His voice was suddenly low and ugly. ‘I
treated you like
you were better than the ordinary niggers. I see I made a mistake!’
‘That’s possible,’ I said. ‘I’m waiting for you to show me I made a mistake.’
For several seconds, he stood frozen, towering over me, glaring down as though
he meant to hit
me. Finally, though, he relaxed, leaned against his desk. ‘You think you’re white!”
he muttered.
“You don’t know your place any better than a wild animal’.” (164)
Tom Weylin
He is the people master and also a distant father, so Dana is very scared of him.
He is a person
true to his world and embodies one more element of the machine slavery is. He is
a very strict
master but inside the slavery he is unemotional in contrast with his son. He keeps
a code of honour
towards Kevin, another white man. Not him nor his son can be good people
because they are
dehumanised by slavery.

“’Marse Tom can turn mean mighty quick,’ he said. “So can the boy, now that he’s
growing up.
Your face looks like maybe you had enough white folks’ meanness for a while”
(68).
“’He won’t whip you for following my orders. He’s a fair man.”
I looked at him, startled.
‘I said fair,” he repeated. “Not likable.’
I kept quiet. His father wasn’t the monster he could have been with the power he
held over his
slaves. He wasn’t a monster at all. Just an ordinary man who sometimes did the
monstrous
things his society said were legal and proper. But I had seen no particular fairness
in him. He

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 132

 did as he pleased. If you told him he wasn’t being fair, he would whip you for
talking back. At
least the Tom Weylin I had known would have” (134).

“’I said once that Daddy was a fair man,’ he said. ‘You all but laughed out loud.’
‘He wrote to Kevin about me?’” (179)
Kevin
He is very useful for the plot because as they travel back together readers get to
know the two
points of view: a black woman and a white man. Dana is afraid that slavery could
change Kevin
as he can see his white privilege. He always acts very bossy. He is a bit
authoritarian, not very
empathetic, although he takes some care of her.

“It was nearly always mindless work, and as far as most employers were
concerned, it was done
by mindless people. Nonpeople rented for a few hours, a few days, a few weeks, it
didn’t matter”
(53).

‘What would a writer be doing doing working out of a slave market?’

‘Keeping herself in rent and hamburgers, I guess. That’s what I’m doing working at
a
warehouse.’
I woke up a little then and really looked at him. He was an unusual-looking white
man, his face
young, almost unlined, but his hair completely gray and his eyes so pale as to be
almost
colorless. He was muscular, well-built, but no taller than my own five-eight so that
I found myself looking directly into the strange eyes. I looked away startled,
wondering whether I had
really seen anger there. Maybe he was more important in the warehouse than I
had thought.
Maybe he had some authority …” (53-54
Alice
She has a very uncomfortable role in the story. She mirrors Dana in the story as in

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 133

 fact she is her
ancestor. Moreover, in Rufus head they are two parts of the same woman. Dana
feels guilty due
to the way she behaves with Alice contributing to her rape.

“‘Behold the woman,’ he said. And he looked from one to the other of us. ‘You
really are only
one woman. Did you know that?’ […]
After a while, she asked, ‘Does he ever take you to bed, Dana?’ I jumped. Her
bluntness could
still startle me. ‘No. He doesn’t want me and I don’t want him.’
She glanced back at me over one shoulder. ‘What you think your wants got to do
with it? […]
He likes me in bed, and you out of bed, and you and I look alike if you can believe
what people
say.’
‘We look alike if we can believe our own eyes!’
‘I guess so. Anyway, all that means we’re two halves of the same woman—at least
in his crazy
head.’” (228)

Themes
• Systemic violence and racism
Slavery is the main theme of this novel, and it is represented as a machine. For
Dana
travelling back in time would be a problem, this feeling may be related by many
other
minorities. She is aware that changing history is impossible. Also, there are many
allusions that slavery as a system was internalised by black population, and it can
be seen
in the way people treat her in the plantation. Dana was an outsider in the plantation
with
the enslaved community. Black community is not represented in a homogeneous
way.
She connects what happened in the past with what it is happening in the present.

“I can’t think of a time I’d like to go back to” (77).

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 134

 “If he was stranded here for years, some part of this place would rub off on him.
No
large part, I knew. But if he survived here, it would be because he managed to
tolerate
the life here. He wouldn’t have to take part in it, but he would have to keep quiet
about
it” (77).

“I had said I couldn’t do anything to change history. Yet, if history could be

changed,
this book in the hands of a white man—even a sympathetic white man—might be
the
thing to change it” (141).

“Repressive societies always seemed to understand the danger of ‘wrong’ ideas”

(155)

“’Doctor-nigger,’ she said with contempt. ‘Think you know so much. Reading-
nigger.
White-nigger! Why didn’t you know enough to let me die?” (160)

“The news switched to a story about South Africa—blacks rioting there and dying
wholesale in battles with police over the policies of the white supremacist
government.
I turned off the radio and tried to cook the meal in peace. South African whites had
always struck me as people who would have been happier living in the nineteenth
century, or the eighteenth. In fact, they were living in the past as far as their race
relations went. They lived in ease and comfort supported by huge numbers of
blacks
whom they kept in poverty and held in contempt. Tom Weylin would have felt right
at
home” (196).

“I’m not property, Kevin. I’m not a horse or a sack of wheat. If I have to seem to be
property, if I have to accept limits on my freedom for Rufus’s sake, then he also
has to
accept limits—on his behaviour toward me. He has to leave me enough control of
my
own life to make living look better to me than killing and dying” (246)

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 135

 Race
We do not know dana’s race until rufus mentioned it.

“Did you say he used a whip on you, Rufe?”

“Yeah. The kind he whips niggers and horses with.”
That stopped me for a moment. “The kind he whips … who?”
He looked at me warily. “I wasn’t talking about you.”
I brushed that aside. “Say blacks anyway. But … your father whips black people?”
(26)

“’This could be a great time to live in,’ Kevin said once. ‘I keep thinking what an
experience it would be to stay in it—go West and watch the building of the
country, see
how much of the Old West mythology is true.’
‘West,’ I said bitterly. ‘That’s where they’re doing it to the Indians instead of the
blacks!’
(87)

Difference
There is a contrast between Kevin and Dana as they are spectators all the
time. At some
point, Dana becomes part of the system, but Kevin keeps being just an
observer. She is
already educated to act and behave in a certain way.

“You might be able to go through this whole experience as an observer,” I said. “I

can
understand that because most of the time, I’m still an observer. It’s protection. It’s
nineteen seventy-six shielding and cushioning eighteen nineteen for me. But now
and
then, like with the kids’ game, I can’t maintain the distance. I’m drawn all the way
into
eighteen nineteen, and I don’t know what to do. I ought to be doing something
though. I
know that.” (107)
“Rufus’s time demanded things of me that had never been demanded before, and
it
could easily kill me if I did not meet its demands. That was a stark, powerful reality

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 136

 that
the gentle conveniences and luxuries of this house, of now, could not touch” (191).

Survival and fear

“Rufus’s fear of death calls me to him, and my own fear of death sends me
home” (50)

“Look, your ancestors survived that era—survived

it with fewer advantages than you have. You’re no less than they are.”
“In a way I am.”
“What way?”
“Strength. Endurance. To survive, my ancestors had to put up with more than I
ever could. Much more. You know what I mean.” (51)
“Nothing in my education or knowledge of the future had helped me to escape.
Yet in a
few years an illiterate runaway named Harriet Tubman would make nineteen trips
into
this country and lead three hundred fugitives to freedom … Why was I still slave to
a
man who had repaid me for saving his life by nearly killing me? And why … why
was I
so frightened now — frightened sick at the thought that sooner or later, I would
have to
run again?” (177)

Gender violence
Many characters suffer gender violence but is under the context of slavery
violence. When
Dana escaped from Rufus killing him preventing her being raped, she returns
to the
present without an arm as it is stacked in the wall. This can be interpreted as
the past
holding on to her, and Rufus being still stacked to her. This is part of the toxic
relationship
they have. By killing him she is going to lose part of her body and kindred. The
lost
arm is representing many symbols in the novel. All the slavery violence of

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 137

 history and
the novel is present in the way she loses her arm.

“He lay with his head on my shoulder, his left arm around me, his right hand still
holding my hand, and slowly, I realized how easy it would be for me to continue to
be
still and forgive him even this. So easy, in spite of all my talk. But it would be so
hard to
raise the knife, drive it into the flesh I had saved so many times. So hard to kill …
He was not hurting me, would not hurt me if I remained as I was. He was not his
father,
old and ugly, brutal and disgusting. He smelled of soap, as though he had bathed
recently—for me? The red hair was neatly combed and a little damp. I would never
be
to him what Tess had been to his father—a thing passed around like the whiskey
jug at a
husking. He wouldn’t do that to me or sell me or …” (259-260)

Complex “family” ties

“maybe he was one of my ancestors. Maybe he was my several times great
grandfather,
but still vaguely alive in the memory of my family because his daughter had
bought a
large Bible in an ornately carved, wooden chest and had begun keeping family
records
in it. My uncle still had it” (28).

“Then they made gross jokes about him behind his back. Strangely, they seemed
to like
him, hold him in contempt, and fear him all at the same time. This confused me
because
I felt just about the same mixture of emotions for him myself. I had thought my
feelings
were complicated because he and I had such a strange relationship. But then,
slavery of
any kind fostered strange relationships. Only the overseer drew simple,

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 138

 unconflicting
emotions of hatred and fear when he appeared briefly” (229).
Style
The novel is full of dialogues, very direct and at the same time is a novel that
wants to instruct
readers and she gives clues to understand this part of history better. It can be
argued that Butler
is clear and direct writing conversational, revealing details in conversations and
not
descriptions.

Structurally, she keeps the interest of the reader in a very wisely way due to how
she organises
the different events in the novel. The first episodes are short and then she takes
her time to explain
and express dana questions. All the time there are elements of action and violence
is present.

Audre Lorde
Her works are influenced by all the things she experienced, making her a warrior
writer.

Most of her poetry deals with the ‘poetics of the self’.

The First Cities (1968)

Cables to Rage (1970)
From a Land Where Other People Live (1972), nominated for a National Book
Award.
New York Head Shop and Museum (1974)
Coal (1976)
The Black Unicorn (1978)
The Collected Poems of Audre Lorde (1997)

In her nonfictional works, she wrote a journal telling her own illness.

The Cancer Journals (1980)

Sister Outsider: Essays and Speeches (1984)
A Burst of Light (1988), National Book Award.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 139

 Activist poet
She was a black lesbian mother, warrior poet and an activist. Her role as such an
activist goes
beyond the States fighting for rights in Europe and Africa. She was part of many
feminist
conferences. In 1981 Lorde and fellow writers Cherrie Moraga and Barbara Smith
founded
Kitchen Table: Women of Colour Press, dedicated to promoting the writings of
black
feminists. She also created Sisterhood in Support of Sisters in South Africa to fight
apartheid.

She celebrates differences and encourages readers to embrace these differences

as they are a
reason of growth. This idea also has to do with how she changed her name and
tried to let aside
any feminine role. Due to this embracement of differences, she is considered to be
an
intersectional poet and activist although the term was coined by Kimberlé
Crenshaw

Audre Lorde's self-identification as "black, lesbian, mother, warrior, poet"

underscores the complex, multifaceted nature of individual identity, particularly for
those situated at the margins of societal power structures. This articulation serves
as a foundational element in understanding the concept of intersectionality, a
theoretical framework that examines the interconnected nature of social
categorizations such as race, class, and gender as they apply to a given individual
or group, regarded as creating overlapping and interdependent systems of
discrimination or disadvantage.1 Lorde's work, predating Kimberlé Crenshaw's
formalization of the term, embodies the essence of intersectional analysis by
demonstrating how these intersecting identities shape experiences, perspectives,
and social realities.

Intersectionality is a critical theoretical framework that examines how various

social and political identities, such as race, class, gender, sexual orientation, and
disability, combine to create unique experiences of discrimination and oppression.
It argues that these identities are interconnected and cannot be understood in

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 140

 isolation from one another. Instead, they intersect and overlap, creating complex
and multifaceted experiences of inequality.

Her life and work highlight the lived experience of navigating multiple, often
conflicting, social identities. Being a black woman, a lesbian, a mother, a warrior,
and a poet are not isolated aspects of her being, but rather integral components
that inform and influence one another. This multi-dimensionality is crucial to
understanding her contributions to feminist theory, critical race studies, queer
theory, and feminist philosophy. The text suggests that Lorde's personal
experiences, rooted in these intersections, provided a unique and powerful lens
through which she analyzed and critiqued societal norms and power dynamics.

The assertion "Use that power, become powerful... and dangerous" encapsulates
the radical potential inherent in embracing and leveraging one's marginalized
identities. It suggests a move beyond mere recognition of these identities towards
active engagement in challenging oppressive structures. This call to action implies
that those who occupy multiple marginalized positions possess a unique form of
power derived from their lived experiences and perspectives. By acknowledging
and utilizing this power, individuals can disrupt and dismantle systems of
oppression.

The statement "Your silence will not protect you" underscores the necessity of
speaking out against injustice and oppression. It highlights the fallacy of believing
that remaining silent will shield individuals from the negative consequences of
systemic inequality. Instead, it argues that active resistance and vocal opposition
are essential for achieving social change. This aligns with Lorde's broader
philosophy of using one's voice to challenge dominant narratives and advocate for
justice.

The reference to Harlem 1934 provides a historical context for Lorde's life and
work. It situates her within a specific time and place, highlighting the social and
political realities of her era. The fact that her husband was a white, gay man and
that she was raised by Caribbean immigrant parents further illustrates the
complexity of her personal life and the diverse influences that shaped her
worldview. These details serve to underscore the importance of considering
individual experiences within their broader social and historical context.

The explicit mention of the "intersections of class, race, gender, and sexuality"
reinforces the centrality of intersectionality in understanding Lorde's legacy. This

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 141

 framework allows for a nuanced analysis of how these social categories interact
and influence individual experiences. By recognizing the interconnectedness of
these identities, we can gain a deeper understanding of the complexities of power,
privilege, and oppression.

Lorde's role as a "key figure" in feminist theory, critical race studies, queer theory,
and feminist philosophy highlights her significant contributions to these fields. Her
work has been instrumental in shaping contemporary understandings of identity,
power, and social justice. The recognition of her as a "precursor of the articulation
of 'intersectionality'" underscores her pioneering role in developing this critical
analytical framework.
In summary, the text underscores Audre Lorde's pivotal role in articulating and
embodying the principles of intersectionality. Her life and work demonstrate the
interconnectedness of social identities and the importance of recognizing and
leveraging the power inherent in marginalized experiences. The provided points
encapsulate her commitment to challenging oppressive structures, advocating for
social justice, and using her voice to amplify the experiences of those on the
margins.

Audre Lorde's life and intellectual contributions, focusing on her involvement in

the Black Arts Movement, her educational background, notable awards, significant
quotations, and core philosophical concepts.

Lorde's participation in the Black Arts Movement, which flourished in the 1960s,
situates her within a critical period of cultural and political activism. This
movement, characterized by its emphasis on Black self-determination, artistic
expression, and social critique, profoundly influenced Lorde's development as a
writer and thinker. It provided a platform for her to explore themes of race, identity,
and social justice, which remained central to her work throughout her life.

Her educational achievements, including a Bachelor of Arts from Hunter College

and a Master of Library Science from Columbia University, underscore the
importance of formal education in shaping her intellectual trajectory. These
academic qualifications provided her with a foundation in literature, research, and
critical analysis, which she applied to her writing and activism. The Master of
Library Science degree, in particular, suggests a deep engagement with
information and knowledge, reflecting her commitment to intellectual rigor and
scholarly inquiry.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 142

 The recognition she received, including the National Endowment for the Arts
award and the appointment as Poet Laureate of New York (1991-1992), highlights
her significant contributions to the literary and cultural landscape. These
accolades affirm the impact of her work and its enduring relevance. The Poet
Laureate position, specifically, indicates her role as a public intellectual and
cultural ambassador, tasked with promoting poetry and fostering appreciation for
the arts.
The quotation "Despair is a tool of our enemies" encapsulates Lorde's unwavering
commitment to resistance and resilience in the face of oppression. It suggests that
despair, as a debilitating emotion, can undermine collective efforts to achieve
social change. By rejecting despair, individuals and communities can maintain
hope and continue to fight for justice.

The phrase "Basically, she's amazing" serves as a concise and emphatic

endorsement of Lorde's multifaceted contributions. It reflects a widespread
recognition of her exceptional talent, intellectual prowess, and personal integrity.
This informal yet powerful statement acknowledges the profound impact of her
work and its ability to inspire and empower others.

The assertion that Lorde was "not only a poet, but also a philosopher"
underscores the depth and breadth of her intellectual contributions. Her work
extends beyond the realm of poetry to encompass philosophical inquiries into
ethics, epistemology, and social theory. She challenged conventional modes of
thought and offered innovative perspectives on identity, power, and knowledge.

The concepts of "sisterhood" and "solidarity" highlight Lorde's emphasis on

collective action and mutual support among marginalized groups. She recognized
the importance of building alliances and fostering a sense of community to
challenge oppressive structures. These principles are central to her vision of
social justice and reflect her commitment to intersectional feminism.

The notion of "erotic as an epistemic" suggests a radical redefinition of the erotic

as a source of knowledge and empowerment. Lorde challenged the traditional
association of the erotic with sexuality and instead emphasized its connection to
creativity, passion, and vitality. She argued that the erotic, as a form of sensory
and emotional experience, can provide valuable insights into ourselves and the
world around us. This concept reflects her commitment to reclaiming and
revaluing marginalized forms of knowledge and experience.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 143

 Lorde on the power of words
She explored as a writer the in her works.

I have come to believe over and over again that what is most important to me must
be spoken,
made verbal and shared, even at the risk of having it bruised or misunderstood.
That the
speaking profits me, beyond any other effect. I am standing here as a Black
lesbian poet, and the
meaning of all that waits upon the fact that I am still alive, and might not have been
(“The
Transformation of Silence into Language and Action” in The Selected Works of
Audre Lorde, p.
9)

“The uses of Anger: Women responding to racism.”

The use of poetry shows the anger of women and black women. This anger is an
answer for
objectification and racism. It is possible to notice how angry she is in her poetry.
Women
responding to racism means women responding to anger, the anger of exclusion,
of unquestioned
privilege, of racial distortions, of silence, ill-use, stereotyping, defensiveness,
misnaming,
betrayal, and coopting.

Racism. The belief in the inherent superiority of one race over all others and
thereby the right to
dominance, manifest and implied.

Women respond to racism. My response to racism is anger. I have lived with that
anger, on that
anger, beneath that anger, on top of that anger, ignoring that anger, feeding upon
that anger,
learning to use that anger before it laid my visions to waste, for most of my life.
Once I did it in
silence, afraid of the weight of that anger. My fear of that anger taught me

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 144

 nothing. Your fear of
that anger will teach you nothing, also.

Audre Lorde says that anger is dangerous, and that the anger can be used to do
something good in the world, this is why she’s such an advocate for racial rights
and why she wants to break with all this stigma of people advocating for feminism
that mainly conists of the white race

Audre Lorde, a brilliant writer and activist, talked a lot about how some forms of
feminism, especially what's sometimes called "white feminism," didn't include the
experiences of all women. The technical name for this critique, though it's less
about a formal "definition" and more about a critical perspective, is often
described as an intersectional critique of feminism.

Here's a simpler way to understand it:

What's Feminism?

Feminism is about wanting fairness and equal rights for all women.

What's the Problem?

Lorde pointed out that some feminist ideas focused mainly on the
problems faced by white, middle-class women. This meant that the unique
challenges faced by women of color, poor women, and LGBTQ+ women
were often ignored.

Intersectionality:

This is the key idea. It means that everyone has many different parts of
their identity (like race, gender, and class) that overlap and affect their
experiences.

For example, a Black woman might face discrimination because she's a

woman and because she's Black. These experiences are interconnected.

Lorde wanted feminism to recognize these overlaps and fight for the rights
of all women, not just some.

White Feminism:

This term is used to describe feminist theories and actions that focus on
the issues of white women while neglecting the unique challenges faced
by women of color.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 145

 It can sometimes unintentionally center the experiences of white women
as the "norm" and therefore other womens experiences are seen as
"other" or not as important.

In short, Audre Lorde wanted feminism to be inclusive and to understand that

everyone's experiences are shaped by many different parts of their identity. She
encouraged everyone to recognize and value the differences between people, and
to work together to create a more just and equal world for everyone.

Anger as a response to racism.

Anger is something all women possess in one way or the other. This anger can be
used against
the oppression suffered. Lorde claims that very woman has a well-stocked arsenal
of anger
potentially useful against those oppressions, personal and institutional, which
brought that anger
into being. Focused with precision it can become a powerful source of energy
serving progress
and change […] Anger is loaded with information and energy. When I speak of
women of Colour,
I do not only mean Black women. We are also Asian American, Caribbean,
Chicana, Latina,
Hispanic, Native American, and we have a right to each of our names
Anger, specifically in response to racism, constitutes a potent and potentially
transformative force for women of color. This anger is not a manifestation of
irrationality or emotional instability, but rather a legitimate and reasoned response
to systemic oppression and injustice. It is an embodiment of the lived experiences
of women of color, reflecting the cumulative impact of discrimination, prejudice,
and marginalization.

This anger is characterized as an inherent and ubiquitous element within the

consciousness of women of color, a reservoir of energy fueled by the persistent
and pervasive nature of racial oppression. It is not a fleeting or ephemeral
emotion, but rather a deeply ingrained and enduring wellspring of power that can
be harnessed for personal and collective liberation.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 146

 The text posits that this anger, when channeled effectively, can serve as a catalyst
for social change and progress. It can be transformed into a source of agency and
empowerment, enabling women of color to challenge and dismantle the structures
that perpetuate their oppression. The precision and focus with which this anger is
directed are crucial to its transformative potential, ensuring that its energy is
utilized constructively to advance the cause of justice and equality.
Furthermore, the text emphasizes the informational content embedded within this
anger. It is not merely an emotional outburst, but rather a repository of knowledge
and insight derived from the lived experiences of women of color. This anger
carries within it a profound understanding of the dynamics of power, privilege, and
oppression, providing a critical lens through which to analyze and challenge
systemic inequalities.

The explicit inclusion of diverse racial and ethnic groups within the category of
"women of color" underscores the intersectional nature of this anger. It
acknowledges that racism manifests differently across various communities and
that the experiences of oppression are not monolithic. This inclusivity recognizes
the unique challenges faced by different groups of women of color while
simultaneously highlighting their shared struggle against racial injustice.
In essence, the text positions anger as a legitimate, powerful, and potentially
transformative force for women of color in their fight against racism. It calls for the
recognition, validation, and strategic utilization of this anger as a means of
achieving personal and collective liberation. This anger is not a source of shame
or weakness, but rather a testament to the resilience, strength, and determination
of women of color in the face of adversity.

Tokenism
⇒ relates to this idea that Audre lorde that the anti-racist movement is full of
white people and that they are all blind to the fact that this anti-racist novement is
not what the black society wants, and she calls people out in order to make them
realize that this is not what they originlly fought for yet everyone is somehow blind
to it and she is the one who’s there to break it to us and the society we live in

Tokenism in Audre Lorde's writing. A classroom, where everyone is the same

except for one person who is different. Maybe they're the only one with a different

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 147

 skin color, or the only one who uses a wheelchair, or the only one who comes
from a different country.

Tokenism happens when that one different person is included just to make it look
like everyone is being included, but their voice and experiences aren't really
valued. It's like putting a single, different-colored flower in a big vase of the same
flowers and saying, "Look, we're diverse!" But that one flower doesn't change the
fact that the whole vase is mostly the same.

In Audre Lorde's writing, she talks about how tokenism is used to avoid real
change. It's a way for people in power to pretend they're being inclusive without
actually giving up any power or changing the way things work. For example, a
company might hire one Black person for a high-profile job, but that doesn't mean
the company is truly committed to equality. That one person might be used as a
"token" to make it seem like the company is diverse, while all the other important
decisions are still made by the same group of people.

Lorde argued that tokenism is harmful because it:

Creates a false sense of inclusion: It makes it seem like everyone has a seat
at the table, but the token person's voice is often ignored or dismissed.

Isolates the token person: They may feel like they're being used as a symbol
rather than being seen as an individual.

Prevents real change: By focusing on the appearance of diversity, tokenism

distracts from the need to address the root causes of inequality.

Reinforces the status quo: it maintains the current power structures, and
prevents change.

Erases individual experience: it makes it seem like one person can represent
an entire group of people, which is impossible. Every person has their own
unique experiences.

Creates a system of competition: Tokenism can lead to a sense of

competition between those from marginalized groups, as they are competing
for a single space.

It can be used to silence those that are different: if a person that is different
voices a concern, they can be dismissed by saying that they are the only one
that thinks that way.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 148

 It can be used to avoid addressing systemic issues: it allows those in power
to focus on individual cases of diversity, instead of addressing the larger
issues that create inequality.

Lorde's work encourages us to look beyond surface-level diversity and demand

real, meaningful change. She wanted to create a world where everyone's voice is
heard and valued, not just the voices of a select few.

Difference
“I stand here as a Black lesbian feminist, having been invited to comment within
the only panel
at this conference where the input of Black feminists and lesbians is represented.
What this says
about the vision of this conference is sad, in a country where racism, sexism, and
homophobia
are inseparable.”

“Interdependency between women is the way to a freedom which allows the I to

be, not in order
to be used, but in order to be creative.”

For her feminism should be something that has to do not only with gender but also
with class,
age, sexuality, and race. What she is addressing is intersectionality, coined by
Kimberle Crenshaw.
Any fight for freedom needs to consider all these aspects. Oppression affects
women in different
ways. She addresses this to proof that the scholars have failed in taking this into
account. With
invisibility comes oppression, so women can oppress other women following this
idea. If not
having an intersectional perspective, you cannot represent everyone. Patriarchy
affects women
but it also has to do with racism, homophobia, and classism. She calls this
interdependency
between women.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 149

 In Audre Lorde's powerful essay, "The Master's Tools Will Never Dismantle the
Master's House" (1979), she argues that the very tools and systems created by
oppressive forces cannot be used to effectively challenge and dismantle those
same systems. Lorde contends that relying on the master's tools—such as racism,
sexism, homophobia, and other forms of oppression—will only perpetuate and
reinforce the existing power structures.

Lorde emphasizes the importance of recognizing and utilizing the unique

perspectives and experiences of marginalized groups in the struggle for social
justice. She argues that these marginalized voices and perspectives offer
alternative tools and strategies for dismantling oppressive systems. By embracing
difference, fostering inclusivity, and valuing the contributions of all individuals, we
can create a more just and equitable society.

Lorde's essay serves as a call to action for individuals and communities to

challenge the status quo and seek new and innovative ways to address systemic
inequality. It highlights the importance of critical thinking, self-reflection, and
collective action in the pursuit of social change.

Intersectionality
The statement "If they don't see the difference, their fight is less effective" within
the context of intersectionality underscores the critical necessity of recognizing
and acknowledging the nuanced variations in experiences stemming from the
confluence of multiple social identities for the successful execution of
emancipatory social action. The assertion posits that a failure to apprehend the
distinct challenges and oppressions faced by individuals situated at the nexus of
intersecting (conflicting, more like clashing identities, since this is what we are
now clashing identities fighting against each other when we should leave all these
differences aside in orde to start working together as a unity and focus on the root
cause for these differences and start working all together like a team to fight these
differences and reach a point of equality) So that different identities work together
and eventually dismantle systemic inequalities.

The principle embedded within this statement rests upon the foundational premise
that social identities, such as race, gender, class, sexual orientation, and disability,
are not discrete or isolated categories. Rather, they interact and intersect,
generating unique configurations of privilege and disadvantage. Consequently,

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 150

 individuals experiencing the convergence of multiple marginalized identities
encounter distinct forms of oppression that cannot be adequately addressed
through monolithic or universalized approaches.

An analytical framework that disregards the heterogeneity of lived experiences

risks perpetuating exclusionary practices and reinforcing existing power
hierarchies. By failing to discern the specificities of intersectional oppression,
social movements and advocacy initiatives may inadvertently prioritize the
concerns of dominant or privileged groups within marginalized communities,
thereby neglecting the needs of those most acutely affected by systemic injustice.

The imperative to "see the difference" necessitates a commitment to critical

reflexivity and a willingness to interrogate one's own biases and assumptions. It
requires a departure from essentialist notions of identity and an embrace of the
complexities and contradictions inherent in social life. This involves cultivating an
awareness of the ways in which power operates at the intersection of multiple
identities, shaping individual experiences and collective struggles.

Moreover, the effectiveness of social movements is contingent upon their capacity

to build broad-based coalitions and foster solidarity across diverse communities.
This requires a nuanced understanding of the ways in which different forms of
oppression are interconnected and mutually reinforcing. By recognizing the
specific challenges faced by individuals at the intersection of multiple identities,
social movements can develop more inclusive and transformative strategies for
change.

In essence, the statement highlights the importance of intersectional analysis as a

tool for enhancing the effectiveness of social justice initiatives, so essentially
Audre lorde is also. It underscores the necessity of moving beyond superficial
understandings of identity and embracing a more nuanced and complex approach
to addressing systemic inequality. A failure to "see the difference" undermines the
potential for meaningful social transformation and perpetuates the marginalization
of those most vulnerable to oppression.

Interdependence
The term "interdependency," as used here, highlights the interconnectedness of
various forms of oppression and how they impact women differently based on
their unique combination of social identities. It emphasizes that a woman's

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 151

 experience with oppression is not solely determined by her gender (also by the
general experiences that she has experienced throughout her life), but is also
significantly influenced by factors such as her race, class, age, and sexual
orientation.

This concept challenges the idea of a universal "woman's experience" and

acknowledges that different women face different challenges and forms of
discrimination. For example, a Black woman may experience oppression
differently than a white woman, and a working-class woman may face different
challenges than a wealthy woman.

"Interdependency" suggests that these various forms of oppression are not

isolated, but rather intertwined and mutually reinforcing. Patriarchy, racism,
homophobia, and classism work together to create a complex web of oppression
that impacts women in unique and specific ways.

Therefore, any effective fight for women's liberation must take into account this
interdependency and address the various forms of oppression that women face. A
truly inclusive feminist view must recognize and value the diversity of women's
experiences (not only white, whichis how she describes this new feminism, which
generally only validateswhitewomen’s experiences therefore creating some sort of
‘monopolium’ where all women are somehwat ’equal’, but still Audre will try and
help others see that they are following what can be consideredlike a ‘wrong’
version of feminism) and work to dismantle all systems of oppression that
contribute to their marginalization.

This concept of "interdependency" calls for solidarity and coalition-building

among women across different social groups. It recognizes that the liberation of
one group of women is inextricably linked to the liberation of all women, and that
true equality can only be achieved through collective action and mutual support.

Essentially, "interdependency" in this context underscores the complexity of

women's oppression and the need for a multifaceted approach to feminism that
acknowledges and addresses the intersectionality of various forms of social
injustice.

Lorde was a vocal critic of what she saw as the limitations of mainstream
feminism, which she felt often centered the experiences of white, middle-class
women while marginalizing the voices and concerns of women of color. She
argued for a more inclusive and intersectional approach to feminism that

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 152

 recognized the diversity of women's experiences and addressed the
interconnectedness of various forms of oppression.

Lorde believed that true liberation required a collective effort that acknowledged
and addressed the unique challenges faced by women of color, including racism,
sexism, homophobia, and classism. She challenged white feminists to recognize
their own privilege and to actively work to dismantle the systems of oppression
that perpetuated inequality.

So, the idea that feminism should be more than just about gender, and that it
needs to consider race, class, sexuality, and other factors, is central to Lorde's
critique of mainstream feminism and her vision for a more inclusive and
transformative movement.

The provided text articulates several key tenets of a feminist perspective that
critiques the limitations of prevailing feminist discourse and advocates for a more
inclusive and transformative approach. The initial statement, "Denounces the fact
that women were treated as tokens," highlights a rejection of the practice of
including women in spaces or movements merely for the appearance of
inclusivity, without genuine consideration of their perspectives or contributions.
This practice is seen as a superficial gesture that fails to address the systemic
inequalities faced by women.

The subsequent assertion, "You can't discuss about feminism without talking
about, or at least recognizing the differences there are within women: race, sexual
orientation, social status, etc.," underscores the necessity of intersectionality in
feminist analysis. It emphasizes that women's experiences are not monolithic and
are shaped by the interplay of various social identities. A failure to acknowledge
these differences results in an incomplete and inadequate understanding of
women's oppression.
The declaration that "Narrow parameters of change are possible" suggests a
critique of reformist approaches to feminism that seek incremental adjustments
within existing power structures. It implies that more radical and transformative
changes are required to dismantle systemic inequalities.

The statement "Women → nurturing is not pathological but redemptive" offers a

reassessment of traditional gender roles. It challenges the view that women's
nurturing tendencies are a sign of weakness or pathology, instead presenting

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 153

 them as a source of strength and potential for social transformation. The
accompanying point, "Patriarchal society = women as mothers as the only
'weapon' socially accepted," highlights the limited agency afforded to women
within patriarchal systems, where their influence is often confined to the domestic
sphere.

The quotation "Without community there is no liberation" underscores the

importance of collective action and solidarity in the pursuit of feminist goals. It
suggests that individual efforts are insufficient to overcome systemic oppression
and that liberation requires the formation of supportive and empowering
communities.
Finally, the imperative "Divide and conquer must become define and empower!"
calls for a strategic shift from divisive tactics to empowering strategies. It
advocates for a move away from internal divisions within the feminist movement
and towards a unified effort to define and assert women's agency and power. This
statement also suggests a reappropriation of tactics used against marginalized
groups, transforming them into tools for empowerment.

Friday Black (2018) ⇒ explain my view of the title in itself

Finkelstein was his first short story ever published in his book Friday Black. In it,
he uses satire
as in all his works where he does something far from realistic. All the stories are a
near future. All
the things he addresses are reality to denounce a real problem such as injustices
capitalism or
violence, a way of protesting about life. There is a political intention behind all the
techniques he
uses so it can be argued that it is afro futurism with a combination of magical
realism, fantasy,
sci-fi and with horror as a common thread. The stories of Friday Black are set in a
(near) future
with the intention of inspiring empathy for the marginalized and the
demonized/feared. In it he
connects with the song of Kendrick Lamar following the idea of resistance through

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 154

 writing being
the owner of a story when writing about it.

The 'Blackness Scale' and Ethnicity: Context and Meaning

'Blackness scale' is not a formal or widely recognized sociological or

anthropological term, but in the context you provided, it refers to an informal, often
negative, social measure of how authentically "Black" a person is perceived to be
within a community or by others. This idea is rooted in subjective judgments about
a person's cultural behaviors, speech, appearance, and willingness (or refusal) to
assimilate or code-switch in different social settings.

Key Points from the Context

Emmanuel is described as not having a "blackness scale," meaning he does

not alter or perform his identity to fit varying expectations of Blackness. He
remains consistent, unapologetically himself, and does not engage in code-
switching or assimilation.

The "blackness scale" is presented as a negative thing, implying that

measuring or judging someone's Blackness is problematic and rooted in
external, often condescending, expectations.

There is a condescending tone from Emmanuel to Boogie, possibly suggesting

a critique of those who do alter their identity or code-switch to fit in.

Understanding Blackness and Code-Switching

Blackness is a socially constructed identity, not tied solely to skin color or

genetics, but shaped by cultural, historical, and social experiences248.
Different societies and communities apply varying criteria for what counts as
"Black," and these standards can change over time and context2.

Code-switching is the practice of shifting language, dialect, or behavior to

navigate different cultural or social settings, often used by marginalized groups
to fit in or avoid discrimination. Refusing to code-switch can be seen as a form
of resistance or authenticity, but can also be judged negatively by those who
expect conformity.

The 'Blackness Scale' as a Social Pressure

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 155

 The notion of a "blackness scale" reflects the pressure some individuals feel to
perform or prove their Blackness according to community or societal expectations.
This can manifest as:

Judging someone's "authenticity" based on speech, dress, interests, or

willingness to code-switch.

Viewing refusal to assimilate or code-switch as either admirable authenticity or

as a failure to adapt, depending on perspective.

Creating divisions within communities based on perceived degrees of cultural

conformity or resistance.

Summary Table
Concept Description

Blackness Informal, subjective measure of how "authentically Black" someone is

Scale perceived to be.

Code- Adapting language or behavior to fit into different cultural or social

Switching contexts

Sense of belonging to a particular ethnic group, shaped by shared

Ethnic Identity
culture, history, and language68.

Emmanuel's Remains himself, does not adapt or code-switch, rejects the idea of
Stance measuring Blackness.

Conclusion
The "blackness scale" in this context is a negative, informal social construct used
to judge how well someone conforms to expectations of Black identity.
Emmanuel's refusal to engage with this scale, by not assimilating or code-
switching, is portrayed as a form of unapologetic self-acceptance, but is also met
with a condescending tone, highlighting tensions around authenticity and
adaptation within marginalized communities

Genre

Friday Black: Genre, Tone, and Style

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 156

 Friday Black by Nana Kwame Adjei-Brenyah is a genre-bending collection of short
stories that merges dystopian elements with sharp realism, horror, and speculative
fiction. The book resists easy categorization, deliberately blending genres to
heighten its impact and relevance568.

Genre

The stories are set in worlds that feel both dystopian and disturbingly
plausible, often exaggerating aspects of contemporary society just enough to
make their horrors unmistakable28.

Adjei-Brenyah uses speculative fiction as an umbrella, allowing him to explore

a range of themes-racism, consumerism, violence-through surreal, satirical,
and sometimes supernatural scenarios56.

The collection’s genre fluidity is intentional; it’s not meant to fit neatly into any
one box, but rather to use elements of horror, dystopia, and realism to critique
present-day issues568.

Tone

The tone is ironical, especially at the beginning, with a matter-of-fact delivery

that exaggerates reality to the point of horror and dark humor56.

Stories often open with a satirical or deadpan perspective, using irony to

highlight the absurdity and brutality of everyday life, particularly as
experienced by Black Americans and the working class25.

The horror is not just supernatural or speculative-it’s rooted in the violence,

racism, and consumer madness of contemporary society. The exaggeration is
purposeful, making the familiar seem grotesque and unsettling58.

How the Novel Achieves This

The stories mix the mundane with the fantastic: retail workers battle zombie-
like shoppers on Black Friday, or a VR park lets visitors experience racially
charged violence as entertainment259.

The speculative elements serve to magnify real social issues, making the
reader question whether the world of Friday Black is truly that far from our
own68.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 157

 The horror is both literal and metaphorical, using genre tropes to expose the
everyday violence and despair of marginalized communities58.

Summary Table
Aspect Description

Dystopian, speculative fiction, horror, realism-deliberately blended and

Genre
genre-defying

Tone Ironical, matter-of-fact, exaggerated, darkly humorous, horrific

Style Surrealism mixed with realism, satire, and social critique

Themes Racism, consumerism, violence, Black identity, late capitalism

Conclusion
Friday Black is a collection that uses genre-bending speculative fiction to deliver a
biting, often horrific satire of modern life. Its dystopian elements feel
uncomfortably close to reality, and its tone-ironic, exaggerated, and matter-of-
fact-serves to underscore the persistent horrors of racism, violence, and
consumer culture568. The book’s refusal to be pinned down to a single genre is
key to its power and message.

Alright, let's unpack these notes about Nana Kwame Adjei-Brenyah's Friday Black,
focusing on how they connect to the book's themes and without simplifying things
too much.

Consumerism as a Main Subject:

Friday Black isn't just a collection of stories; it's a deep dive into how
consumerism shapes our lives, especially in America. Think about the title
story, "Friday Black." It's a wild, exaggerated portrayal of Black Friday
shopping, right? But it's also a mirror reflecting how we often treat people as
objects to be consumed, especially when race and social status are involved.

Adjei-Brenyah uses extreme situations to highlight how consumerism can

dehumanize us. The frantic shoppers in "Friday Black" aren't just buying
things; they're driven by a primal need to possess, to have more, no matter the

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 158

 cost. This reflects a larger societal issue: the pressure to constantly acquire
and consume, often at the expense of our humanity.

Even in stories that aren't explicitly about shopping, like "The Finkelstein 5,"
consumerism plays a role. The characters' desires, their sense of worth, are
often tied to material possessions or social status. This shows how deeply
ingrained consumerism is in our culture.

America → The Couch: "It is comfortable, but it's on the back of a whole bunch
of horror and death":

This metaphor is powerful. It suggests that America's comfort and prosperity

are built on a foundation of violence, oppression, and exploitation. Think about
the historical context: slavery, systemic racism, and ongoing social injustices.

Friday Black doesn't shy away from depicting this "horror and death." Stories
like "The Hospital for Failed Apologies" and "Light Spitter" confront the brutal
realities of racism and violence. The book forces us to acknowledge that the
"comfortable couch" we enjoy comes at a terrible price for many.

The metaphor also highlights the idea of denial or willful ignorance. We might
enjoy the comforts of our society without fully acknowledging the suffering
that underpins it. Adjei-Brenyah challenges us to confront this uncomfortable
truth and consider our own complicity.

Genre: Speculative Fiction, Satirical Dystopia, Horror?:

Speculative Fiction: This genre allows Adjei-Brenyah to create exaggerated or

alternative realities that reveal deeper truths about our own world. He can
explore complex issues like racism and consumerism in a way that's both
shocking and thought-provoking. Stories like "Zimmer Land" and "The Lion
and the Spider" use fantastical elements to explore real-world problems.

Satirical Dystopia: Friday Black often feels like a distorted reflection of our
society, a dystopia where our worst tendencies are amplified. The satire is
sharp and biting, using humor and exaggeration to critique social norms and
power structures. This genre choice helps us see the absurdity of our own
reality.

Horror: Many of the stories in Friday Black are genuinely disturbing. They
depict violence, dehumanization, and psychological trauma in a way that

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 159

 evokes a sense of horror. This isn't just about jump scares; it's about the
horror of systemic injustice, the horror of being trapped in a society that
doesn't value your life.

1. Speculative Fiction

What it is: Speculative fiction is a broad term that covers any fiction that
departs from our current reality. It includes genres like science fiction, fantasy,
horror, and alternative history. It asks "what if?" questions about the world.

How Friday Black uses it: Adjei-Brenyah uses speculative elements to explore
and exaggerate social issues. He creates worlds that are similar to ours but
with a twist, allowing him to examine themes like racism and consumerism in
new and thought-provoking ways.

Example: In "Zimmer Land," the story imagines a theme park where people
can live out their fantasies of being police officers and interact with actors
playing criminals. This speculative setup allows Adjei-Brenyah to explore
issues of police brutality, racial bias, and the desire for power in a very
direct way. It's not something that exists exactly like that, but it reflects
real-world problems.

Another example: "The Lion and the Spider" has elements of fantasy and
folklore, which he uses to talk about social pressure and the idea of "fitting
in."

2. Satirical Dystopia

What it is:

Satire: Satire uses humor, irony, exaggeration, or ridicule to expose and

criticize people's stupidity or vices, particularly in the context of
contemporary politics and other topical issues. It's often meant to make
people think about problems in society.

Dystopia: A dystopia is a fictional society that is undesirable or

frightening. It's the opposite of a utopia (an ideal society). Dystopian
stories often warn about the dangers of unchecked power, technology, or
social trends.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 160

 Satirical Dystopia: This combines both. It creates a frightening, often
exaggerated, vision of a future (or present) society to criticize current
trends or behaviors through satire.

How Friday Black uses it: Many of the stories in Friday Black present
dystopian visions of America, using satire to critique our society

Example: "Friday Black" itself is a satirical dystopia. The exaggerated

depiction of Black Friday shopping is a critique of consumerism and the
way it can dehumanize people. It shows how desires and marketing can
drive people to extremes, and it's a scary but exaggerated version of
something that really happens

Another example: "The Finkelstein 5" satirizes racial bias and the way
society judges people based on skin color. The story's premise is
disturbing, but it's meant to highlight the real-world consequences of
racism and prejudice.

3. Horror

What it is: Horror is a genre that seeks to elicit fear, dread, or terror in the
audience. It can involve supernatural elements, psychological themes, or
depictions of violence and gore

How Friday Black uses it: Adjei-Brenyah uses horror to confront the reader
with the harsh realities of racism, violence, and social injustice

Example: "The Hospital for Failed Apologies" is a horror story in many

ways. It deals with the psychological trauma of racism and the difficulty of
finding justice. The concept itself is disturbing, and the story explores the
emotional and mental pain caused by prejudice.

Another example: "Light Spitter" contains elements of body horror and

deals with the consequences of violence and trauma. It's meant to be
unsettling and to make the reader confront the brutal realities of the world.

Why These Genres Are Powerful Together in Friday Black

They allow Adjei-Brenyah to explore complex and difficult topics in a way that
is both engaging and impactful.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 161

 The speculative elements create distance, making it easier to see the
problems in our own society.

The satire makes us think critically about our own behaviors and the systems
we live in.

The horror elements force us to confront the emotional and psychological

consequences of injustice.

By combining these genres, Friday Black becomes a powerful and unsettling

commentary on the state of America. It's a book that challenges readers to think
deeply about the world around them and to question the systems that shape our
lives.

In essence, Friday Black uses these literary tools to create a powerful and
unsettling commentary on contemporary American society. It forces us to confront
uncomfortable truths about consumerism, racism, and the legacy of violence that
shapes our world.

“The Finkelstein 5”

“’The Finkelstein 5’ is the first story, because my thought was if this reader only
reads one thing
from me ever, I want it to be that”

The author is clear about the reason of choosing this story as the very beginning
of the book. He
uses real cases and satire to denounce all the problems and injustices against his
community.
His political awareness is observed in his works and the way he exaggerates a
situation to show
how ridiculous it is.
“It is connected in the sense that both use a kind of dark reality and poke fun to
make a
devastating point. I made that video in college, long before I wrote the story, but I
think the
point is clear: Respectability won’t save you. Trying to “behave” so racists won’t
be racist won’t
save you. And the idea that people’s value is determined based on their
appearance is inherently

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 162

 prejudiced, and that video demonstrates a frustration with just how much we as a
society seem
to think that’s okay”
Assimilation is something most minorities do. He discusses how blackness can be
modified in
the way people dresses; this is like double consciousness by Dubois. The
interiorization of
certain prejudices affects to the way black people dresses and behaves but the
author denounce
that this does not make sense.

The decision to position a particular narrative, known as "The Finkelstein 5," at the
forefront of a collection of works reveals a deliberate intent on the part of its
creator. This placement signifies that the narrative holds paramount importance,
serving as a distillation of the creator's core message. The creator's desire for this
specific narrative to be the singular takeaway for any individual engaging with
their work underscores its significance. It implies that this narrative encapsulates
the essence of their artistic and intellectual pursuits.

The narrative itself is characterized by its use of real-world events and satirical
techniques. This fusion suggests a desire to expose and critique societal issues
through a lens of humor and exaggeration. The creator's utilization of satire to
address injustices faced by a specific community indicates a commitment to social
commentary. The act of exaggerating situations to highlight their absurdity serves
as a tool to reveal the inherent flaws and contradictions within prevailing societal
structures.

The creator's work is further defined by a pronounced political awareness. This

suggests that their artistic expression is deeply intertwined with their
understanding of power dynamics and social inequalities. The use of exaggeration
to expose the ridiculousness of certain situations can be interpreted as a form of
protest, challenging the status quo and prompting critical reflection.

A connection is drawn between "The Finkelstein 5" and an earlier work, a video,
both sharing a common thematic thread. Both works employ a blend of dark
realism and humor to deliver a powerful message. This message centers on the
idea that adherence to societal norms or attempts to project an image of
respectability do not guarantee protection from prejudice or discrimination. The

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 163

 notion that "behaving" in a manner deemed acceptable will shield individuals from
racism is presented as a fallacy.

The works emphasize that prejudice is not rooted in individual behavior but in
deeply ingrained biases and preconceptions. The idea that a person's value is
determined by their appearance is identified as a fundamental form of prejudice.
The video, in particular, expresses a sense of frustration with the societal
tendency to prioritize superficial characteristics over intrinsic worth. This
frustration underscores the creator's concern with the pervasive nature of
prejudice and its impact on individual lives.

The practice of assimilation, common among minority groups, is also addressed.

This involves the modification of behavior and appearance to align with the
dominant culture. The specific example of black individuals altering their dress to
conform to societal expectations is provided. This practice is likened to the
concept of double consciousness, which refers to the internal conflict
experienced by marginalized individuals who must navigate their own identity
while also adhering to the expectations of the dominant group.

The internalization of societal prejudices is seen as influencing the way black

people dress and behave. However, the creator argues that this attempt to
conform is ultimately illogical and ineffective. This argument suggests that
addressing the root causes of prejudice requires challenging societal norms and
power structures, rather than simply modifying individual behavior. The creator's
denouncement of this practice implies a belief in the importance of resisting
assimilation and asserting one's own identity.
In essence, the information presented highlights the use of artistic expression as a
means of social commentary, the importance of challenging societal norms and
prejudices, and the futility of attempting to avoid discrimination through
conformity. The overarching message is one of resistance against systemic
injustices and the need to recognize and address the inherent biases that
perpetuate inequality. This message underscores the importance of critical
thinking, social awareness, and the pursuit of justice.

Plot
Friday Black: Structure and Satirical Approach

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 164

 Friday Black by Nana Kwame Adjei-Brenyah, particularly in the story “The
Finkelstein 5,” is structured in two distinct parts: the trial and the reaction to its
outcome.

Structure

The Trial: The story begins with the verdict of a court case in which a white
man is acquitted for the brutal killing of five Black children with a chainsaw.
This shocking verdict is delivered at the very start, immediately presenting the
central conflict and setting the tone for the rest of the narrative24.

The Reaction: The aftermath of the verdict motivates characters, especially

young Black men like Emmanuel, to react. Some are driven to violence and
retaliation, forming groups that attack white people in the name of the
murdered children. The story follows Emmanuel as he grapples with the urge
to respond to injustice and the moral consequences of retaliatory violence12.

Satire and Irony

The author employs satire and irony throughout, especially in the depiction of
the trial and its aftermath. The absurdity and horror of the acquittal are
presented in a matter-of-fact way, heightening the sense of injustice and
critiquing the real-world failures of the justice system24.

The tone is often darkly ironic, exposing the grotesque reality of racial
violence and the cyclical nature of vengeance. The exaggeration is purposeful,
making the social commentary both biting and memorable47.

Main Conflict

The main conflict is not just the initial crime or the verdict, but the
psychological and communal fallout. Characters must decide whether to
succumb to the violence around them or find another path, highlighting the
complexities of anger, grief, and resistance in the face of systemic injustice12.

Summary Table
Part Description

White man acquitted for killing five Black children-verdict delivered at the
The Trial
story’s start

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 165

 Black characters, especially Emmanuel, react-some with violence, others
The Reaction
with moral struggle

Satirical Irony and exaggeration used to critique racial violence and justice system
Techniques failures

Main Conflict How to respond to injustice: revenge, violence, or another way?

Conclusion
Friday Black uses the structure of a trial and its aftermath to explore the impact of
racial violence and injustice. Through satire and irony, Adjei-Brenyah exposes the
absurdity and horror of these realities, pushing readers to confront uncomfortable
truths about society and the cycles of violence it perpetuates

The story is composed by two parts: the trial and the reaction against it. The trial
motivates
characters to react against becoming killers and attacks. The verdict of the trial is
at the very
beginning, and it presents the main conflict of the story. The author uses satire
and there is irony
in his words when presenting this.
“After twenty-eight minutes of deliberation, a jury of his peers had acquitted
George Wilson
Dunn of any wrongdoing whatsoever. He had been indicted for allegedly using a
chain saw to
hack off the heads of five black children outside the Finkelstein Library in Valley
Ridge, South
Carolina. The court had ruled that because the children were basically loitering
and not
actually inside the library reading, as one might expect of productive members of
society, it was
reasonable that Dunn had felt threatened by these five black young people and,
thus, he was
well within his rights when he protected himself, his library-loaned DVDs, and his
children by
going into the back of his Ford F-150 and retrieving his Hawtech PRO eighteen-

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 166

 inch 48cc
chain saw” (2)

The narrative unfolds through a structured division, separating the progression of

legal proceedings, specifically a trial, from the subsequent responses and
reactions that those proceedings trigger. This organizational approach suggests a
deliberate examination of cause and effect. The trial is positioned as the catalyst,
the initial event that sets in motion a chain of actions and reactions among the
characters within the story. This underscores the trial's central role in exploring
themes of justice, morality, and the potential for both violence and its prevention.

A crucial narrative choice is the strategic placement of the trial's outcome, the
verdict, at the very beginning of the story. This decision indicates that the verdict
is not simply a concluding point but rather the inciting incident, the spark that
ignites the central conflict that drives the narrative forward. By revealing the
verdict upfront, the story immediately establishes the core issue that will shape
the plot, the development of characters, and the exploration of thematic concerns.

The narrative employs satire, a literary technique that uses humor, irony,
exaggeration, or ridicule. Satire is often used to expose and critique human folly or
societal issues, particularly within the context of contemporary politics and social
problems. The use of irony, a form of expression where the intended meaning is
the opposite of the literal meaning, further reinforces the narrative's satirical
nature. These stylistic choices suggest a deliberate intention to critique societal
norms and expose the absurdity of certain situations through a lens of humor and
exaggeration, inviting the reader to question accepted norms and beliefs.

The presentation of the trial's verdict is characterized by a tone heavily infused

with irony. The language used to describe the outcome is carefully constructed to
highlight the incongruity, the mismatch, between the stated facts and the
underlying reality. This ironic approach serves to emphasize the injustice and
absurdity of the situation being depicted, prompting the reader to critically
examine the values and assumptions that underpin the legal system and societal
structures.

The narrative provides a detailed account of the events that led to the trial. It
describes a scenario where an individual was accused of committing a violent act
against a group of young people. The justification provided for this act is based on
the notion that the victims were not engaged in activities deemed productive or

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 167

 socially acceptable. This justification reveals a societal bias towards certain
behaviors and a devaluation of individuals who do not conform to these
expectations, highlighting the dangers of societal judgment and the potential for
prejudice to justify violence.

The legal decision is framed in a way that suggests a prioritization of property

rights and the protection of personal belongings over the lives and well-being of
individuals. This framing exposes a potential conflict between legal interpretations
and moral principles, raising serious questions about the fairness, equity, and
ethical foundations of the justice system. It challenges the reader to consider
whether the law always aligns with what is morally right.

The narrative also implies a societal tendency to dehumanize certain groups of

people, particularly those who are marginalized, ostracized, or perceived as
outsiders. This dehumanization is evident in the way the victims are described and
the justifications provided for the violent act committed against them. By
portraying certain individuals as less than human, the narrative shows how
prejudice can pave the way for violence and injustice.

In essence, the narrative delves into complex themes of justice, morality, and the
potential for violence through the use of satire and irony. It offers a critique of
societal biases, highlighting the potential for legal systems to perpetuate injustice
and the dangers of allowing prejudice to shape our perceptions of others. By
strategically placing the verdict upfront, the narrative immediately establishes the
central conflict, prompting the reader to question the values and assumptions that
underpin both the legal system and society as a whole. The narrative underscores
the importance of empathy, understanding, and critical thinking, while
simultaneously exposing the dangers of dehumanization, prejudice, and the
potential for injustice to masquerade as law.

The "scale of blackness" shows up in Nana Kwame Adjei-Brenyah's book, Friday

Black. It's a really important and sometimes difficult topic, so we'll take it step by
step.

Main themes

What's a "Scale of Blackness"?

the scale of blackness is a metaphorical, imaginary scale that’s used within the
book it’s th emeter that is used within thisnovel when we are talking about the

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 168

 level of blackness that someone has depending on how they dress,how they act
ect etc as well as they foucs on other aspects like skin color to determine how
'black'someone is according to the standards that some people within the black
community have, aswell as the customs white people have that end usstaying
with the black individuals, which further contributes to the feeling of having a
'double conciousness' which fights against the white part of the conciousness and
the black conciousness against the black conciousness (this somehow relates to
Franz fanon's philosophy)

A ruler (baldi???? is that you???), but instead of inches or centimeters, it measures

how "Black" someone is perceived to be. This idea, which W.E.B. Du Bois wrote
about a long time ago, suggests that society sometimes judges Black people
based on how closely they fit certain stereotypes or how "visible" their Blackness
is. This can be based on things like:

Skin tone: Lighter skin might be seen as "less Black" than darker skin.

Hair texture: Certain hair textures might be considered "more Black" than
others.

Speech and mannerisms: The way someone talks or acts might be judged as
being "more" or "less" authentically Black.

Where people live or their economic status: People make assumptions based
on where someone lives or how much money they have.

It's important to understand that this "scale" is completely made up and harmful.
It's a way of dividing people within the Black community and creating unfair
judgments.

How Friday Black Shows the Scale

Friday Black uses really powerful stories to show how this messed-up scale works
in our world. Here are some examples:

The violence and dehumanization: In many of the stories, Black characters

experience extreme violence and racism. This often happens because they are
seen as "threatening" or "other," and this is often linked to the perception of
how "Black" they are. This shows how society's prejudices can have terrible
consequences.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 169

 The pressure to conform: Some characters feel pressure to act or look a
certain way to fit in, either with other Black people or with white society. This
pressure highlights how the "scale" can force people to change who they are.

The internal conflict: Sometimes, characters struggle with their own feelings
about race and identity. They might question whether they are "Black enough"
or feel conflicted about how they are perceived. This shows how the "scale"
can create confusion and self-doubt.

Consumerism and the Black Body: In the title story "Friday Black" and others,
the over the top shopping frenzy is used as a way to show how black bodies
are treated as objects, and how they become a thing to be consumed. This is a
very dark and exaggerated version of how society can treat people.

Why It Matters

Friday Black is a way to show how harmful these ideas are. It's a way to say,
"This isn't right."

It helps us think about how we might have our own biases and how we can
work to overcome them.

It's a reminder that everyone deserves to be treated with respect, no matter

their skin color or how they choose to express themselves.

It is important to remember that everyone is different and unique, and no one

should be judged based on these kinds of made up scales.
What is Double Consciousness?

Double consciousness is a concept developed by W.E.B. Du Bois, a very

important Black sociologist and activist. It describes the feeling of always
looking at yourself through the eyes of others, of measuring your worth by the
standards of a society that devalues you.

Imagine you're looking in a mirror, but instead of seeing just your own
reflection, you also see the reflection of how other people see you, and those
reflections are often distorted by prejudice.

It's like having two identities that are constantly in conflict: your own sense of
self and the way you're perceived by a racist society. This can create a feeling
of being divided, of not being fully at home in your own skin.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 170

 How Friday Black Shows Double Consciousness

Friday Black is full of characters who experience this sense of double

consciousness. Adjei-Brenyah shows how this feeling can manifest in different
ways:

Internal conflict: Characters often struggle with their self-image and how
they are seen by others. They may feel pressure to conform to certain
stereotypes or to downplay aspects of their identity to be accepted.

For instance, in "The Finkelstein 5," the characters are acutely aware of
how their skin color influences how they are perceived and treated.
They live in a world where their value is constantly being judged based
on a made-up scale of "blackness." This creates a deep internal
conflict as they try to navigate a society that sees them as threats.

Navigating white spaces: Characters who move between predominantly

Black and predominantly white spaces often experience a heightened
sense of double consciousness. They may feel like they have to code-
switch (change the way they talk or act) to fit in or to avoid being seen as
threatening.

In "Zimmer Land," the characters who play the roles of "criminals" in

the theme park are constantly reminded of how they are perceived by
the "cops" (the park's customers). This creates a sense of unease and
reinforces the feeling of being seen as "other."

The pressure to perform: Some characters feel pressure to perform their

Blackness in a certain way to be accepted by their own community or to
resist white expectations. This can lead to a sense of inauthenticity or a
feeling of being trapped.

The characters in "Friday Black" are caught up in a consumer frenzy

that is both exhilarating and dehumanizing. They are pressured to
participate in a system that often exploits and commodifies Black
culture, creating a sense of double consciousness as they try to
navigate their desires and their identity.

In essence, Friday Black shows how double consciousness is not just an

individual problem but a societal one. The characters are shaped by the

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 171

 racist structures and perceptions that surround them. The book forces us
to confront the ways in which society can create a sense of division and
alienation for Black people.

Adjei-Brenyah uses speculative fiction and satire to amplify these

experiences, making the reader feel the weight of double consciousness in
a powerful and visceral way.

Themes

Blackness: Emmanuel’s “Blackness Scale”

He changes his clothes as a way of solidarity: if you are going to be perceived
as a danger
due to blackness why not looking as ‘black’. He confronts security guards in
the mall
because he is being followed. He accepts he is a threatening figure (relate to
video that we saw yesterday). This points to a
problem of people liking to be diverse but not much diverse: diversity shown
but not too
much. At the end of the story blackness doesn’t matter.

“In a vague move of solidarity, Emmanuel climbed into the loose-fitting cargoes
he’d
worn on a camping trip. Then he stepped into his patent-leather Space Jams with
the
laces still clean and taut as they weaved up all across the black tongue. Next, he
pulled
out a long-ago abandoned black hoodie and dove into its tunnel. As a final act of
solidarity, Emmanuel put on a gray snapback cap, a hat similar to the ones two of
the
Finkelstein Five had been wearing the day they were murdered—a fact George
Wilson
Dunn’s defense had stressed throughout the proceedings. Emmanuel stepped
outside
into the world, his Blackness at a solid 7.6” (3)

Double consciousness (Dunois) and the code-switching

He has a double consciousness with himself due to how people expect him to
behave. At

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 172

 the end Emmanuel realize what he has done and after this he realize that he
has become
the person he tried not to be and hits his friend. Then police came and he dies
due to the
police bullets. He realizes that violence is not the answer, but he felt liberation
of the
double consciousness.

Racial prejudice, racial violence (victim blaming) an institutional violence.

The use of violence is very present in the story: violence against children and
violence of
black people against white people. The story is about racial violence and the
reaction
against as it is an action reaction thing in the story. There is a lot of graphic
violence but
it is carefully measured.

“It had been a very long time since he’d had his Blackness even close to a 7.0. “I
want you safe. You gotta know how to move,” his father had said to him at a very
young age. Emmanuel started learning the basics of his Blackness before he knew
how to do long division: smiling when angry, whispering when he wanted to yell.
Back when he was in middle school, after a trip to the zoo, where he’d been
accused of stealing a stuffed panda from the gift shop, Emmanuel had burned his
last pair of baggy jeans in his driveway. […] His father stood quietly beside him.
“This is an important thing to learn,” his father had said” (4)

Being awake or woke

There are references of being awake and woke. It relates to the African
American tradition
and means being socially conscious. Historically comes from black vernacular,
and it is
literally to stay aware of prejudice and be alert of it staying together and strong
as a
community.

Dehumanization:Emmanuel alludes people as dehumanized, and it is related to

how the white man dehumanized those five children in the trial. The result of
dehumanization does not make

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 173

 him as happy as expected. He has finally become the kind of person he is
expected to be,
the fear in the couple gives him freedom. The double consciousness
disappears.

Violence is somtehing that you cannot stop, violence doesn’t stop jn a sns in th
story, it is shown as w undrstand it as we don’t see this historical violence as this
violence won’t fix the problems that thse pople have, th story keeps certain
infornmation from the learner and we need to leqarn how socity works vr since a
young age This idea of safety we assume that it is there but you will never
eventually have like this people aren’t rally free in my opinion because they have
to learn this from a very young age and they will neve, it dosnt mattr that popl ar
kids thry will always blam somon wls as thy hav to mak sur that this dosn’t happn
to thir kids, as som popl hav xprieence this first hand theree was no wy that
someone who was so white had a aunt that were black herself, therefore why the
police was called on one of the classmates people, this is something that actually
happens and they never feel that people are protected but the police officers
rather hunt other people, ans when you are black you also have to be polite and
you always fear that somthing wrong will happen and if something bad
happeenned then you’re to blame and you will never see anything else in the same
way

The core concept remains that violence is not a simple, isolated event. It's an
ongoing condition, a pervasive atmosphere that shapes everything around it. It's
less like a single, sharp sound and more like a low, constant hum that vibrates
through everything, influencing how people interact and perceive their
surroundings. One violent act can set off a chain reaction, influencing people's
behaviors, their emotions, and their future interactions in ways that are often
difficult to predict or control. It's like dropping a stone into a still pond; the initial
splash is just the beginning, and the ripples spread outward, disturbing the entire
surface, and those ripples can continue for a very long time, affecting even the
smallest creatures living in the water, and changing the environment of the pond
itself.
Furthermore, it's emphasized that stories, whether fictional or reflecting real-world
societal structures, often withhold crucial pieces of information. This forces
individuals to learn about the complexities of the world through their own

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 174

 experiences, sometimes starting at a very young age. Imagine trying to build a
complex machine with some of the instructions missing, and you have to figure
out how the missing parts fit together based on what you already know. This
process can be confusing and unsettling, especially for young people who are still
learning how the world works and can leave them feeling unprepared and
vulnerable in the face of challenges they may encounter.

The assumption of safety is challenged. Many people believe that they are
inherently safe, but this idea is questioned. True safety isn't presented as a
constant, unwavering state, but rather as something that is constantly being
negotiated and redefined. For those who have experienced violence, their sense
of security may be permanently altered. They may feel like they are constantly on
guard, waiting for something bad to happen, and this state of hypervigilance can
become a constant burden, affecting their ability to relax, enjoy life, and form
healthy relationships.

The concept of early social learning is highlighted. It's stated that children learn to
assign blame as a protective mechanism. Even very young children may learn to
shift responsibility for negative events to others as a way to protect themselves
from harm. This behavior can be seen as a survival instinct, especially in
environments where violence is prevalent. If a child sees that blaming someone
else can prevent them from getting into trouble, they are more likely to do it. This
creates a cycle of blame, distrust, and potential conflict, making it difficult for
people to build strong, supportive communities.

The example of the white person with a supposed Black aunt, and the resulting
police interaction with the Black classmate, is used to illustrate racial bias. This
example demonstrates how societal biases can influence real-world interactions,
even in seemingly minor situations. It also underscores the idea that the presence
of police officers does not necessarily equate to safety for all individuals,
especially those from marginalized communities. For some, the police might be a
source of fear rather than a source of protection, further eroding their sense of
security and trust in authority and making them feel like they are living in a hostile
environment.

The concept also emphasizes the unequal burdens faced by certain groups,
particularly Black individuals. They often have to maintain a perpetual state of
vigilance and politeness, always aware of the potential for negative interactions.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 175

 They may also be held disproportionately responsible for negative events, even
when they are not at fault. This can create a sense of constant anxiety, stress, and
injustice, impacting their mental and emotional well-being, and making it difficult
for them to live their lives without fear of discrimination and violence.

Finally, the concept emphasizes how these experiences can fundamentally

reshape an individual's worldview. It's suggested that these experiences can
cultivate a persistent state of fear, anxiety, and distrust, making it challenging for
individuals to trust others or feel secure in their surroundings. This can lead to a
sense of isolation, alienation, and hopelessness, as individuals may feel that they
are constantly being judged, scrutinized, and threatened. Their perception of the
world becomes colored by their experiences with violence and discrimination.
They are constantly aware of potential danger lurking, which affects how they
interact with the world around them. It can lead to a feeling that the world is
unsafe, unpredictable, and hostile, making it difficult to feel at peace and leading
to mental exhaustion and emotional distress. This constant state of alert can also
make it difficult to focus on daily tasks and enjoy life.

The initial assertion is that violence isn't a singular, isolated occurrence with a
clear beginning and end. It's more akin to a persistent condition, a pervasive
atmosphere that lingers and influences everything within its reach. Visualize it not
as a brief flash of lightning, but as a dense fog that settles over a landscape,
obscuring visibility and altering the environment. One violent act can trigger a
cascade of consequences, shaping individuals' behaviors, their emotional states,
and their subsequent interactions. It's akin to tossing a stone into a tranquil lake;
the initial splash is merely the start, and the ripples expand outward, disrupting the
entire surface, with those ripples potentially persisting for an extended period.

Furthermore, it's highlighted that narratives, whether fictional or reflective of real-

world societal structures, frequently withhold crucial pieces of information. This
compels individuals to learn about the intricacies of the world through their own
lived experiences, often commencing at a tender age. Imagine attempting to
assemble a complex puzzle with missing components, where you must deduce
the missing pieces based on the fragments you possess. This process can be
perplexing and disconcerting, particularly for young individuals who are still in the
process of comprehending the world's workings.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 176

 The presumption of safety is challenged. Many individuals harbor the belief that
they are inherently secure, but this notion is contested. Authentic safety isn't
portrayed as a constant, unwavering state, but rather as a dynamic entity that is
continuously negotiated and redefined. For those who have endured violence,
their sense of security may be irrevocably altered. They may experience a
persistent state of hypervigilance, anticipating the potential for adverse events.

The concept of early social learning is underscored. It's asserted that children
learn to attribute blame as a protective mechanism. Even young children may learn
to deflect responsibility for negative occurrences onto others as a means of
safeguarding themselves from harm. This behavior can be interpreted as a
survival instinct, particularly in environments where violence is prevalent. If a child
observes that assigning blame to another can prevent them from incurring
punishment, they are more inclined to engage in this behavior.

The example of the white individual with a purported Black aunt, and the
subsequent police interaction with the Black classmate, is employed to illustrate
racial bias. This example demonstrates how societal biases can permeate real-
world interactions, even in seemingly inconsequential scenarios. It also reinforces
the idea that the presence of law enforcement officers doesn't necessarily
translate to safety for all individuals, especially those from marginalized
communities. For some, law enforcement may be a source of apprehension rather
than a source of protection.

The concept also emphasizes the disproportionate burdens borne by certain

groups, particularly Black individuals. They often have to maintain a perpetual
state of vigilance and politeness, acutely aware of the potential for negative
encounters. They may also be held disproportionately accountable for negative
events, even when they are not culpable. This can engender a sense of perpetual
anxiety and stress.
Finally, the concept emphasizes how these experiences can fundamentally
reshape an individual's worldview. It's suggested that these experiences can
cultivate a persistent state of fear and anxiety, making it challenging for individuals
to trust others or feel secure in their surroundings. This can lead to a sense of
isolation and alienation, as individuals may feel that they are constantly being
judged and scrutinized. Their perception of the world becomes tainted by their

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 177

 encounters with violence and discrimination. They are constantly aware of
potential danger lurking.

What is the movement Black lives matter?

The things that are important/interesting these are important because it was
started by 3 queer women, this is to become aware of the main problem within our
comunity, it’s not a superficial thing, but a naturalist thing that keeps the men in a
patriarchal system, the system preoduces itself, the fight goes beyind just black
lives matter.
“#BlackLivesMatter was created in 2012 after Trayvon Martin’s murderer, George
Zimmerman, was acquitted for his crime, and dead 17-year old Trayvon was
posthumously placed on trial for his own murder. Rooted in the experiences of
Black people in this country who actively resist our de-humanization,
#BlackLivesMatter is a call to action and a response to the virulent anti-Black
racism that permeates our society.” “When we say Black Lives Matter, we are
broadening the conversation around state violence to include all of the ways in
which Black people are intentionally left powerless at the hands of the state. We
are talking about the ways in which Black lives are deprived of our basic human
rights and dignity.”

“Black Lives Matter is a unique contribution that goes beyond extrajudicial killings
of Black people by police and vigilantes. It goes beyond the narrow nationalism
that can be prevalent within some Black communities, which merely call on Black
people to love Black, live Black and buy Black, keeping straight cis Black men in
the front of the movement while our sisters, queer and trans and disabled folk take
up roles in the background or not at all. Black Lives Matter affirms the lives of
Black queer and trans folks, disabled folks, Black-undocumented folks, folks with
records, women and all Black lives along the gender spectrum. It centers those
that have been marginalized within Black liberation movements. It is a tactic to
(re)build the Black liberation movement.”

Different types of futurism

differences do matter,all the things that we talk about are very complicated, we
talk about many things here as we talk about fanonetc etc forkthe view of
sociology/philosophy, the conecpt of social death is important as this concept
becomesimportant for afrofuturism, Patterson is a sociologist and he looks at the

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 178

 enslaved person, he’s not looking atamerican enslavement but at other types of
enslavement, in america thes takes a perticular shape but whathe theorizez is that
enslavementis like social death, what patterson means bu a state of social death is
that oyu aren’t recognized in society, and this state is this loss of identity that we
mark in different ways, wether we are renamed, social death is like being at the
margins of society. Afropessimism is opposed to afrofuturism, he takes this death
concept and adapts it, what he says is that this condition of enslavement hasn’t
finished yet, the argument that he makes is that black people arein a estate of
perpetual slavery (a estate of perpetual death, we are not ferr toengage in the
same way)
this says that the stateof being black is a state of social death because even if
enslavement is over the idea of death isn’t over as we can see it through other
institutions, so you need this non person ideal in order for us to be human,we
needto base ourself on this to make sense of this, and this is pessimist because
there is no way out

Futurism: A Broad Spectrum

Futurism, in its most general sense, involves exploring and imagining potential
futures. However, this broad concept branches into various subcategories, each
with distinct aims and methodologies. We're not just talking about shiny robots
and flying cars; we're considering how societal structures, cultural identities, and
historical experiences shape our visions of what's to come.
Now, imagine someone is systematically excluded from that game. They're not
allowed to play by the rules, they're not recognized as having a role, and they're
treated as if they don't really belong. That's the core idea of social death. It's not
about physical death; it's about being erased from the social world.

Here's a breakdown of how this happens:

Loss of Recognition:

In a society, we recognize each other as people with rights, feelings, and

identities. This recognition happens through interactions, relationships,
and participation in social activities.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 179

 Social death involves the systematic denial of this recognition. People are
treated as if they don't matter, their voices are ignored, and their
experiences are dismissed.

Think of it like being invisible. Even if you're physically present, you're not
seen or acknowledged as a full person.

Erosion of Identity:

Our identities are shaped by our names, our families, our cultural heritage,
and our social roles.

Social death involves the stripping away of these elements of identity.

Names might be changed, family ties might be broken, and cultural
practices might be forbidden.

This process aims to erase a person's sense of self, making them feel like
they have no past, no present, and no future.

Exclusion from Social Participation:

Being part of society means being able to participate in its activities,

whether it's voting, working, or simply socializing.

Social death involves the exclusion from these activities. People are denied
the right to participate, their contributions are ignored, and they're kept on
the margins of society.

This exclusion can be enforced through laws, customs, or even violence.

Dehumanization:

At its core, social death is about dehumanization. It's about treating people
as if they're not fully human, as if they don't deserve the same rights and
respect as others.

This dehumanization can take many forms, from verbal abuse to physical
violence.

The goal is to reduce people to objects, to make them feel like they have
no worth or value.

Systemic Nature:

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 180

 It is very important to know that social death is not an individual problem,
but a systemic problem. It is built into the structures of society, into its
laws, institutions, and cultural norms.

It is not simply about individual acts of prejudice or discrimination, but

about the way society is organized to maintain inequality.

The Legacy:

The effects of social death can be long-lasting, even after the conditions
that caused it have changed.

People who have experienced social death may carry the scars of trauma,
exclusion, and dehumanization.

These effects can be passed down through generations, creating a cycle

of inequality.

In the context of enslavement, social death was a deliberate and systematic

process. Enslaved people were treated as property, denied their humanity, and
subjected to relentless violence and exploitation. The goal was to break their
spirits, erase their identities, and make them feel like they had no place in society.

But social death isn't limited to the history of slavery. It can occur in any situation
where people are systematically excluded, marginalized, and dehumanized. It can
be seen in the experiences of refugees, immigrants, and other groups who are
denied their basic human rights.
Understanding the concept of social death helps us to see how inequality and
oppression operate on a deeper level. It helps us to recognize the ways in which
people can be denied their humanity, even in the absence of physical violence. It
reminds us that true equality requires not just legal rights, but also social
recognition and respect.

Afrofuturism: Reclaiming Agency and Imagining Alternatives

Okay, let's delve into Afrofuturism, examining its purpose and methods.

Afrofuturism emerges from a recognition of historical and ongoing systemic

oppression, particularly the concept of "social death." Social death, as we’ve
discussed, signifies the erasure of personhood within a society, a condition

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 181

 historically imposed upon people of African descent through enslavement and
subsequent forms of marginalization.

Instead of solely focusing on the pain and limitations imposed by this history,
Afrofuturism offers a framework for reclaiming agency and constructing
alternative realities. It's a multifaceted approach that interweaves cultural
expression, philosophical inquiry, and speculative imagination.
Afrofuturism as a Cultural Aesthetic and Philosophy

At its core, Afrofuturism is a cultural aesthetic. This means it manifests in various

artistic forms, including literature, music, visual art, and film. It employs elements
of science fiction, fantasy, and historical fiction to create narratives that center the
experiences of the African diaspora.

Beyond aesthetics, Afrofuturism functions as a philosophy of history. It re-

examines the past, not as a fixed narrative, but as a site of potential and
possibility. It asks: what if? What if ancient African civilizations had achieved
technological advancements beyond our current understanding? What if enslaved
people had successfully established independent societies?

By exploring these "what ifs," Afrofuturism challenges dominant historical

narratives that often erase or minimize the contributions of African cultures. It
seeks to reconstruct history from the perspective of those who have been
historically marginalized.

Afrofuturism as a "Science of Liberation"

The phrase "science of liberation" may seem unusual, but it reflects

Afrofuturism's commitment to social change. It uses speculative imagination to
envision and create pathways to liberation. This involves:

Critiquing Present-Day Dilemmas: Afrofuturism analyzes the current

challenges faced by Black people, such as racial inequality, systemic violence,
and cultural erasure. It uses speculative narratives to expose the underlying
structures of oppression and to explore potential solutions.

Reclaiming Agency: In the face of historical and ongoing oppression,

Afrofuturism emphasizes the importance of agency. It asserts that Black
people have the power to shape their own destinies and to create their own
futures.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 182

 Exploring Alternative Futures: Afrofuturism goes beyond simply critiquing the
present; it also envisions alternative futures. These futures may be utopian or
dystopian, but they always center the experiences and perspectives of the
African diaspora.

Methods and Elements

Afrofuturism employs a range of methods and elements to achieve its goals:

Science Fiction and Technology: It uses science fiction to explore themes of

identity, liberation, and technological innovation. It imagines futuristic worlds
where Black people are scientists, artists, and leaders.

Historical Fiction and Reimagining the Past: It re-examines history, not as a

fixed narrative, but as a site of potential and possibility.

Fantasy and Magic Realism: It incorporates elements of fantasy and magic

realism, drawing on African mythology, folklore, and spiritual traditions.

Afrocentricity and Non-Western Cosmologies: It centers African cultural

perspectives and knowledge systems, challenging the dominance of Western
worldviews.

Agency and Possibility

Afrofuturism is not necessarily optimistic. It acknowledges the harsh realities of

the present and the enduring legacy of oppression. However, it maintains a belief
in the possibility of agency and change. It asserts that even in the face of
seemingly insurmountable challenges, Black people have the power to imagine
and create alternative futures.

In essence, Afrofuturism is a powerful tool for reclaiming cultural identity,

challenging systemic oppression, and envisioning a more just and equitable world.

Afropessimism: The Enduring Legacy of Social Death

Okay, let's explore Afrofuturism, keeping in mind the very serious perspective of
Afropessimism you've just described. It's important to understand that
Afrofuturism exists within this complex context, and it's a way of responding to the
very real challenges highlighted by Afropessimism.
Imagine a world where the stories we tell about the future are mostly focused on
one group of people. Afrofuturism is like saying, "Wait a minute! We have stories

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 183

 to tell too, and they're just as important." It's a way for people of African descent
to imagine and create their own futures, drawing on their rich history and culture.1

Building on the Idea of Social Death

You mentioned the concept of "social death," where people are treated as if they
don't fully exist within society.2 Afrofuturism acknowledges this painful reality. It
recognizes the historical and ongoing effects of slavery, racism, and
discrimination.3 But instead of just focusing on the pain, it also looks for ways to
heal and empower.

Think of it like this: if someone tries to erase your identity, you might respond by
creating your own. You might use art, music, and stories to celebrate your culture
and reclaim your sense of self. That's what Afrofuturism does.

What Does Afrofuturism Look Like?

Afrofuturism isn't just one thing; it's a mix of different ideas and forms of
expression.4 Here are some key elements:

Reimagining History:

Afrofuturism often explores alternative versions of history, where African

cultures and contributions are centered.

It might ask questions like, "What if ancient African civilizations had

developed advanced technologies?" or "What if enslaved people had
rebelled and created their own societies?"

By reimagining the past, Afrofuturism challenges dominant narratives and

creates new possibilities for the future.

Exploring Technology and Science Fiction:

Afrofuturism often uses science fiction and technology to explore themes

of identity, liberation, and empowerment.

It might imagine futuristic worlds where Black people are leaders,

scientists, and artists.

It can also use technology to reclaim and preserve cultural heritage.

Celebrating African Culture and Spirituality:

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 184

 Afrofuturism draws inspiration from African mythology, folklore, and
spiritual traditions.

It blends these elements with modern technology and science fiction,

creating unique and vibrant expressions of culture.

It puts a focus on the idea that the future is built upon the past, and that
the past has valuable information.

Creating New Narratives:

Afrofuturism is about creating new stories and narratives that center the
experiences and perspectives of the African diaspora.

It's about challenging stereotypes and creating positive and empowering

representations of Black people.

It is about taking the agency of the future, and making it so that the future
is inclusive.

Afrofuturism as a Response to Afropessimism

As you mentioned, Afropessimism argues that the legacy of social death continues
to shape the lives of Black people.16 Afrofuturism doesn't necessarily disagree
with this assessment of the present. Instead, it offers a way to imagine and create
a different future.

It's like saying, "Yes, we acknowledge the challenges, but we refuse to be defined
by them." Afrofuturism is a way of reclaiming agency and creating possibilities for
a more just and equitable world.17
It's important to remember that Afrofuturism isn't about ignoring the pain of the
past or the challenges of the present.18 It's about using creativity and imagination
to envision a future where everyone has the opportunity to thrive.

Afropessimists point to the ongoing disparities in areas like education, healthcare,

and criminal justice as evidence of this enduring legacy. They argue that even
though formal enslavement has been abolished, Black people continue to be
subjected to systemic discrimination and violence. The idea is that the social
construct of “Blackness” is fundamentally tied to a state of non-being, a state of
being outside of full personhood.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 185

 This perspective challenges the notion that progress is inevitable and that society
is moving towards a more just and equitable future. It suggests that the roots of
anti-blackness are so deep that they cannot be easily eradicated.

Key Differences and Implications

The fundamental difference between Afrofuturism and Afropessimism lies in their

respective stances on agency and possibility. Afrofuturism, while acknowledging
the profound impact of historical trauma, seeks to envision and create alternative
futures. It sees the potential for liberation and empowerment through cultural
expression, technological innovation, and collective action.

Afropessimism, conversely, presents a bleak outlook, arguing that the condition of

social death is an inescapable reality for Black people. It emphasizes the enduring
power of anti-blackness and the limitations of social change.

These differing perspectives highlight the complexity of the Black experience and
the ongoing struggle for social justice. Understanding these distinctions is crucial
for engaging in meaningful discussions about race, history, and the future.

Afropessimism is a complex and often challenging way of looking at the world,

especially for Black people.1 It's not about being sad or negative all the time, but
rather about understanding the very deep and persistent ways that anti-blackness
shapes society.

Imagine that society is like a house. Some people have always been treated as if
they belong in the main rooms, while others have been pushed into the basement,
regardless of their individual actions. Afropessimism argues that this "basement"
is a permanent condition for Black people, not something that can easily be
changed or fixed.

Here's a breakdown to help you understand it better:

The Idea of Social Death:

Afropessimism builds on the idea of "social death," which means being

treated as if you're not fully a person in society. This is like being invisible
or having your voice ignored, even when you're physically present.

Afropessimists argue that this state of social death is not just a historical
problem from slavery; it's something that continues to affect Black people
today.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 186

 Perpetual Enslavement:

This is a core idea of Afropessimism. It doesn't mean that Black people are
literally enslaved in the same way as in the past. Instead, it means that the
systems and structures of society continue to treat Black people as if they
are less than full human beings.

This is shown in how black people are treated in the legal system, in
schools, in work places, and in many other parts of life.

Anti-Blackness as a Fundamental Condition:

Afropessimism suggests that anti-blackness is not just a matter of

individual prejudice or racism. It's a fundamental part of how society is
organized.

It's like saying that the "house" itself is built on the idea that Black people
belong in the basement.

A Critique of Progress:

Many people believe that society is gradually improving and becoming

more equal. Afropessimism challenges this idea.

It argues that even when there are changes and improvements, the
underlying structures of anti-blackness remain in place.

It questions if true equality is possible within the current social structure.

Not About Individual Blame:

It's important to understand that Afropessimism is not about blaming

individual people for being racist. It's about analyzing the systems and
structures that perpetuate anti-blackness

It is about the system, not the individual.

The Feeling of No Escape:

Afropessimism can feel very heavy because it suggests that there may be
no easy way to escape the conditions of anti-blackness.

It can feel like a condition that is permanent.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 187

 Afropessimism is a very serious and complex perspective. It's not about being
negative for the sake of it, but about understanding the very deep and persistent
ways that anti-blackness shapes society.

Colorism
The concept of "colorism," as articulated in the provided excerpt, elucidates a
nuanced form of discrimination that operates within and beyond the broader
framework of racism. It moves beyond the simple binary of white versus Black,
delving into the hierarchical valuation of individuals based on gradations of skin
tone and phenotypic features.
Colorism is fundamentally rooted in and perpetuates white supremacy. It functions
by privileging and valorizing Eurocentric beauty standards, which are
characterized by lighter skin, narrower noses, and straighter hair. These features
are not merely aesthetically preferred but are imbued with social and cultural
capital, becoming markers of status and desirability. Conversely, Afrocentric
physical characteristics, such as darker skin, broader noses, and more coarse
hair, are devalued and relegated to a lower position within this hierarchy.

The excerpt emphasizes that colorism amplifies and prioritizes "proximity to

whiteness." This proximity is not merely a matter of physical appearance but also
a reflection of perceived social and cultural alignment with whiteness. The closer
an individual is perceived to be to whiteness, the more they are afforded privilege
and power within society. This translates to tangible benefits in various domains,
including employment, housing, education, and social interactions.

Colorism is not simply a matter of individual prejudice; it is a systemic

phenomenon embedded within institutions and social structures. It operates
through implicit biases and discriminatory practices that reinforce the privileging
of lighter-skinned individuals. This can manifest in various ways, such as lighter-
skinned individuals receiving preferential treatment in hiring processes, being
perceived as more intelligent or competent, or having greater access to resources
and opportunities.

It's crucial to understand that colorism is not a monolithic experience. It intersects

with other forms of oppression, such as racism, sexism, and classism, creating
complex and layered forms of discrimination. The specific manifestations of

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 188

 colorism can vary across different racial and ethnic groups, as well as across
different historical and cultural contexts.

The excerpt's emphasis on "unequal treatment of and discrimination against

individuals based on their skin tone" underscores the insidious nature of colorism.
It highlights how this form of discrimination can operate even within communities
of color, creating internal hierarchies and divisions. It serves to perpetuate a
system where lighter-skinned individuals are advantaged, while darker-skinned
individuals are marginalized and disadvantaged.

In essence, colorism is a powerful tool of social control that reinforces white

supremacy and perpetuates inequality. It is a complex and multifaceted
phenomenon that requires critical examination and dismantling in order to achieve
true social justice.

Colorism is a form of prejudice or discrimination in which people are treated

differently based on the social meanings attached to skin color. Essentially, it's the
idea that within a racial or ethnic group, people with lighter skin are often favored
or considered more desirable than those with darker skin.

Here's a breakdown to help you understand it better:

It's about more than just skin tone:

Colorism isn't simply a matter of personal preference. It's a system of

social hierarchy where lighter skin is often associated with positive traits
like beauty, intelligence, and higher social status, while darker skin may be
associated with negative stereotypes.

It happens within and between groups:

Colorism can occur within a specific racial or ethnic group (for example,
among Black people, or among Latino/a people), as well as between
different racial or ethnic groups.

It has historical roots:

The roots of colorism can be traced back to historical factors like slavery
and colonialism. During these periods, lighter skin was often associated
with those who had more power or were closer to the dominant group.

It impacts people's lives:

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 189

 Colorism can affect various aspects of a person's life, including:

Social interactions: People with lighter skin may receive preferential

treatment in social settings.

Economic opportunities: Studies have shown that people with lighter

skin may have better access to jobs and higher incomes.

Media representation: Lighter-skinned individuals are often

overrepresented in media and advertising, which can reinforce harmful
beauty standards.

It's different from racism:

While colorism is related to racism, they are not the same thing. Racism is
a broader system of oppression based on racial categories, while colorism
focuses specifically on discrimination based on skin tone.

In simple terms, colorism is when people are treated differently because of how
light or dark their skin is.

afrofuturism is everything that is connected to more technological things, these

possible futures areemancipatory since you sort of free yourself and you liberate
yoursellf off the shackles of smth, afropessimism is seeing smth thiuh the lens of
a black person

Afrofuturism vs africanfuturism
these concepts are similar in the ways that blacks on africa and the black
diaspora (people who were forced and people who later migrated). If we are
talking about the black diasppora it is from the perspective of the americas whilst
afrianfuturism comes from africa and these connections are acknowledgdged
through the African POV, we have 3 different parts and 3 different types of
narrations/txt, the natrator is a nigerian astronaut, the parts/sections of the story
are

When we start we get apiece of news and later we get tthe supposedscam letter,
later we get the transcript of the lenses, we get this nigerian astrinaut who’s
talking to his family. The language, the scammy email has to be written as a scam
email and that includes certain codes and things that correlate to our austronat¡ut

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 190

 So there is an unusual structure within the novel, there is a difference ein the
language between the 3 sections, we get a nigeerian author and he is speaking
within standard language and his language gets mixed with the imput the first part
is very standard
In this case in this passage from standard to oral and the modifications
(thescammy letter is written in broken english)

The ending of the story, he’s waiting there to be rescued he has been waiting
forever to be rscued, ther eeis some reference to Afrofurturism here, this
astronaut has been stuck for 14 years and there is an aline thing in the navy and
this alien is getting closer to him (eventually leading to his death) the next thing we
get is scraping and this represents that there is some sort of alien thing with him

The people that choose what books are published and so on are mostly white so
they are aksingto write about people and they never get published bcs the
industry is white so the whole point is do you want to know these peole or do you
wanna confirm smth you already know?

Unit 4
Some words in this unit has already been used by Audre lorde, and over the years
we overgrow these terms and they create false ctegories, thinking abt the word
migrant, this dea of going in and out and calling oher people a minority, but the
word minority poses that there ois already a majority these words in themeslves
are already problematic

Following the aafrican american fight for their rights the chicano movement uses
the word ‘La Raza bcs 1925 is this period where we have this idea od social
darwinism, in the cosmic race he says that the race of the future is the mestizo
which are these people that are mixed he uses this as a way to signal and connect
to mexican americans, a call to take pride in this race, later this becomes co
extenisve with other american people, by xreating this awareness this is very
creative and they alsoserve for many critical purposes and they raise a lot of
awareness so this raza

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 191

 this latino solidarity is what he points at,sothe chicao movement promotes these
ethnicities

Chicano Movement
Between 1960 and 1970 the Chicano movement happened linked to the US civil
rights antiwar,
and feminist movements. This period was called the “Chicano Renaissance”, and it
is
characterized by:
• Oral tradition begins to be recorded and published (academic research in
anthropology,
history, and literature).This makes this movement important for anthropologists.

• Chicano literature as a response and counter-narrative to the hegemony of

American
literature; accessible to large and diverse audiences.
• Publishing house Quinto Sol, University of California-Berkeley.
• Rudolfo Anaya: “[C]ontemporary Chicano prose wasn’t born until the mid-sixties
during
the Chicano movement, […] we set about to build a house and in the sixties we
built the
foundation” (Dick and Sirias, 108).

Themes and aesthetics

In this literature there are some constant themes such as the search for identity,
belonging, and
place, bilingual and bicultural existence, hybridity, and life on the U.S. Since the
1980s the place of women and of gay, lesbian, or queer individuals within a
traditionally masculinist, patriarchal society was represented by it. Thus, the
Chicano literature is very liberated, and women writers make it very intersectional.
This literature tradition gives voice to the disenfranchised, so it is considered the
working class, anti-racist and dissident literary movement. It gives so much
importance to mestizaje, mixture, or hybridity portraying bilingual awareness,
colloquial “Spanglish.” It has innovative integration of fiction and autobiography.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 192

 Moreover, there is magical realism, influenced from the Latin American boom
(1960s), to reflect on an indigenous and Mexican myth and cosmology.

Hispanic was used in the US census during the 70’s and for us spanish people is
sa bit absurd, but it comes from the roman name so essentially hispanic is people
from spanish speaking country, this is tracing colonialism history and other things,
guinea ecuatoriaal arenbt considered spanish they are considered asian, the
critique is that we are grouping this people and celebrating colonialism

Alright, let's break down this information about the term "Hispanic" in a clear and
detailed way.

Understanding the Term "Hispanic"

The word "Hispanic" is used to describe people, cultures, or languages that are
related to Spain. It's important to understand where this word comes from and
what it means, as it's often used in discussions about identity and culture.
Etymological Roots: Hispania

The origin of "Hispanic" lies in the ancient Roman name for the Iberian Peninsula,
which is the landmass that includes modern-day Spain and Portugal. The Romans
called this region "Hispania." So, the term "Hispanic" literally comes from this
historical geographical name.

Defining Hispanic Identity

The definition of "Hispanic" provided in your image focuses on people who come
from or are descended from Spanish-speaking countries. This includes countries
in Latin America, as well as Spain itself.

Latin America: This region includes a vast number of countries in the

Americas where Spanish is the primary language. These countries share a
history of Spanish colonization, which has significantly shaped their cultures
and languages.

Spain: As the origin of the Spanish language and the historical colonizer of
many Latin American countries, Spain is also included within the definition of
"Hispanic."

Emphasis on Language and Culture

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 193

 The image highlights that the term "Hispanic" primarily emphasizes linguistic and
cultural ties rather than just geographical ones. This means that what unites
people considered "Hispanic" is their shared connection to the Spanish language
and the cultural influences that come with it.

The Critique: Grouping Diverse Communities

However, the image also points out a major critique of the term "Hispanic": it
groups together a wide variety of diverse communities.

Diversity within Latin America: Latin America is incredibly diverse, with each
country having its own unique history, culture, and population. Using
"Hispanic" can sometimes overlook these important differences.

Diversity within Spain: Similarly, Spain itself is a diverse country with different
regions, languages, and cultures.

Oversimplification: The term "Hispanic" can sometimes oversimplify the

complex identities of people who are connected to the Spanish language and
culture. It can erase the nuances and individual experiences of people from
different countries and backgrounds.

Why This Matters

Understanding the term "Hispanic" is important because it helps us to:

Recognize the shared history and cultural connections between people from
Spanish-speaking countries.

Be aware of the limitations of using a single term to describe such a diverse

group of people.

Promote respectful and inclusive language that acknowledges the complexity

of identity.

In summary, "Hispanic" is a term that connects people to the Spanish language

and culture, but it's crucial to remember that it doesn't capture the full range of
diversity within the communities it describes.

Okay, let's dive into the term "Chicano/a/x" and understand its origins, meanings,
and significance.
The Origin: From "Mexicano" to "Chicano"

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 194

 The word "Chicano" has a complex history. It's derived from "Mexicano," which is
the Spanish word for a person from Mexico. However, "Chicano" wasn't always a
respectful term. It started as a shortened, sometimes derogatory, way to refer to
Mexican people, particularly those living in the United States.

Who is a Chicano/a/x?

The image you provided clarifies that "Chicano/a/x" refers to "Mexicans from
north of the Rio Grande border." This is a crucial point. The Rio Grande is a river
that forms a natural boundary between Mexico and the United States. Therefore,
"Chicano/a/x" refers to people of Mexican descent who live in the United States,
particularly in the Southwest.

A Term of Political and Cultural Identity

The term "Chicano/a/x" is not just a label; it's a powerful statement of identity and
political awareness. It arose during the Chicano Movement of the 1960s, a crucial
period of activism and social change.

Political Activism: The Chicano Movement fought for civil rights, social
justice, and equality for Mexican Americans. It challenged discrimination and
sought to empower Chicano communities.

Cultural Awareness: The movement also emphasized the importance of

Chicano culture, history, and heritage. It celebrated the unique identity of
Mexican Americans and sought to reclaim their cultural roots.

Geographical Focus: The American Southwest

The image highlights that the term "Chicano/a/x" is particularly relevant to the
Southwestern United States, including:

Texas

New Mexico

California

Arizona

These states have a long history of Mexican presence, predating the

establishment of the current U.S.-Mexico border. Many Chicano/a/x communities
have deep roots in these areas.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 195

 The Chicano Movement: A Time of Mobilization
The 1960s were a pivotal time for Chicano/a/x communities.

Diverse Struggles: The image notes that "different groups began to mobilize
→ each community had their own fight and particular circumstances." This
means that while the Chicano Movement was united in its goals, different
communities faced unique challenges. Some focused on land rights, others on
educational equality, and others on political representation.

Collective Action: Despite their differences, Chicano/a/x activists came

together to demand change. They organized protests, marches, and boycotts
to raise awareness of their struggles.

The Evolution of the Term

It is important to note the "a/x" portion of the term "Chicano/a/x".

Chicano/a: The a is added to make the word feminine. This allows for both
men and women to be included in the term.

Chicanx: The x is used as a gender neutral ending. This is a more modern

adaptation of the word, as people have become more aware of the limitations
of the gender binary.

Why This Matters

Understanding the term "Chicano/a/x" is important because it helps us to:

Recognize the history and struggles of Mexican Americans.

Appreciate the richness and diversity of Chicano/a/x culture.

Understand the ongoing fight for social justice and equality.

Be aware of the evolution of language, and how it is used to be more

inclusive.

In short, "Chicano/a/x" is a powerful term that represents a complex and important

part of American history and culture.

these recurrencies to certain tropes images, this is when we keep circulating

conepts and making them move in time, this constructed image of what it means
to be latino, there is a difference between reproducing a trope or doing smth else,

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 196

 f.e a woman is not a latina (which is a stereotype, this is smth we need to look at
and there is this stereotyping of what is a latino, or a latino man), what he’s doing
is constructing a latino woman, an idea ltino woman

Chicano/chicana
Absolutely! Let's unpack this text about Chicano/Chicana literature and
representation, breaking it down into understandable chunks.

The Problem of Stereotypes and Profit

The text starts by addressing a key issue: the repetition of stereotypes in
literature, which is extremely used and also sadly many people believe it, which
also affects chances of these novels actually getting published, since as
mentioned before the publishingindustry is mostly whitewashed. It argues that
when certain stereotypes about a group of people (in this case, Latinos) are
constantly repeated in books, movies, or other forms of media, it benefits certain
people.

To illustrate this, the text mentions a specific example: a novel called "American
Dirt" written by an American author. The novel, about a middle-class Mexican
woman who owns a bookstore and faces difficulties, became very successful. The
text points out that this success was problematic because the novel relied on and
perpetuated stereotypical portrayals of Latinos.
The "Stereotypical Latino Novel" Trend

The popularity of "American Dirt" sparked a trend of "writing the Latino novel."
This means many authors, both Latino and non-Latino, started writing stories that
followed similar themes and tropes found in "American Dirt." The text suggests
that some authors who joined this trend might have had a genuine understanding
of the issues and were trying to critique the problematic elements of novels like
"American Dirt." However, it also implies that others were simply imitating the
formula for success without necessarily understanding or caring about the
potential harm of perpetuating stereotypes.

The phrase "#writingmylatinonovel" emerged as a social media trend, particularly

on Twitter, in response to the controversy surrounding the 2020 novel "American
Dirt" by Jeanine Cummins. Here's a breakdown:

"American Dirt" Controversy:

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 197

 The novel, which tells the story of a Mexican mother and son fleeing to the
United States, was heavily criticized for perpetuating harmful stereotypes
and misrepresenting the experiences of Mexican migrants.

Critics, particularly within the Latino community, argued that the author,
who is not Mexican, presented a distorted and inauthentic portrayal of
their culture and struggles.

#writingmylatinonovel:

In response to the backlash, social media users began using the hashtag
"#writingmylatinonovel" to satirize and critique the stereotypical and often
inaccurate portrayals of Latino characters and experiences in mainstream
literature.

People used the hashtag to create humorous and exaggerated scenarios,

highlighting the clichéd tropes often found in such narratives.

It became a way for Latinos to reclaim their own narratives and express
their frustration with the lack of authentic representation.

Essentially it was a way to point out the flaws in the "American Dirt" book,
by making fun of the sterotypes it was using.

Okay, let's dive deeper into the #writingmylatinonovel phenomenon,

keeping it real and relevant to your novel-writing journey. Here's a more
detailed breakdown, without any "babying" or fantastical elements:

Direct Response to Misrepresentation:

The hashtag emerged as a direct and visceral reaction to the

publication and promotion of books like "American Dirt." It wasn't just
about disliking a book; it was about feeling deeply insulted by the
perpetuation of harmful stereotypes.

It highlighted a pattern of non-Latino authors profiting from stories that

misrepresented the complexities of Latino lives, often for dramatic
effect.

Satire as a Tool for Social Commentary:

The humor wasn't just for laughs. It was a sharp, satirical tool to
expose the absurdity of the tropes being used.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 198

 By exaggerating these clichés, users showed how ridiculous and
dehumanizing they were. Think of it as a form of protest through
performance.

Reclaiming Narrative Authority:

#writingmylatinonovel became a space for Latinos to assert their own

voices and experiences. It was a collective "no, that's not us" and a
"let us tell our own stories."

It fostered a sense of community and solidarity, where people could

share their frustrations and find validation in their shared experiences.

Highlighting the Diversity Within the Latino Community:

The hashtag also exposed the lack of nuance in mainstream portrayals.

It showed how "Latino" isn't a monolith.

Users pointed out the vast differences in culture, nationality,

socioeconomic status, and experiences within the Latino diaspora.

Challenging the Publishing Industry:

Beyond the specific book, #writingmylatinonovel critiqued the

publishing industry's gatekeeping and its tendency to prioritize certain
narratives over others.

It demanded greater representation of Latino authors and stories, and

a shift away from exploitative and inaccurate portrayals.

A Call for Authentic Representation:

It was a demand for stories that reflect the lived realities of Latino
people, with all their complexities, contradictions, and humanity.

The hashtag encouraged writers to do their research, engage with the

community, and prioritize authenticity over sensationalism.

Impact on Future Works:

The discussions around #writingmylatinonovel have hopefully

contributed to a greater awareness of the importance of responsible
representation.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 199

 It serves as a reminder to writers that their work has the potential to
shape perceptions and impact communities.

When writing your own novel, think of #writingmylatinonovel as a cautionary tale

and a source of inspiration. It is a reminder to prioritize authentic storytelling, and
to avoid the pitfalls of harmful stereotypes.
In essence, "#writingmylatinonovel" was a powerful form of social commentary
and a call for more diverse and accurate representation of Latino voices in
literature.

The Issue of Representation and Racism in Publishing

Even though there's a growing body of work by Latino authors, the text
emphasizes that the publishing industry is still predominantly white. This means
that white editors, publishers, and gatekeepers often have the most influence in
deciding which stories get published and promoted. It also kinda depends on what
kind of artistic style you have and wether the novel is considered appropriate for
publishing (wether the novel follows some stereotypes and some ptters or not as
well as the content of the novel is aalso severely taken into account amidst
otherthings).

The text cautions against thinking that the increasing number of Latino authors
means racism is no longer a problem in the field. It argues that despite progress,
systemic racism still exists and affects which stories are told and how they are
presented to the public.

A Look at History and Migration

To understand the context of Chicano/Chicana literature, the text suggests looking
at the history of migration and cultural mixing in the United States, particularly in
the southern regions.

It points out that the Hispanic population in the US has increased significantly
since the 1970s due to migration. However, the text argues that the roots of
Chicano/Chicana culture and literature go much further back. It highlights that the
southern areas of the US had 300 years of mixing between different cultures,
including Hispanic and indigenous influences.

Before territories like Texas and California became part of the United States, they
had a strong Hispanic cultural presence. This historical context is essential for

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 200

 understanding the development of Chicano/Chicana literature, which often
explores themes of identity, cultural heritage, and the legacy of colonialism.

In essence, the text is saying that Chicano/Chicana literature is complex and

multifaceted. It's important to be aware of the following:

Stereotypes: Be critical of how Latinos are portrayed in literature and media.

Are the portrayals authentic and nuanced, or do they rely on harmful
stereotypes?

Representation: Support Latino authors and stories that offer diverse and
authentic perspectives.

History: Understand the historical context of Chicano/Chicana culture and

literature, including the legacy of migration and cultural mixing.

Racism: Recognize that racism still exists in the publishing industry and affects
which stories are told and how they are presented.

By being aware of these issues, we can better appreciate the richness and
complexity of Chicano/Chicana literature and advocate for more authentic and
inclusive representation.

When we are working wit a repetition of stereotypes we get people who profot
from it too, there is a novel wroitten by an american girl called Americsan dirt,
where the point of the novel is that it was celebrated and this novel is basically the
story of a middle class woman who owns a bookshop and she has problems, this
novel was extremely successfuñl, the thing is hat
This is a mix of things and this created the stereotypical latino novel, the writing
the latino novel is amovement that arose everywhere and it was very popular,
many people who jpined this trend were had some understanding of the noveland
they are trying to imitate (or qritique what the novel does)

even if the publishing industry is still very white there is still a lot ofknowledge
from authors that are latino, this shouldn’t differ us from rhe idea that there is still
racism within this field, frtom th 1970’s thepercentage of hispanicsin the us has
increased drastically so there are movemennts of migrations but were going to
trace that history further back in time, there are several dates whichmark this, we
have to think the southern area if the USA as having 300 years of mixing, these 3

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 201

 centuries came with other things like literature etc etc, this tradition is placed,
beforetexas calif0ornia and these other places they were culturally hiuspanic and
whatever managed to eb left ofinndigenous things

There are certain factors that make people move (such as the gold rush), they say
thsat the presence of the us creates modifications and alters normal patterns,
from there one we also have peoplemoving to the us, in 1910 we think of people
with hats which is another cause for people moving backand forth, the great
deporession stops that movement

16th century-early colonial times.

Spanish conquistadors in Mexico expand through the Southwest (today Texas,
New Mexico, Colorado, Nevada, and California). There is a new ethnic identity:
mestizaje. The colonized indigenous languages, religious beliefs, and traditions
were also absorbed by the colonizers.

1800s: The US annexes Florida, Louisiana, and the northern half of Mexico.
More than 100,000 Spanish-speaking residents become US citizens. In 1847
The United States invade and conquer Mexico. In 1848: Treaty of Guadalupe-
Hidalgo, Mexico loses more than a half of its territory. The Gold Rush (1850-
1900) brings fortune seekers from around the world and inspires the first of
many Latinx migrations.

In 1845 happened the Treaty of Guadalupe-Hidalgo (Tratado de Paz, Amistad,

Límites y Arreglo). In it there were conditions for the rendition of Mexico:
territories (2.300.000 km2 in exchange for economic compensation
(15.000.000 dólares). This territory is today’s California, Nuevo Mexico,
Arizona, Texas, Nevada, Utah, some areas of Colorado and Wyoming. Due to
this, 100.000 Mexicans became strangers in their own
land. 2 options: resettling in Mexico, losing their land, or become US citizens,
keep their land and their language.

Migrants of different origin started to join in the following years these large body
of Mexican-Americans (e.g. Cuban fleeing the Independence War, 1895-1898).

First great Mexican migration (1900-1965). Expanding economy of the

American West (jobs in agriculture and railroad construction).
Revolutionary turmoil in Mexico. In 1930: 1.6 million people of Mexican
heritage.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 202

 The great depression: Interrupts or even reverses both Caribbean and
Mexican migrations. Unemployment and racism in many areas forces some
Latinx outside the US. There were deportation
campaigns, especially in Southern California.

World war II. There is a need for workers for the defence industries and
agriculture, government worker
programs. In 1940s the population of Latinx Americans jump by more than a
million.

1965-today In 1965 the Congress rewrites American immigration law. The

Chicano movement, all
linked to the US civil rights, antiwar, and feminist movements. It is still
difficult to obtain immigration visas and dangerous to settle in the US
without them. In 1980s Maquiladoras, factories in Mexico run by the US,
continued to expand along the border towns

In the 16th-century early colonial times, Spanish conquistadors in Mexico

expanded through the
Southwest (today Texas, New Mexico, Colorado, Nevada, and California). A new
ethnic identity,
known as mestizaje, emerged. The colonised indigenous languages, religious
beliefs, and traditions
were also absorbed by the colonisers.

In the 1800s, the United States annexed Florida, Louisiana, and the northern half
of Mexico. More
than 100,000 Spanish-speaking residents become United States citizens. In 1847,
the United States
invaded and conquered Mexico, and in 1848 the Treaty of Guadalupe-Hidalgo was
signed, according
to which Mexico lost more than a half of its territory. Two years later, the Gold
Rush (1850-1900)
brought fortune seekers from around the world and inspired the first of many
Latinx migrations.

The Treaty of Guadalupe-Hidalgo featured the conditions for the rendition of

Mexico, that is, the

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 203

 country’s territories (2,300,000 km2) in exchange for economic compensation
($15,000,000). These
territories were today’s California, Nuevo Mexico, Arizona, Texas, Nevada, Utah,
some areas of
Colorado and Wyoming. 100,000 Mexicans became strangers in their own land.
They were no longer
Mexican nor United States citizens but foreigners in the land they had been living
for years, so they
had two options: resettling in Mexico and lose their land or becoming United
States citizens and keep their land and their language. Migrants of different origin
started to join in the following years these large body of Mexican-Americans (e.g.
Cuban fleeing the Independence War, 1895-1898).

The first Great Mexican migration (1900-1965) resulted in the economic expansion
of the American
West (jobs in agriculture and railroad construction) and the revolutionary turmoil in
Mexico. In 1930,
1.6 million people of Mexican heritage entered the United States. The Great
Depression interrupted
or even reversed both Caribbean and Mexican migrations. The high rates of
unemployment and
racism in many areas forced some Latinx outside the United States, and there
were some deportation campaigns, especially in Southern California.

World War II led to the need for workers for the defence industries and agriculture,
so government
worker programs appeared. In the 1940s, the population of Latinx Americans jump
by more than a
million. In 1965, the Congress rewrote the American immigration law. Still in the
1960s, the Chicano
movement emerged, all linked to the United States civil rights, antiwar, and
feminist movements. It
was still difficult to obtain immigration visas and dangerous to settle in the United
States without
them. In the 1980s, the maquiladoras, factories in Mexico run by the United States,
continued to

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 204

 expand along the border towns. Moreover, undocumented Mexican immigration
reaches 1,7M.

In 1986, the Immigration Reform and Control Act (IRCA) increased the border
security and promised
the legal status and eventual citizenship to millions of unauthorised immigrants. In
the 1990s, the
operations Hold-the-Line, Gatekeeper and Safeguard took place so as to prevent
illegal entries at the border. Nonetheless, these increased the number of human
smugglers (coyotes or polleros) and
resulted in the establishment of the border fence between San Diego and Tijuana.
In 2014, there was
an increase of the border patrol and deportation processes sped up. In 2016,
Mexican immigrant
population in the United States shrunk by 300,000. In 2018, the Central American
Migrant Caravan
appeared and in the United States over 5,000 troops were established and some
wiring were added
into the fence. In 2019, the Migrant Protection Protocols (MPP), AKA “Remain in
Mexico” program,
appeared.

There are classifications to this which can be classified into 3 characteristics,

such can be the country of origin or descent, the relation that this personhas to
the US and the different stages which is extremely controversial, the issue
oflanguage has many problems, such is the canon, theliteratures and th
emulticultural realities, there are many things that can happen

Hispanic-us Literature
Okay, let's break down this concept of categorizing Latino literature, and why it's
tricky, without simplifying it too much.

Essentially, scholars have tried to organize Latino literature by looking at two main
sources of inspiration:

1. The Southwest Heritage: This category includes writings that come from a
long-standing tradition of storytelling and writing within the United States'

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 205

 Southwest. Think of it as literature that's rooted in the experiences of
people whose families have lived in places like California, Texas, New
Mexico, and Arizona for generations, often with strong ties to indigenous
cultures and the historical presence of Spanish-speaking communities.
This literature builds on existing oral traditions (stories passed down by
word of mouth) and written works that predate much of the 20th-century
migration.

2. The Migrant Experience (or the diaspora): This category focuses on

literature created by people who migrated to the United States during the
20th century. This includes individuals and families who moved from places
like Mexico, Central and South America, and the Caribbean. Their writing
often reflects the challenges, triumphs, and transformations associated
with leaving their home countries and adapting to a new life in the U.S.

To further understand the migrant experience category, scholars have identified

three phases that often appear in the literature:

1. Romanticization: This phase often involves a nostalgic or idealized

portrayal of the home country or culture left behind. It might focus on the
beauty of the landscape, the warmth of family traditions, or the richness of
cultural heritage. It's like looking back with a sense of longing and
appreciation.

2. Migration or Immigration: This phase deals with the actual experience of

moving to the United States. It can include themes of displacement, culture
shock, language barriers, and the challenges of navigating a new and often
unfamiliar society. This phase highlights the realities of adapting to a new
environment and the struggles that come with it.

3. Settlement: This phase explores the process of establishing a new life in

the United States. It might deal with themes of finding community, building
a sense of belonging, and negotiating a hybrid identity that blends aspects
of the old and new cultures. This phase often shows the development of a
unique Latino-American perspective.

Now, you bring up a crucial point: what about authors like William Carlos Williams,
who had Puerto Rican heritage but didn't necessarily focus on "Latinidad" in their
work? This is where the limitations of these classifications become clear.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 206

 Here's why these categories are problematic:

Oversimplification: Any attempt to categorize literature is bound to

oversimplify complex realities. People and their experiences are diverse,
and not everyone fits neatly into pre-defined boxes.

Exclusion: By focusing on specific themes or experiences, these

categories can exclude authors whose work doesn't align with those
criteria. As you pointed out with William Carlos Williams, many authors have
diverse backgrounds and influences that go beyond a single cultural
identity.

Essentialism: These classifications can sometimes lead to essentialism,

which is the idea that all members of a group share the same
characteristics or experiences. This can ignore the vast differences within
the Latino community.

Fluidity of Identity: Identity is fluid and constantly evolving. Many Latino

authors explore themes of hybridity, cultural blending, and the complexities
of navigating multiple identities. Classifications can struggle to capture this
fluidity.

The American Canon: Authors of Latino heritage are a part of the greater
American literary canon. To seperate them too much from that canon,
creates a division that does not truly exist.

In short, while these categories can be useful for understanding some broad
trends in Latino literature, it's important to remember that they are just tools, and
they have limitations. Literature is a reflection of human experience, and human
experience is always more complex and nuanced than any classification system
can capture.
Alright, let's unpack these different ways of classifying Latino literature and art,
and why it's a complicated topic.

Beyond the initial categories we discussed, scholars and critics have proposed
other ways to group Latino artistic expressions. Here are a few:

1. By Country of Origin or Descent (Hyphenated-American Groupings):

This method categorizes artists and writers based on their family's country
of origin. So, you might see terms like "Mexican-American," "Cuban-

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 207

 American," "Puerto Rican-American," and so on.

The idea is to acknowledge the specific cultural and historical

backgrounds that shape an artist's work. For example, a Mexican-
American writer might explore themes related to the U.S.-Mexico border,
while a Cuban-American artist might reflect on the experience of exile.

However, this approach can also be problematic. It can oversimplify the

diverse experiences within each group and ignore the fact that many
people have mixed or complex heritages. Also, it can create an "othering"
effect, which separates those people from the greater American identity.

2. By Relation to the U.S.:

This classification focuses on the artist's or writer's relationship to the

United States. It considers factors like whether they are native-born,
exiles, migrants, or displaced by war, politics, or economic hardship.

This method recognizes that the experience of being Latino in the U.S. can
vary widely depending on how and why someone came to the country.

For example, someone born in the U.S. to a long-established family will

have a different perspective than someone who recently immigrated.

An exile, who left their home country due to political reasons, will have
a different perspective than someone who came for economic reasons.

This classification highlights the diverse circumstances that shape the

Latino experience in the U.S.

3. By the "Stages" Named Before (Romanticization, Migration, Settlement):

As we discussed earlier, some scholars categorize Latino literature based

on the stages of the migrant experience.

However, as you pointed out, this approach is controversial. Many argue

that it's too simplistic and doesn't account for the wide range of
experiences within the Latino community.

Also, many authors write about multiple stages at once, or their lives cross
through multiple stages.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 208

 The Conclusion: "There is no such thing as 'Latino art' or 'Hispanic arts.' There
are hundreds of types of Latino-American-derived art in the United States. Each
is aesthetically, socially, and politically specific."

This statement emphasizes the importance of recognizing the diversity and

complexity of Latino artistic expression.

It rejects the idea of a monolithic "Latino art" or "Hispanic arts," arguing that
these terms are too broad and general.

It highlights the fact that Latino art in the U.S. is incredibly diverse, with each
form of expression shaped by unique cultural, social, and political contexts.

It encourages us to look beyond simplistic labels and appreciate the specific

qualities of each artist's work.

In essence, this conclusion reminds us that the Latino community is not a single,
unified group. It's made up of people with diverse backgrounds, experiences, and
perspectives. And this diversity is reflected in the richness and variety of their
artistic creations.

"Additional problems identified by Barquet." It's a look at some critical issues

related to how we understand and categorize literature, particularly when it comes
to "American" and "US Hispanic" literatures.
Who is Barquet?

First, it's important to note that "Barquet" refers to a scholar, likely someone who
has done research and writing on this topic. The reference at the bottom of the
slide, "Jesus J. Barquet, 'Re-defining the Criteria for American and US Hispanic
Literatures' (2015): 53," tells us this is based on their work. This means the points
made on the slide are not just random opinions, but are informed by academic
study.

The Problems Barquet Identifies

Now, let's look at the specific problems Barquet identifies:

1. Monolinguism: This is a big word that means focusing on or using only one
language. In the context of literature, it suggests that we often define
"American" literature as being written only in English. This excludes works
written in other languages, even if they were created within the

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 209

 geographical boundaries of the United States or by people who are
considered "American."

2. "The ghettoization as a 'minority'": This is a key point. "Ghettoization"

refers to the act of isolating or segregating a group. Barquet argues that
labeling US Hispanic literature as "minority" literature does several
problematic things as a “minority” >> validates a dominant center,
presupposes homogeneity and elides distinctions based on class, race,
gender, ideology, religion, ethnicity, race, etc. Also, too deterministic, elides
personal choice and agency. Blurrs the presence and interaction with other
“minorities”.

Validates a dominant center: It implies that there is a "mainstream" or

"dominant" literature (usually white, English-language literature) that is
considered the standard. Everything else is then seen as "minority" or
"other."

Presupposes homogeneity: It assumes that all US Hispanic literature is

the same and ignores the vast diversity within this category. People of
Hispanic heritage come from many different countries and
backgrounds, each with its own unique culture and literary traditions.
Lumping them all together under "minority" erases these differences.

Elides distinctions based on class, race, gender, ideology, region,

ethnicity, etc.: This means it ignores the many other factors that shape
a writer's experience and perspective. A writer's social class, race,
gender, political beliefs, where they live, and their specific ethnic
background all play a role in their writing.

Too deterministic: It suggests that a writer's identity as "Hispanic"

completely determines their writing, ignoring individual choices and
creativity.

Hurts the presence and interaction with other "minorities": By

focusing on the "minority" label, it can create divisions and prevent
different groups from finding common ground and shared experiences.

3. The focus on the "migrant": Barquet argues that focusing on the "migrant"
experience in US Hispanic literature does two things:

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 210

 Invisibilizes the long tradition ("herencia") of places like the
Southwest: "Herencia" means heritage or inheritance. It points out that
places like the Southwest (which includes states like California, Texas,
New Mexico, and Arizona) have a long history of Hispanic culture and
literature that predates the establishment of the current US borders.
Focusing only on the "migrant" experience erases this rich history.

Gives a sense of "foreignness," even when it is not warranted: It

suggests that people of Hispanic heritage are always seen as "foreign"
or "outsiders," even if their families have lived in the United States for
generations.

4. Gender stereotyping: This point is brief but important. It suggests that US

Hispanic literature (or discussions about it) may perpetuate harmful
stereotypes about gender roles and expectations.

In simpler terms, what Barquet is saying is:

We need to be careful about how we categorize and label literature.

We should avoid focusing only on English-language literature when we talk

about "American" literature.

We should recognize the diversity within US Hispanic literature and avoid

treating it as a monolithic "minority" group.

We should acknowledge the long history of Hispanic culture and literature

in the United States, not just focus on the "migrant" experience.

We should be aware of and challenge gender stereotypes in literature.

This slide encourages us to think more critically about how we understand and
appreciate literature, and to move beyond simplistic labels and categories. It's
about recognizing the complexity and richness of literary traditions and giving
voice to a wider range of experiences and perspectives.

Revise the idea of the Chicano/Chicana and the borderlands (which I assume is
related to the book thar we’re reading for starters ‘There there’) from Anzaldua (or
jst put notes) bcs we’ll see the Chicano/chicana idea soon enough (supongo que
sera menos fumada q postcoloniales) aunque la idea d chicano/chicana no me
entere muy bien

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 211

 The frontier (Borderlands)

The journey departs from the first migration, from the indigenous homeland
"Aztlan,” and arrives at the other end, the other home: the border (US
SouthWest). The arrival constitutes a re-naming of the subaltern's identity

Borderlands are conceptualised between the original home (Aztlán) and

border texts, where escape and the desire to return converge.

There are two sections: "Atravesando Fronteras/Crossing Borders” and "Un

Agitado Viento/Ehecatl, the Wind.” Prose and poetry

The first part is a "manifesto," a narrative of the New Mestizo, an inventory of

fears and desires articulated in a liminal language that is symptomatic in its
nature, inscribed at the border of conscious and unconscious narratives, of
hegemonic and alter-native discourses.

The journey departs from the first migration, from the indigenous homeland
"Aztlan,” and arrives at the other end, the other home: the border (US

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 212

 SouthWest). The arrival constitutes a re-naming of the subaltern's identity

Borderlands are conceptualised between the original home (Aztlán) and

border texts, where escape and the desire to return converge.

Home is constructed intimately with narratives of fear of returning, fear re-

covered by a strong desire of coming back.

Homophobia symbolises the fear of rejection, not only from family, but also
from culture and race, which shapes the dynamics of desire:

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 213

 expand to the river (think abt the word river how the river apoears what is
referring to and what she ends up doing, so what the river means)

Gloria Anzaldúa.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 214

 Gloria Anzaldúa was born in El Valle territory, quite close to the Mexican border.
More precisely,
she was born in Harlingen, Texas, in the frontier with Mexico, a territory defined as
a “borderland.”
Although this place is connected to a traumatic past, it is still her home and she
feels connected to it. Anzaldúa was the daughter of poor farmworkers, and her
childhood and adolescence was marked by illness, racism, patriarchy and poverty.
As an infant, she suffered from diabetes and started
menstruating when she was a 3-year-old. From this, she was very affected since
her mother
considered it a curse/punishment. Sexism was dealt from the inside by her mother,
as she was always trying to make her the perfect girl. Due to her mixed identity
and heritage, she calls herself a mestiza. In other words, she saw herself as a
crossroad in many ways regarding both her racial identity and sexuality.
Anzaldúa was a multi-genre writer, academic, teacher, visual artist and scholar of
Chicana cultural
theory, feminist theory, and queer theory. She attended college in Texas and
obtained a degree. Most of the time she researched on her own, and she ended
up becoming a teacher for children with special needs apart from developing
some feminist and writing workshops. Anzaldúa had to always balanced having a
job and finding the time to work on her own projects.

“La Prieta” is an autobiographic work included in one of her collections. It was

published in the
Kitchen Table: Women of Color Press. In it, there is a combination of violence and
external stereotypes of gender, such as the idea that she needed to marry and
had children. Although she started to deviate from these norms slowly, she still
had to unlearn to love herself and her internalised racism and prejudice.

Anzaldúa has been recognised as a “Chicana lesbian feminist author,” but her
identity is far more expansive.

“You say my name is ambivalence? Think of me as Shiva, a many-armed and

legged body with one foot on brown soil, one on white, one in straight society, one
in the gay world, the man’s world, the women’s, one limb in the literary world,
another in the working class, the socialist, and the occult worlds. A sort of spider
woman hanging by one thin strand of web. Who, me confused? Ambivalent? Not

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 215

 so. Only your labels split me.” (Anzaldúa, “La Prieta,” in This Bridge Called My
Back. Writings by Radical Women of Color, ed. Gloria Anzaldúa and Cherríe
Moraga (New York: Kitchen Table: Women of Color Press, 1983), 228).

“Many of us identify with groups and social positions not limited to our ethnic,
race gender, or national classifications. Though most people self-define by what
they exclude, we define who we are by what we include – what I call the new
tribalism.” (Anzaldúa, “(Un)natural bridges, (Un)safe spaces”, In This Bridge We
Call Home, 3).

She was a prolific, almost obsessive writer.

“I write because it’s my calling, my task to do in the world. I write. It is a ritual, a

habit, a propensity bred in my bones. It is what I do. I write because I like to think
on paper. I write because I like to think, and to track my thoughts. I write because I
want to leave a discernible mark on the world.” (Anzaldúa, “When I Write I Hover,”
1997).

“When I began writing this essay, nearly two years ago, the wind I was
accustomed to suddenly turned into a hurricane. It opened the door to the old
images that haunt me, the old ghosts and all the old wounds. Each image a sword
that cuts through me, each word a test. Terrified, I shelved the rough draft of this
essay for a year.” (Anzaldúa, “La Prieta,” in This Bridge Called My Back. Writings
by Radical Women of Color, ed. Gloria Anzaldúa and Cherríe Moraga (New York:
Kitchen Table: Women of Color Press, 1983), 220).

This Bridge Called My Back: Writing by Radical Women of Color

(1981).
It was published before La Frontera and co-edited with Cherrie Moraga. This work
is an anthology
of poetry, fiction, and essays by women of color. Although it is not a hybrid text
like La Frontera, it
combines different literary genres. As a coming-of-age story including the figure
of “La Prieta/The
Dark One,” it deals with illness and queerness as well. El Mundo Zurdo is
presented as an alternative
world for hybridity, queerness, and political consciousness among those who have
been expelled from the norm.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 216

 “The mixture of bloods and affinities, rather than confusing or unbalancing me,
has forced
me to achieve a kind of equilibrium. Both cultures deny me a place in their
universe. Between
them and among others, I build my own universe, El Mundo Zurdo. I belong to
myself and not
to any one people. […] The rational, the patriarchal, and the heterosexual have
held sway
and legal tender for too long. Third World women, lesbians, feminists, and
feminist-oriented
men of all colors are banding and bonding together to right that balance. Only
together can
we be a force. I see us as a network of kindred spirits, a kind of family. […] In El
Mundo
Zurdo I with my own affinities and my people with theirs can live together and
transform the
planet.” (Anzaldúa, “La Prieta,” in This Bridge Called My Back. Writings by Radical
Women
of Color, ed. Gloria Anzaldúa and Cherríe Moraga (New York: Kitchen Table:
Women of
Color Press, 1983), 232-33).

In order to overcome the feeling of not fitting anywhere, Anzaldúa created an

imaginary world where she could be herself, a place built to embrace different
identities. A utopian but powerful and beautiful world.

This Bridge We Call Home: Radical Visions for Transformation

(2002).
Coedited with AnaLouise Keating, a very important feminist scholar, it is an
anthology of texts
written by women and men, of color and white. It is also a feminist collection of
texts which have in
common the dissatisfaction with the development of mainstream feminism in the
millennium. It is
considered to be an invitation “to rethink the existing categories and invent new
individual and

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 217

 collective identities, transformational alliance” (Anzaldúa and Keating 20).
Borderlands: La Frontera (1987).
The illustrations that appear in the first edition of the work were painted by
Anzaldúa herself. It
combines autobiography, poetry, historical narratives and myths, so it is a very
hybrid text. This
combination is defined as an autohistoria-teoría, a term used to “describe women-
of-color
interventions into and transformations of traditional western autobiographical
forms” (Keating 9). In
other words, it is a form of combining autobiography and history from a feminist
and queer
perspective.
Code-switching between English and Spanish is clearly seen and present
throughout the whole text.
The text is very influenced by Spanish. For cultural preferences, Anzaldúa uses
Spanish to write
certain words, but she is not consistent with the use of the language. For instance,
she introduces
Spanish in the middle of long paragraphs of English with the aim of destabilising
readers.
Anzaldúa’s Influence extends inside and outside the academia and beyond the
US-Mexico
border. She wrote from her perspective in the borderland as a mestiza, so for the
larger audience her writing was strange due to the combination of languages.
Although in her time she was accused of appropriation, Anzaldúa is acknowledged
nowadays.

Structure.

The text is structured into two parts which intertwine both genre and form:
Atravesando Fronteras /
Crossing Borders (autohistoria-teoría) and Un Agitado Viento / Ehecatl, The Wind
(poems). The
Borderland is the area across the frontier. Apart from being a physical, precise
geographical location, it is also a spiritual and emotional territory. Anzaldúa’s work,
thus, has to do with the idea of space and the identity it creates: a mestizo/a

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 218

 identity. The “United States–Mexican border es una herida abierta where the Third
World grates against the first and bleeds.” Anzaldúa employed writing as a healing
mechanism. She always expands beyond the psychic, spiritual, and sexual,
constantly destabilising categories.

“The Aztecas del norte . . .compose the largest single tribe or nation of
Anishinabeg (Indians)
found in the United States today . . . .Some call themselves Chicanos and see
themselves as
people whose true homeland is Aztlán [the United States Southwest].”
The nation of Anishinabeg is an area from the United States territory that was
taken from New Mexico after the Treaty of Guadalupe-Hidalgo. It seems to be a
mythical and ancestral territory of the Indians, the indigenous population.
Anzaldúa starts with history and establishes the idea that the Aztecas were not
only in Central Mexico but also in the areas that were lost and are now part of the
United States. The United States–Mexican border es una herida abierta where the
Third World grates against the first and bleeds. And before a scab forms it
haemorrhages again, the lifeblood of two worlds merging to form a third country—
a border culture. Borders are set up to define the places that are safe and unsafe,
to distinguish us from them. A border is a dividing line, a narrow strip along a
steep edge. A borderland is a vague and undetermined place created by the
emotional residue of an unnatural boundary. It is in a constant state of transition.
The prohibited and forbidden are its inhabitants. Los atravesados live here: the
squint-eyed, the per- verse, the queer, the troublesome, the mongrel, the mulato,
the half-breed, the half dead; in short, those who cross over, pass over, or go
through the confines of the “normal.”

In the previous fragment, it can be found the core definition of the borderlands.
The border is a line,
and the borderland is an undermined place. Anzaldúa talks about an emotional
residue of a traumatic past of violence. The borderland is a place of changes and
transformation, also for the communities which are outsiders. All the inhabitants of
this area are in a bridge between two worlds. Anzaldúa’s way of presenting the
train of thoughts and ideas is very disorienting since it has to do with the strategy
of using two languages.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 219

 During the original peopling of the Americas, the first inhabitants migrated across
the Bering Straits
and walked south across the continent. The oldest evidence of humankind in the
United States— the Chicanos’ ancient Indian ancestors—was found in Texas and
has been dated to 35000 B.C. In the
Southwest United States archaeologists have found 20,000-year-old campsites of
the Indians who
migrated through, or permanently occupied, the Southwest, Aztlan—land of the
herons, land of
whiteness, the Edenic place of origin of the Azteca.
After this fragment, Anzaldúa goes back to history. In it, she explains some
constructions that remain in the place where they were taken by the United States.
First, she talks about the inheritance of America, then she refers to the original
Aztlán, and later to Cochise. Later on, she addresses the
inhabitants of the borderland, who are mestizos. They are considered to be a
hybrid race and the
descendants of the Spanish conquistadors. It could be said, thus, that Anzaldúa
establishes the history of the borderland after defining it, and also explains how
life and policies were connected and ruled by the United States.

Fragment 1:

Aztlan is the territory taken by the US government. Anzaldua established the idea
of Aztecs being
in the territory that was taken from them. This is connected with the definition of
what borderlands
is the territory created by an unnatural border as it is imaginary and artificial
created by the
US government. She talks about an emotional residue, so it is the remains of a
traumatic past
of violence. This place is a place of changes and transformation and also for the
communities
which are outsiders. All the inhabitants of this area are in a bridge between two
worlds.

Her way of presenting the train of thoughts and ideas is very disorienting and has
to do with the
strategy of using two languages. After that fragment she goes back to history. In

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 220

 here she explains
some constructions that remain in the place they were taken by the us. First, she
talks about the
inheritance of America then she refers to original Aztlan and then Cochise.
Then she refers to how mestizo is a hybrid race and are the descendants of the
Spanish
conquistadores, so the inhabitants of the borderlands are mestizos. She
establishes the history of
the borderlands after she defines what this borderland is. She also explains how
life and the
policies were, how connected and ruled were by the US. She explains that
migration is part of
who they are as a community.

La Conciencia de la Mestiza / Towards a New Consciousness.

1. What is the connection between Vasconcelos’ ideas on race and mestiza
consciousness?
From where does mestiza consciousness emerge?
The connection between Vasconcelos’ ideas on races and the mestiza
consciousness is that the former influences the latter. Vasconcelos’ theory is
about inclusivity and the idea that the mixture of races results in a stronger
race. These racial, ideological, cultural and biological traits influence the
making of the mestiza consciousness.

2. What is nepantilism? ⇒ “sandwiched between two cultures,” → inner war

It is an Aztec words that refers to a mental state of being torn between different
ways. In other words, it is the product of the transfer of spiritual and cultural
values from one culture to another, and thespace created by two opposite views
or conditions. The mestiza is a product that comes from this mestizaje, so it is also
defined as the resulting space of the clash between different voices within the
mestiza personality, those from the different cultures involved in the borderlands.
Being torn is not something positive but damaging as it comes from the struggle
and conflict of the self, so it is not a celebration. There is a cultural collision of
values in the borderlands, which creates a problematic situation since it is not a

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 221

 way of life. Being a situation of conflict, the mestiza needs to go beyond
Nepantilism and resolve it for being too damaging.

3. What does it mean to ‘strech the psyche horizontally and vertically’?

4. How is the mestiza consciousness a “third element”, and why is it “una

conciencia de mujer”? (79-80; 84)

5. Why is the mestiza “un amasamiento”?

The mestiza identifies herself as this metaphor for being a bunch of things put
together (“an act of kneading, of uniting and joining that not only has produced
both a creature of darkness and a creature of light, but also a creature that
questions the definitions of light and dark and gives them new meanings”). The
mestiza has Mexican ancestry but forms part of the United States, so there is a
mixture of both cultures. Native and indigenous population are a product of
different cultures, identities, races gathered together in the borderland as well
(Mexican, American, African American, Spanish…). For Anzaldúa, borderlands
existed before borders, and the former is an area where different cultures and
communities merge into each other.

6. what is un amasamiento?

7. What is the difference between being “un macho” and “machismo”? (83-84)

8. What is the cultural role of queers? (84-85)

Queers are crosses of cultures because there are queers from every culture. They
are in touch
and have bounds with queer people from all countries. Although they are from
different
cultures, they all are together; despite their differences they are able to see some
similarities

Queers are the supreme crossers of cultures, queers have strong bonds with the
white, Black, Asian, Native America and Latino, as with the queer in Italy, Australia
and the rest of the world. Humans, and thus queers, come from all colours,
classes, races and time periods

9. “Gringo, admit that Mexico is your double”… What does it mean? (86)

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 222

 keep idea of doplegander, the osychic wound, the everything wound, the idea of
telling people what theey want and what they need

How are borderlands described in the poem in the different

stanzas?
In the first stanza, there is emphasis on the heavy baggage that comes with the
mestiza identity. In the second stanza, Anzaldúa highlights the inner struggle
within the mestiza’s psyche, as the mestiza does not know how to reconcile all her
parts. In the third stanza, Anzaldúa points out to the fact that if a community is not
visible, it is not privileged. In the fourth stanza, there can be found elements of
hybridity in the borderlands, where the mixing of different cultures takes place. In
the fifth stanza, there are allusions to alcoholism and suicide in the borderlands by
means of using metaphors. In the sixth stanza, which can be connected to Butler’s
Kindred (“where enemies are kin to each other”), Anzaldúa returns to the inner
struggle of mestizos. In the seventh stanza, Anzaldúa discusses the oppression
suffered, her survival and the Anglo-side of herself. In the last stanza, there is a
statement of the borderlands being a literal, cultural, personal and social
crossroads. It is a geographical space which affects individuals in a spiritual level.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 223

 Dominican literature
Dominican American Literature is a body of literature produced by US-based
authors of Dominican
ancestry (to Dominican Republic, not to the island of Dominica). Its existence
reaches back to the
first half of the 19th century, flourishing mostly in the 1990s and with important
authors in the 21st
century. “Texts tend to reflect not only an ethnic American voice, but also a
diasporic perspective”
(Kang and Torres-Saillant 1).

The United States maintained a long-lasting colonial and imperialist interest in the
Dominican
Republic. It attempted to annex the Dominican territory (1871), relegated the
Dominican society to a
United States protectorate or semi-protectorate (1899-1940) and sponsored the

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 224

 dictatorship of Rafael Leonidas Trujillo (1930-1961). There were some military
incursions to further the economy of the United States and strategic interests
(1916-1924). The most recent, in 1965, was justified by the
ostensible need to “prevent another Cuba” and, supporting the conservative
trujillistas, led to the rule of Joaquín Balaguer. The period of Los Doce Años (1966–
1978), marked by repression, political
prosecution, assassinations and corruption, prompted a migratory flux to the
United States which
continued for several decades. “By the late 1980s, Dominicans had already
established a major
demographic presence in many cities on the United States, primarily in the states
of New York
[Washington Heights], Rhode Island, Connecticut, Massachusetts, Florida, and
New Jersey” (Kang
and Torres-Saillant 3).

The US-Dominican Republic history has been considered a frequent topos, that is,
defined as an
“ethnic American” literature but also “diasporic”. The fact that most Dominicans
migrated after 1965
created a sense of community, so their literature derives its distinguishing features
from the
experiences of the populations associated with recent history and migration. For
instance, the
expectations of some migrants are different from those of their children since the
latter have already been born and raised in the United States, and therefore they
have already dealt with a dual culture.

Some of the common themes found in Dominican literature are the struggle to
belong in an often
hostile or alienating social environment, the negotiation of complex family
dynamics across
generations, the inherited patriarchal structures in the Dominican Republic and
their effect on gender and sexuality, class struggles and the ongoing effects of
poverty, racial definitions (fighting
Negrophobia of their ancestral homeland while interrogating the still dominant
black-white binary in the discussion of race in the United States, internalised

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 225

 racism, etc.) and some of the challenges posed by racism against Latino/as
(assumptions that they are newcomers to the country, “illegals”
uneducated or inarticulate, prone to criminal activity, etc.).

Before 1965, “the majority of identifiably Dominican authors in the chronology that
preceded the
great exodus wrote as individuals without a sense of belonging in a larger
community, whether ethnic or literary” (Kang and Torres-Saillant 4). Jesusa Alfau
Galván de Solalinde (1895–1943) and Felipe Alfau Galván (1902–1999) were born in
Spain to Dominican parents and wrote in Spanish (Jesusa)and English (Felipe),
mostly about non-Dominican themes.

Due to the cultural distance, texts represent the United States as an alien place.
Some authors who
focused on representing this cultural distance were Fabio Fiallo in his Cuentos
Frágiles (1908),
Manuel Florentino Cestero in his El canto del cisne and El amor en Nueva York
(1915), Angel Rafael
Lamarche in his Los cuentos que Nueva York no sabe (1949), and the Henríquez
Ureña family.
Some other authors returned to the Dominican Republic, such as the poets
Sherezada “Chiqui”
Vicioso (b. 1948) and León Félix Batista (b. 1964).

Dominican-American literature
The text outlines several overarching themes identified in Dominican American
Literature, revealing a complex and multifaceted exploration of identity, belonging,
and socio-political realities. These themes are not isolated but rather
interconnected, reflecting the intricate tapestry of experiences faced by
Dominican Americans.

Firstly, the "struggle to belong amid a hostile environment" underscores the

persistent challenges of navigating a society that often marginalizes and excludes.
This hostility manifests across various domains, including economic, social,
cultural, and legal spheres. It speaks to the lived experience of being perceived
as "other" and the constant negotiation of one's place within a system that may
not fully recognize or accommodate their identity.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 226

 Secondly, the emphasis on "complex family dynamics, especially across
generations" highlights the unique tensions and negotiations that arise within
Dominican American families. The generational divide, particularly between
immigrant parents and their US-born children, is a recurring motif. This divide
often stems from differing cultural perspectives, language barriers, and divergent
experiences of assimilation. It underscores the challenges of preserving cultural
heritage while adapting to a new environment.

Thirdly, the exploration of "issues of gender & sexuality vis-à-vis traditional

patriarchal, Catholic norms and roles" reveals the negotiation of personal identities
within a cultural context that may be restrictive or conservative. Dominican
American literature often grapples with the tension between individual desires and
societal expectations, particularly concerning gender roles and sexual expression.
This theme highlights the struggle to reconcile personal autonomy with cultural
and religious traditions.

Fourthly, the "class struggle, the effects of poverty" acknowledges the socio-
economic realities faced by many Dominican Americans. This theme underscores
the systemic inequalities and economic hardships that can shape individual
experiences and limit opportunities. It reflects the lived reality of navigating a
system that often perpetuates economic disparities and marginalizes working-
class communities.

Fifthly, the examination of "US racial dynamics (very much centered on the binary
black/white) vis-à-vis a tradition of Negrophobia in the Dominican Republic (part
of the legacy of Spanish colonialism and racism, and the interactions with Haiti)"
reveals the complex interplay of racial identities within the Dominican American
experience. It highlights the challenges of navigating a US racial landscape that
often overlooks or misunderstands the specific racial dynamics of the Dominican
Republic, which are shaped by a unique history of colonialism and complex
relationships with Haiti. This theme underscores the need to move beyond
simplistic black/white binaries and acknowledge the nuanced realities of racial
identity within the Dominican American community.

Sixthly, the focus on "US nativist racism against Hispanics, the presumption that
you are always a newcomer (and, probably, through illegal means)" speaks to the
pervasive xenophobia and anti-immigrant sentiment faced by many Dominican
Americans. This theme highlights the dehumanizing effects of being constantly

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 227

 perceived as a foreigner, regardless of citizenship or length of residency. It
underscores the systemic discrimination and prejudice that can limit opportunities
and perpetuate marginalization.

Finally, the exploration of "the complexity of intra-Latino/Hispanic relations; who

gets to speak for/represent the collective, who deserves visibility" reveals the
internal dynamics and power struggles within the broader Latino/Hispanic
community. This theme acknowledges the diversity of experiences and
perspectives within this community and challenges the notion of a monolithic
Latino identity. It raises critical questions about representation, visibility, and the
politics of voice within a diverse and often marginalized population.

In essence, these themes collectively paint a portrait of Dominican American

literature as a rich and complex body of work that grapples with issues of identity,
belonging, and socio-political realities. They reflect the unique challenges and
triumphs of navigating multiple cultural identities and negotiating a place within a
society that often presents obstacles and barriers. By exploring these themes,
Dominican American literature offers valuable insights into the lived experiences
of this community and contributes to a broader understanding of the complexities
of American identity and the ongoing struggle for social justice.

It has to do with anyone who was born in dominican as they are written in either
english, spanish or bilingual, a dominican american is the person who has been
born, raised or socialized in the USA especially those who were shooled or have
gone to University in the USA

Dominican American literature is divided into three types of literature:

Hispanophone literature, written by migrant authors and influenced by Latin

American and
Spanish literature.

Anglophone literature, written by Dominican American authors and connected

to the literary
history of the United States.

Bilingual literature, with authors such as Josefina Báez (b. 1960)

Julia Alvarez

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 228

 First work by a dominican to reach sucess many of the people that have
ghistorical fiction, a very recent past where she goes back to the moment of the
dominican dictatorship, she wrote How the Garcia girls lost their accent

One of the most acclaimed authors is Julia Álvarez, born in 1950 in New York City
and the first
Dominican American author to achieve a national presence in the United States.
Álvarez took
inspiration from the Dominican Republic history and folklore. Apart from novels,
such as In the Time
of the Butterflies (1994); How the García Girls Lost Their Accents (1991), which
was the first
English-language novel by a Dominican American to receive international
recognition; and In the
Name of Salomé (2000), she also writes poetry, young adult fiction and essays.

Junot Díaz
Another acclaimed author is Junot Diaz, born in Santo Domingo (1968) and raised
in New Jersey. In
his literature, there can be found the effects of the Dominican past in the present
experiences of
Dominican migrants and their US-born children. He wrote some short story
collections, such as
Drown (1996) and This Is How You Lose Her (2012), and novels such as The Brief
Wondrous Life of
Oscar Wao (2007). Diaz was the winner of the 2008 Pulitzer Prize and National
Book Critics Circle
Award.

Born in República Dominicana (1968), moved to New Jersey to reunite with his
father in 1974. His novels include Drown; The Brief Wondrous Life of Oscar Wao
(2008 Pulitzer Prize and the National Book Critics Circle Award); and This Is How
You Lose Her. He has also written children’s literature, including Islandborn (2018).

Recipient of a MacArthur “Genius” Fellowship, the PEN/Malamud Award, Dayton

Literary Peace Prize, Guggenheim Fellowship, and PEN/O. Henry Award. Graduate

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 229

 of Rutgers College, currently the fiction editor at Boston Review and an endowed
Professor of Writing at the Massachusetts Institute of Technology (MIT) in Boston.

Cofounder of Voices of Our Nation Workshop, ”the premier multi-genre workshop

for BIPOC Writers;” he also serves on the board of advisors for Freedom
University, a volunteer organization in Atlanta, Georgia, that provides post-
secondary instruction for undocumented youth. Georgia has the most
discriminatory bans against undocumented students.

From an interview for the Buenos Aires Review: I met Junot Díaz in Washington
Square. As I waited for him, I wondered whether I should greet him in English or in
Spanish. I decided to let him issue the first word. When he got there, he embraced
me warmly and said, “Hola!” (Aha, I thought:
Spanish.) […] We decided to go to a nearby café, and almost as soon as I began to
ask
him questions about literature, the writerly Junot came out and began to speak in
English.

Díaz spoke only his mother tongue when he moved to the U.S., but in his
adolescence
he went years without reading in Spanish, reconnecting with the language as an
adult. He says that “returning to a language is like returning to an old relationship
—it
often requires more courage than striking up a new one.”

Elizabeth Acevedo
She was born in Harlem, NY (1988), to Dominican parents and identifies herself as
Afro-Latina
(and Dominican American). She was raised Catholic, but no longer a practitioner.
Elizabeth
participated in her first poetry slam when she was 14 (Nuyorican Poets Café), and
even won a
National Poetry Slam Champion.
BA in Performing Arts at George Washington University, MA in Creative Writing
(Maryland
Univ.). In 2010 started to work as a Secondary School teacher and realized young

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 230

 Latinxs were
not represented enough in young adult literature. Some of her works:

• Beastgirl & Other Origin Myths (2016), poetry chapbook

• The Poet X (2018), young adult novel in verse

National Book Award Winner young adult category, and Carnegie Medal winner.

• Clap When You Land (2020); With the Fire On High (2019), young adult novels in
verse.

• Family Lore (2023), novel.

Recurrent themes: family, migration, DR history, DR folklore, young lives (coming-

of-age
stories).

She comes from first-Generation Dominican Identity. Her personal background

as a first-generation Dominican American plays a significant role in her writing.
She draws on her family's experiences and cultural heritage to create authentic
and relatable characters. This allows young people from similar backgrounds to
feel seen and understood.

Addressing Representation which is a core theme in her work is the importance

of representation. She has spoken about her own experiences as a teenager,
feeling that she didn't see characters who reflected her own life. This drives her
commitment to creating stories where young people from diverse backgrounds
can find themselves represented.

Community Commitment:

Acevedo's work goes beyond simply telling stories. She is deeply committed to
her community and uses her platform to advocate for social justice and equality.
This commitment is evident in her writing and her public appearances.

The thing she likes about all thse noves is reading all these poeple which give us
acces to several materials, we have many short videos, she is a very young
person,her parents ar dominicans, 1st generation dominicans,the book on the
award and she hasmore wks adressed at this age grioup, she is extremel
commited and she said that she searches for the idea that when she was 14/13
she didn’t see people lik herself, they are adressed to young people, verse, she
also has family lore, even before this she was comittde to teaching, partof what

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 231

 she says is how the students don’t see themselves, it is a matter of representation,
a commitement to the comuniy, she won the poetry champion, the veue whereshe
presented for the first time, this frst poem is the one that we don’t get

The poet X
(read book)

If we had to think about it this text is on the sylabus because it shows how latina
women are sexualized sometimes and how women aren’tseen as people many
times, it’s a novel in verse, the idea is to expose us to different narratives, it’s a oel
in erse, kindred is a more clasical novel with different genres. the afro latina is
something more complex, about how can we be an afro latinoand what it implies
Terms:

5 rules: Slam poetry is a poetical genre where the 5 main things to remember:

1. Originality:

You have to use your own words! No borrowing someone else's poem.
It's all about your own unique voice.

2. Time Limit:

Usually, you have a set amount of time to perform, often around three
minutes. So, you've got to be powerful and get your point across
quickly!

3. No Props or Costumes:

It's just you and your words. No fancy outfits or things to help you out.
It's all about the performance of your voice and body.

4. Audience Interaction:

Slam poetry is all about connecting with the audience. They're part of
the show! You can use your voice and movement to engage them.

5. Scoring:

Judges, often selected from the audience, give scores to each

performance. This is what makes it a competition. But remember, it's
really about expressing yourself!

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 232

 So, it's about your own words, a short time, just you, connecting with the
audience, and getting scored. It's really energetic and exciting!

Slam Poetry also serves as a form of performance poetry originating in the 1980s
in Chicago. It combines the elements of performance, writing, competition, and
audience participation. It is performed at events called poetry slams. The name
”slam” came from the power of the audience to praise or to destroy a poem and
from the high-energy performance style of the poets. Some rules include poets
having to create and perform original poems, they may perform alone or in groups,
if a poem exceeds three minutes, the judges may deduct points, and they cannot
use props or musical accompaniment

Spoken word poetry is like poetry that's meant to be performed out loud! It's not
just words on a page; it's about how those words sound and feel when you say
them. Here's a simple way to think about it:

It's Performed:

The biggest thing is that it's spoken, not just read silently. It's meant to be
heard.

It's Expressive:

Spoken word poets use their voices, bodies, and faces to show their
feelings. It's like acting and poetry combined.

It's Personal:

A lot of spoken word poetry is about the poet's own experiences and
ideas. It's a way to share stories and feelings.

It's Powerful:

Because it's performed, spoken word poetry can be really moving. It can
make you feel strong emotions.

It can be many things:

It can rhyme, or not rhyme. it can have a rythym or not. It is all about the
expression of the poet.

So, it's like poetry that comes alive when you hear it. It's a way to share stories
and feelings with a lot of energy and emotion!

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 233

 Genres that Poet X has
Sonnet

Okay, let's break down the sonnet! It's a special kind of poem with some pretty
specific rules. Here's the rundown:

14 Lines:

Every sonnet has exactly 14 lines. That's a key part of what makes it a
sonnet.

Rhyme:

Sonnets use rhyme, but the pattern of those rhymes can change.

There are two main types of sonnets, and they have different rhyme
patterns:

Shakespearean Sonnet:

This type has a rhyme scheme of ABAB CDCD EFEF GG. That
means the first and third lines rhyme, the second and fourth lines
rhyme, and so on. The final two lines (GG) always rhyme.

Petrarchan Sonnet (sonnet originates from this actually)

This type has a rhyme scheme of ABBA ABBA CDECDE or ABBA

ABBA CDCDCD. This means the first, fourth, fifth, and eighth lines
rhyme, and the second, third, sixth, and seventh lines rhyme. Then
the final six lines follow one of the other mentioned rhyme
schemes.

Iambic Pentameter:

Often, sonnets are written in "iambic pentameter." This is a way of saying

that each line has a certain rhythm. It's like a heartbeat: da-DUM, da-DUM,
da-DUM, da-DUM, da-DUM. So, each line has 10 syllables, with every
other syllable stressed.

The "Turn" (Volta):

Many sonnets have a "turn" or "volta." This is where the poem's idea or
feeling changes. It's like a shift in the story.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 234

 In a Shakespearean sonnet, the turn often happens before the final
couplet.

In a Petrarchan sonnet the turn often happens between the first 8 lines
and the last 6 lines.

In simple terms, a sonnet is a 14-line poem with a specific rhyme pattern and often
a rhythmic beat, where the idea of the poem shifts near the end.

Haiku!
Alright, let's talk haiku! It's like a tiny little poem with a few special rules:

Three Lines:

A haiku always has just three lines.

Syllables:

Syllables are like the beats in words. Think of it like clapping along with the
word.

The first line has 5 syllables.

The second line has 7 syllables.

The third line has 5 syllables.

Nature:

Haiku often talk about nature or the seasons. They're like little snapshots
of a moment in time.

A Moment:

Haiku try to capture a quick feeling or a simple image.

So, it's a short, 3-line poem about nature, with a 5-7-5 syllable pattern. It's like a
little nature picture made of words!

Elizabeth Acevedo's "The Poet X" that you've highlighted, focusing on its literary
elements and thematic exploration:

Genre and Target Audience:

"The Poet X" is classified as a coming-of-age novel, also known as a

bildungsroman. This genre traces the protagonist's journey from youth to

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 235

 adulthood, focusing on their personal growth, self-discovery, and the
challenges they face along the way.

The book is specifically targeted at young adult (YA) readers. This means it
addresses themes and issues that are relevant to teenagers, such as
identity, relationships, family dynamics, and navigating societal
expectations. In a bookshop, it would be found in the young adult fiction
section.

Form and Structure:

The novel is written in verse, meaning the story is told through poems
rather than traditional prose. This form allows for a more immediate and
emotional connection with Xiomara's inner thoughts and feelings.

The narrative structure of "The Poet X" is linear. This means the story
unfolds in a chronological order, following Xiomara's journey from her
early teenage years to a more mature understanding of herself.

Biblical Allusions and Subversion:

The section titles in the novel draw heavily from biblical references,
particularly the creation narrative. However, Acevedo doesn't simply
replicate these references. She plays with their meanings, subverting them
to reflect Xiomara's own experiences and perspectives.

It is not the creation sections of the bible, but the book of John, more
specifically.

This use of biblical allusion adds layers of complexity to the story,

exploring themes of faith, identity, and the tension between religious
doctrine and personal experience.

Exploration of Bodily Changes and Sexuality:

The novel candidly addresses the physical and emotional changes that
accompany adolescence. Xiomara experiences the anxieties, confusion,
and bodily transformations that are common during this stage of life.

She also grapples with the issue of being over-sexualized, as her

developing body attracts unwanted attention and objectification. This

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 236

 exploration of sexuality is handled with sensitivity and honesty, reflecting
the real-life experiences of many young women.

Xiomara's body is a source of conflict for her, and a source of her art.

Embodied Poetry and Identity Formation:

Acevedo introduces the concept of "embodied poetry," which suggests

that poetry is not just about words on a page, but about the physical and
emotional experiences that shape our understanding of the world.

Xiomara's journey is one of transforming her inner turmoil and confusion

into a powerful expression of her identity through poetry.

The novel charts her progression from a place of uncertainty and self-
doubt to a place of affirmation and self-acceptance. Xiomara uses poetry
to find her voice, define her identity, and assert her agency.

Thematic Journey:

The book is about the journey from confusion to the affirmation of identity.
It is about a young woman finding her voice.

In essence, "The Poet X" is a powerful and moving exploration of adolescence,

identity, and the transformative power of language. Acevedo's use of verse,
biblical allusions, and honest portrayals of bodily changes and sexuality contribute
to the novel's depth and resonance.

It’s a coming of age or bildungsroman novel, the category that this novel belongs
to is, this novel is who is the target reader and in hih part of the bookshop would it
be (young adult fiction), the form of this is a novel in verse, the structure of the
novel is wether this novel is circular or any other genre, the structure, in this case
is linear

The section titles of the novel closely reate to th bible, specifically to the creation
sections of the novel, she’s paying with thes words and subverting the meaning,
these arent the frst words of the bible, it’slocatedwithin John’s bible, there is his
anietyconfusion, all these feelings, sensations as well as we get bodily changes
and she has issues because of this body aswell as she gets over-sexualized
because of this, that moment when you stop being a lttle girl, there eis this idea of

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 237

 embodied poetry, what is potry all that you feel in your gut turn it into something
else, how we are going fom confuion to afirm this identity

There is the idea ofthe pom becoming flesh, the ebodiment of poetry, looking at
the differences and this deliverance, since she’s also a performer, the poet x is

themes of the novel

Guilt is something in the novel, there is a very strict gender roles, we have this
patriarchal system, th eguilt is this understanding of religion as guilt and punishing
and not this religious god and the loving god that we have

Repetitions matter, there is an insistence on something underlying the importance

of what it is
being said. The main theme is sexual awakening as the main character is a young
adult girl.

Sexualization and objectification by others. There are poems about masturbations

and the
pleasure and shame it produces. For her sexuality is something strange and the
only knowledge
she has about it comes from religion and her mother. She rejects to be sexualized.
After showering
she has an intimate moment while memorizing some verses while showing her
body movement,
this has to do with being comfortable with her own body.

The way she places the words is important because makes readers read it with a
different
rhythm. Ants are tiny and this has to do with the desire of being smaller and almost
disappear.
The words of the mother interrupt her inner thoughts and impose on her. Religion
is a punishment.

Aman is a projection of her desires. She wants to have a normal life and a normal
relationship
with the guy she likes. To certain point from her hesitation of her masturbating
then she accepts
her sexual desires.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 238

 The mother works as a cleaning lady and both the father and the mm come from
the dominican republic, we are reading through the perspective of a 13 year old,
so its kinda weird, and since divocing is a sin they woudn’t be able to divorce,
there are mysterious ways of love

There is also this relationship of twins so he doesn’t fulfill this papi role, the twin is
not agressive and hes not conforming traditional masculinity standards

Symbols
There are four important symbols.

• The notebook is key for what she wants and what she does representing
herself. And its
burning is the climax of the story. The notebook is like the phoenix.
• The bracelet is a gift but also a punishment and a reminder of her mother
possessing her.
• The holy wafer. She throws it symbolizing the doubts she has for her religion
imposed.

• The apples. The symbol of tentation. Eve is an empowered woman, so apples

are a form
of tentation but now is empowering.

Symbolysm of ants
In Elizabeth Acevedo's "The Poet X," the symbolism of ants is particularly
powerful in conveying Xiomara's feelings of smallness and vulnerability, especially
in the face of her mother's imposing presence.1 Here's a breakdown:

Feelings of Insignificance:

Xiomara uses the image of an ant to express how small and insignificant
she feels when confronted by her mother, Mami. This is especially true
during moments of conflict and when she feels overwhelmed by Mami's
expectations and strict religious beliefs.

It highlights the power imbalance between them, where Xiomara feels like
she has little control or agency.

Bearing Burdens:

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 239

 Ants are known for their ability to carry heavy loads, and Xiomara likens
herself to an ant to represent the heavy emotional burden she carries. This
burden includes the pressure to conform to her mother's expectations, her
struggles with her own identity, and the challenges of navigating her
burgeoning sexuality.

Living in Confined Spaces:

Ants live in small spaces, and this reflects how Xiomara feels confined by
her circumstances. She feels trapped by her mother's rules and
restrictions, and she longs for the freedom to explore her own identity and
express herself.

Rejection of the Symbol:

It is important to note, that Xiomara also rejects this symbol. At points in

the book, especially during the more intense moments of conflict with her
mother, Xiomara understands that she is not an ant, but a person being
hurt. This rejection is a key part of Xiomara's journey to finding her own
voice, and her own strength.

In essence, the ant symbolism in "The Poet X" serves as a powerful metaphor for
Xiomara's feelings of vulnerability, the weight of her burdens, and her struggle for
autonomy.11

-Every ethnic group we are dealing with has some self-recognition associated to
the movement that we asscoaite with black people

when the yellow peril is created we have the idea that they are dangerous and
when we get other racial slurs or words that refer to national ethnic origin wee get
it, there is an ironical use of the color yellow, when talking about yellow pweill we
refer it to blck power

In the world peril there is black power, we are palying with something here,

Goig back to the asian american the categories start being used and we start
having departments or sections , which follows from ethnographic work, this is
going back to places whr people experience enslavement first hand, the full oal
folkrlore where we refr to this immaterial oral way to speak, folklore is like ou
european nursery rhymes, the asian amaerican is like a conscience and it all
crystalizes in the 60’s as we start thinking what an american is

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 240

 In the case of spanish, wee get a mix of things, we get a cultural cateegory that’s
connected to colonialism and it’s colonies, in the case of the mestiza and this
border culture we bring more ethnic concepts, in the case of afro latine this is
much more complicated to explain as there is a problem with all this,if this is
complicated we can imagine this, this is not a matter of national oriin but of other
aspects

The asian becomes a treat during th yellow terror, which basically starts with this
far at th end of th 19th century whre thre is an uprisisng, Orientalism in a way is
this western gaze te idea that as a western person there is this orient, everyone is
involved in agining extracting smth and it reeinforcesthis dea that we can’t mix
because we are all so radically different

The Orient for the West

An Orientalist is: “anyone who teaches, writes about, or researches the Orient —
and this applies whether the person is an anthropologist, sociologist, historian, or
philologist— either in its specific or general aspects” (Orientalism 2).

The Orient was a creation with no corresponding reality

The Orient exists for the West, and is constructed by and in relation to the
West.

It is a mirror image of what is inferior and alien (‘Other‘) to the West.

The Orient is a repository of Western desires.

The Orient is a construct, a fake, not a reality.

The binary opposition between Occident and Orient was in fact a line of
“imaginative geography.” -> Orient and Occident are artificial artifacts
produced by human beings

Some dates where the Asian people might have migrated to the US, during 1587
the Luzon indians arrived as a crew and they essentially enslaved members from a
spanish galleon, during the 1830’s the kingdom of hawaii contracted workers from
many different

1587: “Luzon Indians” (Filipinos from Manila) arrived as crew members and
enslaved workers on a Spanish galleon.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 241

 1830s: the Kingdom of Hawaii (not yet the US) contracted workers from China,
Japan, Korea, India and the Philippines to labor on plantations on the
archipielago.

After the civil war ends (1865) if we connetc this to western expansion the west
becomes an opportunity for everything nor only because of the gold rushbut also
because of this continental railroda where we start getting mostly chinese people
who are brought to the us by many people and then in 1882 we get the chinese
exclusion act whoch says that chinese people can’t come to the USA for 10 years
and we bring foreign workers in and later we start having tensions, this creates a
very specific type of discrimination

In 1898 Wong Kim Ark sues the government and this goesall the way to the
supreme court where people were forced to recognize birthright citizenship to the
Chinese and the Asian citizens to the chinese and asian citizens born in the USA

1875-1940: Asian Americans are largely deprived from the benefit of

naturalization and citizenship rights. 1924 Immigration Act: bars the migration
of “aliens ineligible for citizenship.”

→ Because of the period, naturalization nationalities were not granted.

→ If you are not eligible to naturalization, then you’re not eligible to migrate here.

There in an increased sense of threat diring the exclusion era of chinesepeople

during WW2 and they are forbidden toenter the USA and Asia.

• 1942-1946: Japanese Internment Camps, approx. 120,000 Japanese Americans

from the West Coast are incarcerated; 2/3 of them are American citizens.
Japanese citizens from Latin American countries are also interned.

The magnusson act is the act that temporarily stops these exclusion and in 1946
the Filipino naturalization act is aprooved which allowas the naturalization of
fillipino americans and grants the citizenship to those who arrived prior to 1943

Immigration and Nationality Act (1965): establishes a quota/ limit to migration

from the Western Hemisphere for the first time; opens up migration from other
areas. At the time, the US was 85% white, 11% black and 4% Hispanic.
Migration from Asian countries rises and contributes to the current mix.

→ By putting this quota, the rise of the migration only begins.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 242

 All these migratory flows happen for a reason. If a country is invaded and
stripped, they will surely and purposely look for a better place to survive.

It is hard to construct an idea of what an Asian is, since they’re ethnically so

different.

History of Asian American migration

The first people of Asian origin were a group of Filipinos from Manila ("Luzonians"
or ”Luzon
Indians”) arrived as crew members and slave workers aboard the Spanish galleon
Nuestra
Señora de Buena Esperanza (1587). Hence, the first arrivals were obligated. After
this, there were
more.

In 1830s, Hawaii contracted workers who laboured on plantations (China, Japan,

Korea, India,
and the Philippines).

The first immigrant “wave” is dated between 1850–1917. Later, the California Gold
Rush brought
Chinese migrants (Guangdong Province). This population was considered cheap
labour across
the US to work in plantations, Transcontinental Railroad, mines, factories… Apart
from Chinese
they were also Japanese, Korean, and South Asian. During those years, people
perceived them as
dangerous.

There were many episodes of hatred, violence and lynchings against Asian
population in the
1860s and 1870s. These attitudes were reinforced by racist stereotypes (the
“Yellow Peril”) and
also by laws (Chinese Exclusion Act of 1882).

United States v. Wong Kim Ark (1898): the Supreme Court of the United States
ruled that a person
born in the United States to Chinese immigrant parents was a U.S. citizen at birth.
This decision

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 243

 established an important precedent. Asian Americans were excluded and deprived
of citizen rights
by the United States law between 1875 and 1965 and were largely prohibited from
naturalization
until 1940. In other words, they were only considered citizens if they were born
there but
migration avoid women in order to not let them stablish in the country with
families.

US society perceived Asian workers as a threat due to how cheap their work was.
This created the
idea of migrants taking job from citizens which is still believed.

Some authors have appropriated the racial stereotypes to make fun of them and
proof they are
ridicule.

Exclusion Era (1917-World War II)

Asiatic Barred Zone Act (1917) prohibited all immigration from a vast zone that
encompassed
parts of the Middle East and most of Asia. The Immigration Act of 1924 barred
“aliens ineligible
for citizenship” that lead to near complete exclusion of Asian immigration to the
United States.
Second-generation Asian Americans were citizens by birth but nonetheless faced
racial
discrimination, segregation in schools, etc.

From 1942 to 1946 110,000 to 120,000 Japanese Americans living on the West
Coast were
incarcerated in internment camps. 2/3 were American citizens. 2,200 Japanese
Peruvians were
deported to US and incarcerated. There were camps of concentration to where
people were sent.
Not only Japanese Americans but also Japanese from some Latin countries.
These people then
were supposed to be compensated. The people who survived this had a really
hard time because

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 244

 they were still not Americans, and they couldn’t return to Japan. Many of them
decided not to
make visible their racial identity not creating communities. There were created
some laws to
normalize the situation.

Abandonment of exclusionary policies (1943–1965)

Magnuson Act (1943) put an end to 62 years of Chinese exclusion.

War Brides Act (1945) lifted the ban on Asian immigration for spouses and adopted
children of
US army staff.

Filipino Naturalization Act (1946): allowed naturalization of Filipino Americans, and

citizenship
to those who arrived prior to March 1943.

Immigration and Nationality Act Amendments (1965) eliminated racial/nationality-

based
discrimination in immigration quotas.

Arefraction is a distored reflction,where they argue onliterature as this veery

colicated historical event

We also have to look at vietnamese literature heere, there are 2 stereotyes which
she refers to the minority

The US and Vietnam war

This war changed the way US citizens view war. It lasted between 1955-1975 and
it is the longest
war in US history. Cold War proxy-war: North Vietnam was supported by Russia,
South Vietnam
by the US.

South Vietnamese were allies of Americans for 25 years: after the end of the war,
they have to
flee the country for fear of retaliation. The war spilled over neighbouring
countries: Laotian Civil
War and Cambodian Civil War; precedent: Korean War (1950-1953).

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 245

 Losses in South Vietnam: civilian dead 430,000; military dead 254,256; US
soldiers 58,281.
Between 1975-1994 happened the US economic embargo.
Vietnamese refugees

In 1975 largest population movement since emigration of Jews to US during and

after WWII: 1.5
million, largest population of Vietnamese in the diaspora.

1975-1978: 1st” wave”. Elites, contact with US personnel, sense of “unfinished

business”
(Pelaud 10)

1978-1980: 2nd “wave”: “boat people”, Vietnamese of Chinese ethnicity and 10%
died at sea .
Camps in Thailand and Malaysia. Dispersal policies in the US

What is interesting about the vietnam syndrome is that that loss puts the country,
the goal of being the leader of the free world, the guaranteer of certain roles so
the Vietnam syndrome questions this, the vietnam war

The term "Vietnam Syndrome" refers to a significant phenomenon in U.S. political

and social history, characterized by a widespread public aversion to American
overseas military interventions following the profound and deeply divisive
experience of the Vietnam War. It's not a medical syndrome, but a socio-political
one. Here's a more detailed explanation:

Core Elements:

Public Aversion to Military Intervention:

At its heart, the Vietnam Syndrome signifies a deep-seated reluctance

within the American public to support the deployment of U.S. troops in
foreign conflicts. This reluctance stemmed from the widespread
disillusionment and trauma associated with the Vietnam War.

Factors Contributing to the Syndrome:

Prolonged and Unpopular War: The Vietnam War was a protracted and
highly controversial conflict that resulted in significant American casualties
and a lack of clear victory.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 246

 Erosion of Public Trust: The war led to a significant erosion of public trust
in the government and military, as discrepancies between official
narratives and the realities of the war became increasingly apparent.

Media Coverage: Uncensored media coverage of the war, including

graphic images and reports of atrocities, played a crucial role in shaping
public opinion and fueling anti-war sentiment.

Social and Political Divisions: The war deeply divided American society,
sparking widespread protests and social unrest.

Consequences and Manifestations:

Reluctance to Deploy Ground Troops: The Vietnam Syndrome resulted in

a heightened caution among policymakers regarding the deployment of
U.S. ground troops in foreign conflicts.

Emphasis on Diplomatic Solutions: There was a greater emphasis on

diplomatic solutions and multilateral approaches to international crises.

Increased Scrutiny of Military Interventions: Public and congressional

scrutiny of proposed military interventions increased significantly.

Impact on Military Doctrine: it influenced military doctrine, with a greater

focus on quick, decisive military actions with clear objectives.

The "Laying to Rest" of the Syndrome:

The perceived success of the Gulf War in 1991 led some to believe that the
Vietnam Syndrome had been overcome. However, debates continue
regarding the enduring influence of this phenomenon on U.S. foreign
policy.

In essence, the Vietnam Syndrome represents a period of profound national

reflection and a shift in public attitudes toward military intervention, shaped by the
traumatic experience of the Vietnam War.
There is a questioning back on the people at home and also by the soldiers who
are in the war so this aversion to american intervention happens, so this is smth
new as now they don’t want this american intervention, so this is what
exceptionalism is like as the war was televised and so on, what haooened in

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 247

 vietnam wasn’t santized and some images thta shouldn’t have appeared appeared
on TV

North Vietnamese ⇒ Controlled by communist countries

South Vietnamese ⇒ Controlled by Capitalist countries

Vietnamese refugees
In 1975 largest population movement since emigration of Jews to US during and
after WWII: 1.5
million, largest population of Vietnamese in the diaspora.
1975-1978: 1st” wave”. Elites, contact with US personnel, sense of “unfinished
business”
(Pelaud 10)

1978-1980: 2nd “wave”: “boat people”, Vietnamese of Chinese ethnicity and 10%
died at sea .
Camps in Thailand and Malaysia. Dispersal policies in the US

Thi Bui.
There are multiple ways to refer to comic books in different languages, such as
tebeo, comic, funnies, B. D. stories, historieta, cuadrinho, manga (animated
picture), manhwa, etc. There is not a literal translation for these words as each of
them refer to different aspects: the speech balloon’s, the panel, the order of the
pictures, etc. There is no consensus about what comic is because most definitions
proposed are not satisfactory. Still, according to the iconic principle (T.
Groensteen), all the separate elements are interrelated and what is read is the
collection of elements. Even so, all the images in themselves have their own
individual meaning, despite the fact that these are read in interaction with other
images. Comic books are not a literary genre because they are not literature but
something else. In They are a medium. This way, Thi Bui’s The Best We Could Do
is a graphic memoir, which is a comic genre. Therefore, comics can be
differentiated in accordance with the format and genre: comic books, strip
(newspapers), graphic novel...

The best we could do

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 248

 To refer to comics, each language focusses on one specific aspect that
characterizes this way of
writing. Some focus on the production of the medium, some others refer to the
content of this way
of writing, also they can refer to formal aspects to the unit. The variety of names
and focuses
prove that there is no consensus of what a comic is because none of them are
satisfactory. What
creates a union between all these names is the iconic solidarity referring that all
the images mean
something themselves. In the medium of comics there can be genre and format:

Genre: thriller, adventure, drama, romance, slice of life, graphic memoir

(this is a story which isn’t told by the colonizers but it is told though the
perspective of a familiar and someone who lived in that country, even if it
was for a short time), and others.

Format: comic books, strip, graphic novel (a book format comic an example
is Maus).

Specifically, The Best We Could Do is part of the genre graphic memoir which not
only talks about the American incursion in Vietnam it talks way before the
American invasion it goes all the way back to French colonism in which the
medium is a comic, and the format is a graphic novel. It is interesting that the
writer chooses one single colour for the drawings: sepia colour that evokes
memories and old family photos. There are many allusions to water and the rusty
colour allows to see the different shades of the water.

The speaker and main character are the writers. Thi is telling her story and the
relationships she
has with her family members. She fears passing past traumas inherited by her
parents (who all have different storylines as the mother came from a wealthy
family who enrolled her in a french school because she had more capability than
her brothers so we also see this division in the family whilst her siblings went to a
Vietnamese school and the father of the main character comes from a poor-class
family (possibly touchinginyo themes like that of neglect and possible abuse as
well, there are also mentions of the family of the father dying during the
Vietnamese revolt against the french, and eventually the father’s trauma kind of

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 249

 bled out on their kids since he basically put no restraint on the children and mostly
didn’t pay any attention to them) who had to do whatever they could in order to
survive, to the point of even recurring of joining the anti-french Vietnamese militia)
to her son. Along with the story there are past stories. We get to know the main
character as a mother and as a daughter, that is why it is not considered an
autobiography. It covers motherhood through the eyes of a daughter as we see
the daughter has a very close connection with her mother (as we can see in the
very beginning of the novel where the main character wants to give birth with her
motheer being by her side, yet the mother can’t stand it and in the end has to
leave the room). Giving birth is important as it is the beginning and the end. It is a
story about how to be a good parent, about family, connected to the structure.

The speaker and main character are the writers. Thi is telling her story and the
relationships she
has with her family members. She fears passing past traumas inherited by her
parents to her son.
Along with the story there are past stories. We get to know the main character as a
mother and as
a daughter, that is why it is not considered an autobiography. It covers
motherhood through the
eyes of a daughter. Giving birth is important as it is the beginning and the end. It is
a story about
how to be a good parent, about family, connected to the structure.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 250

 This image specifically symbolyzes
that because she didn’t grow in
Vietnam like her older siblings did and
that she felt like a ‘tourist’ visiting
Vietnam due t her short stay

This image symbolizes certain things

such is

There is a part that’s missing of

her as if she has a hole in her
that nothing can really fill (as
we can see in the line ‘And that
if I could see Viet nam as a real
place and not something lost’, in
this case it is the shape of her
There is a picture in which she is
country)
represented as a child with a hole with
Vietnam shape, it is almost a scar and She’s hurting (related to Gloria
seems to be painful. She has a gap in anzalduas Borderlands idea,
her story, a gap about Vietnam in the especially since in the image
family story. She needs to understand she is presented with some sort
the gap of Vietnam that is in her, but of open wound, which is the
she doesn’t know about. In connection trauma that she has) and she
with this she starts a conversation with wants to heal from this hurt and
her mother. Writing her story is to trauma
know about the story of her family, and
This novel tells the story of
herself; she is a bridge between
people who have experienced
America and Vietnam. When the first
some sort of trauma
baby dies, someone says that “we did
the best we could do”. She moves from However, there are many other
present to past refereeing to different interpretations to this.
things and telling the different child
births.

The map of Vietnam is a hole in Thi’s back. It somehow represents a gap in her
story she needs to reconstruct, as she does not know much about her parents' life

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 251

 in Vietnam nor about the time they spent there. In fact, it is also almost a scar,
something that is painful. The map of Vietnam may also allude to the war and the
part of her connected to Vietnam which she is unaware of and does not feel she
owns it. In one of the chapters there is an image of Thi writing her memoir and, in
the background, it can be seen the boat in which her family migrated. Hence, it is
understood that writing the story is Thi’s way of coming to terms with her family,
her family’s story and herself. At the same time, this is connected with the
following vignettes in which Thi talks about their story with her mother and father.
She becomes a bridge between America and Vietnam. The title of the memoir
becomes the motto of the family, and it is irrelevant who utters it.

The story is quite circular. Thi gives birth and then is presented with how the child
takes his own
decision. It is not linear as it has flashbacks and flashforwards. She is having a
conversation
with her parents, and these are represented through flashbacks, this is difficult to
realize as she
doesn’t change the style because everything is very connected. It is not easy to
understand who
your parents are and so who you are.

This beginning is in 2005. The first image you see does not show her face but her
body. She is
looking for identification and the emphasis is on the fact that she is in labour: she
is like a piece
of meat; she is not a person. This kind of perspective allows the reader to feel
identified. Looking
at this beginning she seems to be the narrator and it can be argued that it is a
first-person
perspective.

There are three narrative lines of coming-of-age stories. We know some things
about Thi as a
daughter and others about her as a mother. In contrast we get to see very
completely the life of
her parents making this very biographic. She tells the story of her parents, of her
and also the
history of Vietnam.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 252

 This is a story about family and also about trauma, moreover about the difficulties
in
communication. All this is shown with the labour chapter: labour is not only a
trauma for Thi but
also for her mother and this creates an even worse scene. This chapter shows
how a woman loses
her body during labour because the baby is first and the doctors are violently
treating her. The
images here represent the mother far from her. This chapter show different
situations that are
difficult and stressful for a woman.

The second chapter has a flashback to 1999. This second chapter deals with
conflicts due to
different viewpoints. The clash of values of the first and second generation. The
fact that a girl
lived with a man before getting married is a problem for the mother. The family has
communication problems, and the parents are strict.

Thi says that she comes from her people which is her family that normally is
home. The fact
that she represents her two sisters that died as ghosts says that they are part of
the story, and we
need them to understand the family and the trauma of the family.

Thi breaks the fourth wall in some panels. She makes reference to other panels
when talking. The
problem of the second generation is that they had it easier than the first
generation because they
were already in the country and the first generation had to learn how to be and
behave. The second
generation has to cope with the first-generation expectations. There is a feeling of
not being a
good daughter and not understanding.

There is a picture in which she is represented as a child with a hole with Vietnam
shape, it is
almost a scar and seems to be painful. She has a gap in her story, a gap about

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 253

 Vietnam in the
family story. She needs to understand the gap of Vietnam that is in her, but she
doesn’t know
about. In connection with this she starts a conversation with her mother. Writing
her story is to
know about the story of her family, and herself; she is a bridge between America
and Vietnam.
When the first baby dies, someone says that “we did the best we could do”. She
moves from
present to past refereeing to different things and telling the different child births.

The third chapter deals with their childhood in the US. It is told from the
perspective of a child
that did not know what was going on and did not understand the difficult social
situation. In this
chapter Bo’s perception changes for the reader. He is very absent and even the
children feel alone
although he is present. He was responsible for saving the journey to escape from
Vietnam. He
was a hero but didn’t know how to fit in his new role in the US. He projects his
fears onto his
children. Comparing the mother had it easier than the father.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 254

 These are the people where the story
is based off what’s striking is that the
facial complexions and everything is
portrayed pretty accurately and the
drawings are actually very similar so
this is a very heartwarming and both
heartbreaking at the same time
(reminder that this book is a memorial)

Later we have another image which is

what looks like a fetus (as we can see
there is also a resemblance to a face in
the fetus)

“THE BEST WE COULD DO” by Thi bui

To refer to comics, each language focusses on one specific aspect that
characterizes this
way of writing. Some focus on the production of the medium, some others refer to
the
content of this way of writing, also they can refer to formal aspects to the unit. The
variety of
names and focuses prove that there is no consensus of what a comic is because
none of
them are satisfactory. What creates a union between all these names is the iconic

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 255

 solidarity
referring that all the images mean something themselves. In the medium of comics
there can
be genre and format:
• Genre: thriller, adventure, drama, romance, slice of life, graphic memoir, and
others.

• Format: comic books, strip, graphic novel (a book format comic an example is
Maus).

Specifically, The Best We Could Do is part of the genre graphic memoir in which
the medium
is a comic, and the format is a graphic novel. It is interesting that the writer
chooses one

single colour for the drawings: sepia colour that evokes memories and old family
photos.
There are many allusions to water and the rusty colour allows to see the different
shades of
the water.

The speaker and main character are the writers. Thi is telling her story and the
relationships
she has with her family members. She fears passing past traumas inherited by her
parents
to her son. Along with the story there are past stories. We get to know the main
character as
a mother and as a daughter, that is why it is not considered an autobiography. It
covers
motherhood through the eyes of a daughter. Giving birth is important as it is the
beginning
and the end. It is a story about how to be a good parent, about family, connected
to the
structure.
The story is quite circular. Thi gives birth and then is presented with how the child
takes his
own decision. It is not linear as it has flashbacks and flashforwards. She is having
a

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 256

 conversation with her parents, and these are represented through flashbacks, this
is difficult
to realize as she doesn’t change the style because everything is very connected.
It is not
easy to understand who your parents are and so who you are.

This beginning is in 2005. The first image you see does not show her face but her
body. She
is looking for identification and the emphasis is on the fact that she is in labour:
she is like a
piece of meat; she is not a person. This kind of perspective allows the reader to
feel
identified. Looking at this beginning she seems to be the narrator and it can be
argued that it
is a first-person perspective.
There are three narrative lines of coming-of-age stories. We know some things
about Thi as
a daughter and others about her as a mother. In contrast we get to see very
completely the
life of her parents making this very biographic. She tells the story of her parents,
of her and
also the history of Vietnam.

This is a story about family and also about trauma, moreover about the difficulties
in communication. All this is shown with the labour chapter: labour is not only a
trauma for Thi
but also for her mother and this creates an even worse scene. This chapter shows
how a
woman losesher body during labour because the baby is first and the doctors are
violently
treating her. The images here represent the mother far from her. This chapter
show different
situations that are difficult and stressful for a woman.
The second chapter has a flashback to 1999. This second chapter deals with
conflicts due todifferent viewpoints. The clash of values of the first and second
generation. The fact that a girl lived with a man before getting married is a

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 257

 problem for the mother. The family has communication problems, and the parents
are strict.
Thi says that she comes from her people which is her family that normally is
home. The fact that she represents her two sisters that died as ghosts says that
they are part of the story, and we need them to understand the family and the
trauma of the family.

Thi breaks the fourth wall in some panels. She makes reference to other panels
when talking. The problem of the second generation is that they had it easier than
the first generation because they were already in the country and the first
generation had to learn how to be and behave. The second generation has to cope
with the first-generation expectations. There is a feeling of not being a good
daughter and not understanding.

There is a picture in which she is represented as a child with a hole with Vietnam
shape, it is almost a scar and seems to be painful. She has a gap in her story, a
gap about Vietnam in the family story. She needs to understand the gap of
Vietnam that is in her, but she doesn’t know about. In connection with this she
starts a conversation with her mother. Writing her story is to know about the story
of her family, and herself; she is a bridge between America and Vietnam. When
the first baby dies, someone says that “we did the best we could do”. She moves
from present to past refereeing to different things and telling the different child
births.

The third chapter deals with their childhood in the US. It is told from the
perspective of a
child that did not know what was going on and did not understand the difficult
social
situation. In this chapter Bo’s perception changes for the reader. He is very absent
and even
the children feel alone although he is present. He was responsible for saving the
journey to
escape from Vietnam. He was a hero but didn’t know how to fit in his new role in
the US. He
projects his fears onto his children. Comparing the mother had it easier than the
father.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 258

 On earth we’re briefly gorgeous
This novel was beautiful but sad at the same time

First person narrator (not really ig?) this novel is an epistolary novel, the form is a
letter to the mother, there are some more things and this novel has a strong
tradition in many different novels, if we thik about this period it is very popular and
it is not the sae as in the 18th century but we still have remarkable examples about
this, there are many differences between this novel and between the world and me
(as well as this novel being in relation to the souls of black folk) its someone
talking to someone else we can see thisin other novels whicharen’t epistolary, but
when the narrator talks to you (a second person adress the question is what does
the form of this direct dress do to us as readers)

The letter form is what is important, we hav 3 prts and each section is divided in
different themes and it’s also connected to time as in the 3rd part he’s living in the
city and hes coming back,so it’s childhood and coming of age novel

There are many fragments but there is somehow linearity (childhood, coming-of-
age, and then
return). Sometimes the main narrative is interrupted by memories that illustrate the
main events
narrated. What matters more than the events is how they are presented by the
author that is way
the form may appear to be a poetic essay.

There are 3 sections separating certain events:

First section: his childhood, her family background and the Vietnamese roots.
Some
Vietnamese rules, the violence suffered. This section is presented as a letter
and Rose is
like an interlocutor. The letter makes possible a conversation that in real life is
impossible.
There is use of you addressing Rose.

Second fragment. He is a teenager and gets a job. There is a first-person

narrator and
Rose is alluded in a third person narrator in contrast to the you of first
fragment.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 259

 Third fragment: an adult not living in his home. It is a fragment to deal with loss
of
Trevor, and Lan. It is more lyrical. He is also losing his past self while dealing
with
homecoming.

the setting is important and we get descriptions of the places where they move
and so o, the novel gets us into the pain and the naturalist parts but even within
the story there ar these shiny moments (this is what the novel does so beautifully)

the mother doesnt speak english and his son is writing this o his mother who
doesn’t know how to read and write, the impression of this novel is a time where
so many writers com from creative writing and they are writers as well as this
novel diverts us from the stereotypes that writers write which is typically romantic
and so on, this novel also wrtes about craft, how this genius comes up and how
we read this writers, this is the work of a beautiful genius and it’s also very
original, as we haven’t really read anything like this

what is interesting about htis ovel is that this isnt autobiographical, but it kinda is
as we can seee in the novel, some things that he says are that he has a younger
sibling, one of the most interesting things about this novel is the fact that we get a
ery complicated history abt ethnicity and class and how we have here the
vulnerability, pain and the violence

what we are seeing here is a matter of class as the americans will get here and
there are flashbacks where we get these young servicemen and what the war did
and how it affected the vietnamese here we get another type of migration, but this
novel also changes the focus and puts it on how everyone loses within the war,
who wins in the war appart from the rich kinds, what the novel constructs is this
idea of vulnerability precriness amd how this has many reasons, but in the end
they are all meeting from the same place of hurt

the setting is on downtown and this has also created empoverished areas in other
aras, the city can also go bankrupt, they can pay for stuff, there are more taxes
and so on, we even have other more empoerished areas, but even like
supermarkets, living in a redland area its difficult to be there and to even access
there, the setting of this novel is generally super importat, another hting which is
very important is queerness but in every sense of th term it is not only about
gender buut also this idea of coming out of what is exected ofwhat it is to be a

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 260

 man, this also has to do with Vuong’s choice of pronouns. its interesting what he
does,

trevor likes to shoot animals, typical farer things, how he dresses how he writes
and how masculinity is described in agressive terms and how he also tries to
deconstruct this from within

we have 4 mc within these novel

Themes are here

9781529110685.pdf

Symbols = metaphors, as, like metaphors & symbols, it depends, the difference
between a metaphor and the symile is the as and like so is ths a methphor or a
symie?

MONARCH BUTTERFLIES ⇒ appear in parts 1 and 3

Survival instinct, something done naturally, a natural decision which again in a
place of war and famin what is a choice and to which extent is it a rational choice,
in the previous pages of the book we get this sense of survival and the metaphor
and the symile becomes more evident because he sn’t taking about butterflies, but
about himself, the thing is that monarch butterfies don’t live long, they all live
according to their beauty, the buttlerfly is a perfect img for x community

Butterflies, specifically monarch butterflies, are repeatedly mentioned in On Earth

we’re Briefly
Gorgeous, and they are symbolic of memory, migration, and the importance of
passing knowledge and lived experiences from generation to generation. Little
Dog first mentions monarch
butterflies in the very beginning of the novel, when he tells of the butterflies in
Michigan during the fall that are beginning their migration south for the winter.
From September to November, butterflies are everywhere and cover nearly every
surface, but their survival is tenuous, and a single night of cold can quickly kill
them off. The butterflies lay eggs on their journey south, and they never live to fly
north again, but future butterflies automatically know the route because this
knowledge in ingrained in them by their “ancestors.” As an immigrant and a

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 261

 refugee, Little Dog and his family were forced to migrate in order to survive, much
like the butterflies, and Little Dog equally relies on the lessons he learns from his
mother, Rose, and his grandmother, Lan. Whereas the buffalo are symbolic of the
blind following of one’s family in the novel, the monarchs represent a purposeful
legacy, one that is essential for survival. Little Dog hopes that he and Rose will
one day be “the opposite of buffaloes” and instead “grow wings and spill over the
cliff as a generation of monarchs, heading home,” and this is precisely what
happens at the end of the
novel. As a thundering herd of buffalo charge at Little Dog, they suddenly turn into
monarch butterflies and soar over his head. The stories and memories Little Dog
cherishes, most of which
come from his mother and grandmother, inform his life and guide his decisions,
and in many ways, they help him to survive.
in part 3 the monarch butterflies (a kind of butterfly which is beautiful and
migrates on certainpriods because of climate changes and which has a lot of
symbolism as it migrates due to instinct, nt bcaus thy hav th concious ability to
migrate) are different with one another, there are people who die and don’t make
it, monarch butterflies are also a smbol of survival

what is a sentence but a live ⇒ can relate to the borderlands by anzaldue and it
can also relate to a life sentence ⇒ cadena perpetua, this can connect to the
monarch butterflies, because depending on what youhave it can be a life sentence
or something like the style
the country of destiny, where you arriv but what if the memory of that country will
never leave you what if those memories don’t leave, so this could relate yet again
to the trauma experienced, he’s trying to understand the history of what his family
tells himand he’s trying to rebuild it all, and then this of the sentence continues
because on page 9 it says ‘if we are lucky’ so again its beautiful how languag and
riting are part of this life metaaphor, what is amazing is the richness and
everything that appears within the phrase/reframe, we have to think how it adds
up to everything, in pge 11 the last paragraph here stop means something else

Scene where they go to walmart, and the mother finds this dress she likes it, and
she tells little dog to read the tag, maybe she’s violent because of PTSD or becase
they r actually a monster, the heartbeat can be related to some sort of self control,
these situations happen in high stres situations and it’s telling us to control

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 262

 heartbeat and so on, this also depends on how people react to a high-stress
situation, being alivee posesses the heartbeat, and the yes yes yes could be
connected to the heart and its ability to say no, it can also relate to the will to live
and stay alive, this relates to the wallmart scene because the mom asks if the
dress is fireproof (again we can relate it to PTSD)

Vietnamese is a stunted language ⇒ having been prevented from growing

properly because of several reasons, stunted here refers to level of complexity
and not a very simple language, he is raised in english so his command of english
is always there so the mother tongue is vietnamese and you can learn only from
the mother so the stunted growth also refers to other things, like being stunted in
terms of the mother tongue because the mother tongue (vietnamese is somehow
foreign). in the supermarket scene the mother doens0’t know how to manage
herself so she tries to physically explain what she wants to do so she acts it out.
Little dog iss very young at this time so h’s trying to b the interpreter ever since he
was a kid so he doesn’t really know what to do this cases

In hamlet’s to be or not to be he’s actually pondering wether he was alive (hmlet

considering suicide/killing himself), the person with the skull is this representation,
the reason that hamlet recoils from comitting suicide is that he doesn’t know what
comes after death and that generally scares him, at the end of this section when
he is asked how he identifies the question, he says that in a connection to war
(this isn’t really accurate, war is the larger thing). hamlet can choose wether to be
or not to be, weher you are seen or wether you exist is not a choice that you can
make, your existence being recognized as something else, the thing is that living is
so hard that the very fact of being alive is difficult in itself already

The american dream is understood as something else, that there will be no

obstacles and there is no difficulties, other countries don’t have this ideology of
the american dream but this was enough to buy somethibg else, other countries
don’t have these american dream ideology, there is an ideological attraction
towards the american dream, which in his words is somehow ‘calcified’, the word
calcified here means that calcified could be referred in the context of broken
bones, the break can heal properly and then if you don’t hal it properly it can
cause calcifying and stilness of the bones, this can relate to other themes in
another books and this connects to these dreams that are life expectations

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 263

 because in striving with thse things the very thingof struggling actuaally
impeasesyou, we also get a very important reflection that says that to be awake in
american bones, not only the immigrants but the whole family it is a whole working
class thing, what opportunities did you have

This is a rich and complex passage you're working through, and it ties deeply into
Ocean Vuong's On Earth We’re Briefly Gorgeous. Let’s break it down and expand
on it through the lens of Vuong’s themes, language, and broader implications.

The American Dream and Its Disillusionment

You mention the American Dream being seen as a promise of a life without
obstacles—a place where success is guaranteed if one works hard enough. In On
Earth We’re Briefly Gorgeous, Ocean Vuong critiques this ideology not just for its
unrealistic expectations, but for the way it erases the struggles of immigrants,
refugees, and the working class. The narrator, Little Dog, and his family, who fled
Vietnam, are caught between the myth of American opportunity and the reality
of systemic poverty, racism, and trauma.

Vuong subtly shows that the American Dream becomes a kind of mythical
goalpost—always out of reach, always promised, never fully delivered.

“They say nothing lasts forever but they're just scared it will
last longer than they can love it.”

This line resonates with the idea that the dream, once believed in, can turn to
something hollow. It lasts, but it doesn’t nourish. It calcifies.

“Calcified” — Language of the Body, Language of Trauma

You picked up beautifully on the use of the word “calcified.” In medical terms, it
refers to bone healing improperly—something meant to grow back whole, but
instead growing stiff and unnatural.

Vuong often blurs the line between the physical and emotional, using bodily
metaphors to describe psychological states. So, when he (or you) says that the
American Dream is calcified, it implies something once full of movement, promise,

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 264

 and fluidity has become rigid, brittle, and painful. This connects to the broader
theme of trauma—particularly inherited and cultural trauma.

The dream has not only failed to deliver—it has become a kind of immobilizing
burden. The very striving for it imprisons rather than liberates.

Striving and Suffering

You touch on a powerful idea: struggle itself becomes a kind of impediment.
Vuong shows how immigrant families are told that hard work will lead to success,
but instead, they become caught in a cycle of labor and suffering that offers little
reward.

In one of the most moving parts of the novel, Little Dog reflects on his mother’s
backbreaking work in nail salons and factories—how labor becomes a language,
a survival mechanism, but also a silent killer of joy, body, and soul.

The expectation of success through struggle is exposed as a myth that hurts

more than it helps. It’s a loop: struggle → hope → failure → renewed struggle →
deeper pain.

“To be awake in American bones…”

This line, whether paraphrased or interpreted, gets at something very Vuong-
esque: the visceral, embodied experience of being in America—not just living
here, but feeling it in your body.

To be “awake in American bones” implies a kind of uncomfortable

consciousness. Immigrants and working-class people in the book are acutely
aware of how the American system works—how they are treated, what they are
allowed, what they are denied. They're not dreaming—they're awake to the
illusion.

And it’s not just immigrants. Vuong is careful to extend his lens to the working
class broadly. White, Black, Brown—anyone laboring under capitalism is caught in
this machinery.

"What opportunities did you have?"

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 265

 This question is rhetorical and pointed. It challenges the fairness of the dream.
Vuong often returns to the limitations placed on people due to their background—
race, language, gender, trauma. He doesn’t just ask “Did you succeed?” but “Were
you ever really given a chance?”

This invites us to question:

Who is the American Dream really for?

Can survival be considered success?

What does it mean to dream in a language not your own?

Connections to Other Works

Vuong’s ideas of broken dreams, inherited trauma, and the body as a site of
memory link to authors like:

Toni Morrison (Beloved) — where trauma is embodied and passed through

generations.

James Baldwin — who wrote of the broken promises of American life for
Black Americans.

Maxine Hong Kingston — who interrogated the myths Asian Americans are
expected to live up to.

Would you like to turn this into an essay or discussion piece? I can help structure it
or expand certain parts more deeply.

bipolar ⇒ he believes he may be battling with these inmense feelings of

sadness/depression , he isn’t saying that he’s bipolar but that he has these
inmense feelings of sadness, this can be related to the feelings of being nimbthat
he doesn’t want to be numb he wants to feel everything, he doesn’t want to be
othered he wants to be accepted just as he is

Kindred (th title has it’s fair share of symbolism that it carries), this novel was
written as a HIATORICAL NOVEL (in some aspects when in others regarding time
travelling usw isn’t really historical, as it could perfectly be considered science
fiction setting along with hints of a historical novel) where we have Danaas our
main character. this novel, appart from being a historical novel has some other

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 266

 literary themes and elements that are very visible, such is the themes of abuse ,
slavery, the not knowing the roots of your family ⇒ in this case she does know
what the roots of her family are, but she discoversmore as she keeps travlling
back in time to save Rufus from the incidents that he may have the theme of
trauma is very present here as wekk as the way that Rufus hurts the servants
when he takes complete hold of the mansion and how he inherits this from his
family), some of the things that I can extract from this novel are the title, which
generally refers to a sense of kinship (or relation with certain people) or it can also
allude to a certain speech of kindness since Dana, as we can see in her character
she doesn’t really stop being kind to the people who need her no matter how
mean they are o her (in fact she even allows her own ancestors to treat her
wrongly)

Unit 5 (add what I have of unit 4 here)

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 267

 Based on the map titled "Ethnic Arabs, origin", and using your notes as a
foundation, here's a more structured and expanded analysis that integrates both
the geographical information and the distinctions between Arab, Muslim, race,
and ethnicity:

Reading the Map: Understanding Arab Ethnicity and Its Global

Context
This map visually represents the geographic origin and distribution of ethnic
Arabs, helping to clarify common confusions between Arab identity, Muslim
religious affiliation, ethnicity, and race.

1. Key Distinctions: Arab vs. Muslim

A Muslim is someone who adheres to the religion of Islam.

An Arab is someone who belongs to a specific ethnic and cultural group

traditionally tied to the Arabic language, shared customs, and historical
lineage in regions across the Middle East and North Africa (MENA).

These are not interchangeable categories:

Not all Arabs are Muslims (e.g., Arab Christians).

Not all Muslims are Arabs (e.g., Indonesians, Turks, Persians, South Asians).

The map helps us visually separate this conflation. It doesn't show religion, but
rather ethnicity, which is key to understanding how Arab identity is rooted in
culture, language, and ancestry, not just religion.

2. Interpreting the Map’s Color Codes

Dark Green: Countries where Arabs form the majority—these include core
parts of the Arab world such as Saudi Arabia, Iraq, Syria, Egypt, Libya,
Algeria, and Morocco.

Medium Green: Non-Arab minorities within Arab-majority states—this reflects

ethnic complexity within Arab states (e.g., Kurds in Iraq, Berbers in
Algeria/Morocco, or Nubians in Sudan).

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 268

 Light Green: Countries that are not Arab-majority, but have Arab minorities—
for example, Somalia, Chad, Iran, and parts of East Africa.

The map emphasizes that while Arab ethnicity is concentrated in a central region
(the so-called Arab world), it is also dispersed and intermixed with other
populations.

3. Ethnicity vs. Race vs. Religion

Race is often externally imposed and tied to physical features (skin color, hair,
facial features), historically used to classify and control populations. It’s
perceived as fixed, though it is socially constructed.

Ethnicity, on the other hand, includes language, shared history, cultural

practices, and a sense of belonging—and is often more fluid or self-
determined.

Religion can intersect with ethnicity, but does not define it. For example, a
person may convert to Islam but still identify ethnically as Persian, Kurdish,
Turkish, or African, not Arab.

So, converting to Islam does not make one Arab. Likewise, being born in an Arab-
majority state does not necessarily mean one is ethnically Arab.

4. Arab Identity and Migration

The map focuses on origin, but it's crucial to understand that Arab identity has
migrated far beyond these regions, including to:

The Americas (especially the U.S., Brazil, and Canada)

Europe (notably France and the U.K.)

Southeast Asia and East Africa

In the United States, early Arab immigrants (mostly Christians from modern-day
Lebanon, Syria, and Palestine) often became racially “white” on paper but
culturally “invisible.” More recent waves, particularly post-1965, include more
Muslim Arabs and those from a broader range of countries, and they often face
racialization, especially in the post-9/11 era.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 269

 This reinforces the idea that ethnic identity can shift depending on political, legal,
and cultural contexts.

5. Arabness as Ethnicity: Language, Culture, and Identity

Ethnic Arab identity is primarily tied to the Arabic language, which serves as a
unifying element across diverse nations. However, this identity is not monolithic.
Within Arab-majority countries, there are differences in:

Dialects

Religious affiliation

Tribal and regional identities

Colonial histories (e.g., French vs. British influence)

Still, the concept of being Arab is a chosen and shared identity, rooted in
common cultural and historical experiences, rather than biological markers.

This second map, titled “Arab Population Around the World,” provides a global
view of the Arab diaspora, allowing us to extend the previous regional analysis
into a broader international context. It’s a valuable tool for understanding how Arab
identity travels, transforms, and interacts with different national and racial
frameworks outside of the Middle East and North Africa (MENA).

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 270

 Reading the Map: Arab Identity Beyond the Middle East
Whereas the previous map focused on the origin and concentration of ethnic
Arabs in MENA, this map highlights where Arab communities live globally today,
showing the far-reaching diaspora and helping us consider what it means to be
Arab outside of the Arab world.

1. Arab Diaspora: Migration and Resettlement

The dark green areas across North and South America, parts of Europe, and
scattered regions in Asia and Oceania reflect the migration and settlement
patterns of ethnic Arabs over the past 150+ years.

Key Numbers (from the map):

United States: 3.7 million

France: 5.5–7 million

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 271

 Spain: 1.3 million

Brazil: 10–12 million

Argentina: 3.6 million

Colombia: 3.2 million

Turkey: 5 million

These large populations are the result of multiple waves of migration, often
shaped by colonial legacies, war, displacement, and economic opportunity.

2. France and Latin America: Colonial and Postcolonial Ties

In France, the presence of a large Arab population is closely linked to France’s
colonial history in North Africa (Algeria, Tunisia, Morocco), and to post-
colonial migration during the 20th century. Arab identity in France is deeply
entangled with questions of citizenship, race, and exclusion.

In Latin America, particularly Brazil, Argentina, and Colombia, Arab

immigration dates back to the late 19th and early 20th centuries. Most were
Christian Arabs (especially from Syria and Lebanon) escaping the Ottoman
Empire, and they often assimilated into local societies, sometimes even losing
their Arabic language over generations while maintaining ethnic pride.

This challenges the misconception that Arab identity is exclusively Muslim or

recent.

3. The US and the Question of Visibility

In the United States, the Arab population is ethnically diverse (Lebanese,
Palestinian, Egyptian, Iraqi, etc.) and religiously varied (Muslim, Christian, Druze).
Arab Americans have historically struggled with:

Invisibility in public discourse and census data

Racial ambiguity (sometimes classified as “white” despite being treated

differently)

Post-9/11 surveillance and suspicion, leading to new waves of racialization

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 272

 Despite their numbers, Arab Americans are often underrepresented or
homogenized in public narratives, further complicating their identity formation.

4. Arab = Ethnicity, Arabic = Language

As noted on the map itself:

Arab is an ethnic identity, tied to cultural heritage, ancestry, and in many

cases—but not all—the Arabic language.

Arabic is a language, spoken across Arab countries, but also by some non-
Arab peoples (e.g., in parts of Chad, Iran, and Mali) and not necessarily by all
Arabs in the diaspora (especially second- or third-generation immigrants).

This distinction is crucial in multicultural societies where language can be lost, but
ethnic identity may persist or be reimagined.

5. Diaspora and the Evolution of Identity

The spread of Arabs globally has produced diverse and complex hybrid identities.
For example:

Arab-Brazilian identity may involve full assimilation into Brazilian culture while
still maintaining familial pride in Arab ancestry.

Arab-French identity often involves navigating a tense relationship with the

state, particularly around issues of secularism and Islamophobia.

In Australia and Southeast Asia, Arab populations are often small but
influential in commerce and culture, blending with local traditions.

Each diasporic context involves negotiating belonging, navigating racism or

xenophobia, and sometimes dealing with the expectation to “prove” one’s loyalty
to the nation while maintaining cultural roots.

US Arab-American literature
1. Clarifying Arab vs. Muslim Identity

One of the foundational issues when discussing Arab American identity is the
confusion between the terms "Arab" and "Muslim." While these categories
sometimes overlap, they refer to entirely different aspects of identity:

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 273

 Muslim refers to a follower of the religion of Islam. It is a religious identity and
can include people from a variety of ethnic and national backgrounds—such
as Indonesians, Persians, Turks, and Africans.

Arab is an ethnic and cultural identity. It generally refers to people who come
from Arabic-speaking countries and share certain cultural traditions and
histories. Being Arab is about language, heritage, and shared customs—it is
not a religious classification.

Many people conflate the two, assuming all Arabs are Muslim or all Muslims are
Arab. This misunderstanding is partly due to overlapping characteristics but also
due to media representation and social biases. It’s important to note that not all
Arabs are Muslim (many are Christian or other faiths), and most Muslims
worldwide are not Arab.
Ethnicity is rooted in cultural traits, traditions, and self-identification, while race is
often assigned based on physical appearance. While race appears fixed because
of its reliance on visible traits, it is a social construct and not based on inherent
biological differences. Ethnicity is more fluid and chosen—people can identify with
an ethnic group regardless of changes in religion or geographical location. For
instance, converting to Islam doesn’t make someone Arab.

2. Arab Migration to the U.S. and the Emergence of Arab American Identity
The Arab American identity is relatively recent in terms of formal recognition and
academic discussion. Migration to the United States began in the late 19th and
early 20th centuries, mainly from Greater Syria (present-day Lebanon, Syria,
Jordan, and Palestine). These early migrants were largely Christian Arabs,
seeking better economic opportunities and escaping political unrest. Many of
them assimilated quickly, often being encouraged to "pass" as white in order to
gain social acceptance.

Until the 1980s, Arab Americans were largely invisible in mainstream narratives.
They were not recognized as a distinct ethnic group in the U.S. Census and were
often lumped under the "white" racial category, despite facing racialized treatment
in society. It wasn’t until later waves of immigration—especially post-1965, after
immigration reforms—that the Arab American identity began to solidify.

This second wave of immigration, which included a greater proportion of Muslim

Arabs, brought a new, more politically conscious community. These migrants were

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 274

 often escaping the direct consequences of Western imperialism, war, and
economic destabilization in the Middle East. They were more vocal about their
experiences and more insistent on maintaining their cultural identity, even in the
face of pressure to assimilate.

3. Legal Recognition and the Issue of "Whiteness"

The legal classification of Arabs in the United States has also contributed to their
complex racial and cultural status. Early in the 20th century, naturalization laws
limited citizenship to "free white persons." Arab immigrants had to argue in court
that they were white in order to gain citizenship, which they sometimes won
through selective court rulings.

By the mid-20th century, Arabs were officially classified as "white" by the U.S.
Census, which gave them certain privileges but also erased their distinct cultural
identity. This possibility of "passing as white" was both a survival tactic and a
contradiction—it offered protection from racial discrimination but also reinforced
invisibility and internalized alienation. Arab Americans were simultaneously
accepted and othered, especially during times of political tension.

To understand the Arab American experience, especially as reflected in literature

and identity, it's essential to place it in the context of U.S. racial classifications,
immigration policy, and the struggle for recognition within the U.S. Census. The
maps you provided earlier—especially showing the Arab diaspora—illustrate how
Arab identity has moved globally, but in the U.S. it has often been invisibilized,
racialized, or miscategorized. This history directly informs the themes and
tensions in Arab American literature.

Historical Context: Arabs and the U.S. Census

The Naturalization Act of 1790 limited citizenship to “free white persons.” This
formed the foundation of racial gatekeeping, and the debate over whether
Arabs were “white” enough for citizenship dominated court cases in the early
20th century.

In 1910, the U.S. Census classified many Middle Eastern peoples—Syrians,

Palestinians, Armenians, Turks—as “Asiatic”, which disqualified them from
naturalization under federal immigration law.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 275

 Arabs were legally racialized based on geographic origin, skin color, religion
(particularly Islam), and cultural distance from Europe.

By 1929, some Arab groups were reclassified as “foreign-born white

population”, a move that helped them assimilate—legally if not socially.

However, this reclassification didn't erase the perceived foreignness of Arabs.

Islamophobia, Orientalism, and post-9/11 surveillance reinforced the idea that
Arabs, regardless of religion, were not quite American, and certainly not “white”
in the social sense.

Arab American Literature: Identity, Erasure, and Passing

Arab American literature often grapples with themes of ambiguity, racial passing,
and exclusion. Writers explore how legal whiteness didn’t guarantee belonging,
and how Arab Americans have navigated being both invisible and hypervisible:
Key Themes:

“Passing” as White vs. Being Marked as Other

Early Arab immigrants sought to “pass” as white for practical reasons—

citizenship, safety, social mobility. But literature reveals how this came at the
cost of cultural erasure and internal conflict. After 9/11, “passing” became
impossible, and many Arab Americans were re-racialized as brown, Muslim,
and terrorist-associated, regardless of actual faith or politics.

The Politics of Naming and Erasure

The lack of a distinct Arab category in the U.S. Census contributes to feelings
of erasure. Arabs are still often counted under “white,” which hides
demographic realities and renders Arab American needs invisible in data-
driven policy and representation. Writers explore how this statistical erasure
reflects larger cultural and political silencing.

Literature as Resistance and Self-Definition

Authors like Etel Adnan, Naomi Shihab Nye, Suheir Hammad, and Randa
Jarrar use literature to reclaim Arab identity on their own terms. Their work
critiques both Western Orientalism and the internal pressures to assimilate,
while offering more complex, nuanced portraits of Arab life in the diaspora.

Diaspora and the Search for Belonging

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 276

 Just as your maps show Arabs spread globally, Arab American literature
reflects a sense of dislocation, but also transnational connectivity. Writers
often draw on memories of migration, generational trauma, and hybrid identity
to explore what “home” really means.

4. Orientalism and the Construction of the "Other"

A key theoretical framework for understanding Arab representation is Edward

Said’s Orientalism. In his groundbreaking 1978 book, Said, a Palestinian scholar,
explained how the West has historically produced knowledge about the "Orient"
(the East) that justifies its cultural and political dominance.

According to Said:

Orientalism is not just a set of stereotypes about exotic lands, veiled women,
and desert landscapes. It is an institutional and epistemological framework—
an entire system of thinking, teaching, writing, and representing the East that
sustains colonial power.

The Orient is constructed as Europe’s "Other"—everything the West is not:

irrational, pre-modern, sensual, and backward. In contrast, the West is
rational, scientific, and advanced.

This opposition became especially prominent during the 18th and 19th centuries—
the height of empire-building—when knowledge production about the East helped
justify European colonialism.

In the American context, Orientalist representations have continued through film,

literature, politics, and education. They create a binary world where Arabs are
never fully modern, trustworthy, or relatable. Instead, they are often reduced to
caricatures or threats.

Orientalism: A Deep Dive into a Colonial Mindset

1. What Is Orientalism?

Orientalism, as theorized by Edward Said in his 1978 book Orientalism, refers to a

Western tradition of thought, scholarship, and representation that portrays the
"Orient"—primarily the Middle East, North Africa, and Asia—as fundamentally
different, exotic, inferior, and threatening compared to the West.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 277

 Said argued that Orientalism is not just a body of stereotypes or images, but
rather a system of knowledge and power—a discourse that serves political and
imperial interests by defining the East as the West’s opposite.

2. The Orient as the West’s "Other"

According to Said, Orientalism operates through binary oppositions:

West = Rational, Modern, Civilized, Masculine

East = Irrational, Pre-modern, Exotic, Feminine

This binary helps the West define its own identity. In other words, Europe (and
later the U.S.) knows itself by knowing what it is not: it is not superstitious like
"the Muslims", not sensual like "the Arabs", not stagnant like "the Asians".

This construction of the East:

Dehumanizes and simplifies vast and diverse cultures into single images or
tropes.

Helps justify colonialism by making domination appear like a civilizing

mission.

Frames the Orient as a place of mystery and danger, ripe for exploration or
conquest.

3. Orientalism as a Tool of Empire

Said emphasized that Orientalism was central to the expansion of European

empires in the 18th and 19th centuries. Scholars, writers, missionaries, and
politicians created a "scientific" and literary framework that made colonization
seem necessary and moral.

Examples include:

Travel writing portraying Arabs as backward or barbaric.

Academic studies that claimed to objectively “know” Eastern cultures,

while reducing them to primitive customs.

Government policies influenced by cultural biases that saw the East as

unfit for self-rule.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 278

 Thus, Orientalism was not just about misrepresenting the East—it was about
controlling it through knowledge.

4. Modern Orientalism in Media and Pop Culture

Though colonial empires have officially ended, Orientalist thinking persists in

modern Western media, literature, film, and even education.

Post-9/11 representations of Arabs and Muslims are a clear example:

Arabs as terrorists or extremists

Muslim women as oppressed and voiceless

Middle Eastern societies as violent or chaotic

Islam as incompatible with democracy or progress

Hollywood movies like Aladdin, American Sniper, or Homeland perpetuate these

tropes. In these depictions, Arabs and Muslims are rarely complex individuals—
they are symbols of threat or exoticism.

Even well-meaning stories can reinforce Orientalism when they:

Simplify complex cultural issues.

Treat the West as a savior.

Portray Arab or Muslim characters only as victims, never as agents of their

own stories.

5. Orientalism and the Arab American Experience

For Arab Americans, Orientalism creates a double burden:

From the outside, they are seen through the lens of stereotype and
suspicion.

From the inside, they must wrestle with questions of identity, assimilation,
and resistance.

This is particularly visible in Arab American literature, which often explores

themes like:

Invisibility vs. hypervisibility (ignored until criminalized)

Self-definition in opposition to imposed narratives

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 279

 The clash of cultural perceptions between homeland and host nation

Writers use fiction, memoir, poetry, and essays to reclaim their narratives, expose
the harm of Orientalist thinking, and humanize communities long objectified by the
West.

6. Orientalism as an Ongoing Issue

Orientalism continues to influence:

Foreign policy (e.g., wars justified through “liberating” oppressed peoples)

Surveillance and profiling (e.g., targeting Muslim communities in

counterterrorism efforts)

Immigration debates (e.g., fear of “infiltration” from Muslim countries)

Even academic fields can reproduce Orientalist ideas when they study “others”
without involving those people in the conversation or when they assume Western
norms as universal.

Said’s legacy challenges scholars and readers to decolonize knowledge: to think

critically about who is speaking, from where, and with what assumptions.

5. Arab American Literature: Visibility Through Storytelling

1900-1920. First stage: dominated by Kahill Gibran and other names such
as Ameen Ryhaní. The authors in this stage founded literary societies and
journals writing in Arabic as well as in English. It is known as the Mahjar
(émigré) school of Arab-American writing. There is a great impact in the
Arab world as well serving as bridges between East and West.

1930-1960. Second stage: mostly second-generation writers. The 1924

Johnson-Reed
Quota Act limited numbers of new migrants. “in the absence of ongoing
contact with the home culture, Arab-Americans went so far in the
assimilation process that some historians have described them as being in
danger of assimilating themselves out of existence” (Majjaj) E.g. William
Blatty (The Exorcist) → memoir Which Way to Mecca, Jack?: humor and
self-denigration

More optimistic approach after the surge of Civil Rights and Black Power in the
1960s: self-awareness and readiness to write about Arab American identities. New

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 280

 Arab and Muslim migrants (more diversity). Common themes: ethnicity,
community, nostalgia, fixed gender roles… also, new visions for the future. Arab
American literature plays a crucial role in countering the invisibility and
misrepresentation of Arabs in the U.S. It emerged in stages.

Sam Hamod: first poet to give literary voice to Muslim Arab American
experience. Eugene Paul Nassar, Wind of the Land (1979): a memoir celebrating
Lebanese
American life and Arab-American identity.

1970-present. Third stage: proliferation of authors who approach different

genres
(novel, poetry, drama, autobiography). This stage starts with a boom in the
60s. The
authors in this stage show the diversity of the Arab diaspora. Negotiation of
a complex
identity: celebration and self-critique.

Joseph Geha’s Through and Through: Toledo Stories (1990)

Diana Abu-Jaber’s Arabian Jazz (1993): best-selling author after Gibran.

More presence of women writers: Food for Our Grandmothers: Writings

by Arab
American and Arab-Canadian Feminists, edited by Joanna Kadi.

Novelists: Mohja Kahf’s The Girl in the Tangerine Scarf (2006); Diana
Abu-
Jaber, Crescent (2003)…

Poets: Mohja Kahf, Ethel Adnan, Elmaz Abinader…

Early Stage (Late 19th–Early 20th Century):

Writers were often recent immigrants grappling with the desire to assimilate. Their
works tried to prove Arabs were compatible with American values, portraying Arab
culture in a favorable light to avoid discrimination.

Middle Period (Mid-20th Century):

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 281

 Less politically charged, this era focused more on nostalgia for the homeland.
Authors often wrote about hybrid identities and personal struggles but weren’t
always directly engaging with American society or politics. Assimilation was a
common theme, and the longing for cultural roots coexisted with attempts to
integrate.

Contemporary/Post-9/11 Period:
After 9/11, Arab American writers became more vocal and visible. They addressed
issues of surveillance, racial profiling, and cultural alienation. This period marked a
turn toward political critique, challenging how Arab and Muslim identities are
racialized and criminalized in the U.S.

In all periods, a recurring theme is the "split vision" of the Arab American subject:
caught between the homeland and the host country, negotiating what it means to
belong, and often feeling pressure to choose between identities.

6. Political Context and Identity Formation

Political events play a key role in shaping Arab American identity. From the Israeli-
Palestinian conflict to the Gulf Wars and the aftermath of 9/11, U.S. foreign policy
and global power dynamics have deeply impacted how Arab Americans are
perceived and how they perceive themselves.

Events like the Iran Hostage Crisis, First Gulf War, 9/11 attacks, and the Iraq War
have led to increased Islamophobia and anti-Arab sentiment. These moments
have also pushed Arab Americans to become more organized, assertive, and
engaged in activism and cultural production.

Conclusion: Defining Identity Amid Displacement and Power

The Arab American experience is shaped by:

Migration and diaspora

Colonial legacies

Racial misclassification

Orientalist discourse

Political marginalization

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 282

 Through literature, activism, and cultural expression, Arab Americans continue to
challenge imposed narratives and reclaim a space for complex, multifaceted
identities. Their stories are not only about assimilation or rejection but about
negotiating the space in between—being both Arab and American, both visible
and invisible, both included and excluded.

Bush Administration’s Rhetoric Post-9/11

This slide outlines the rhetorical framework the Bush administration adopted
following the September 11, 2001 terrorist attacks. The rhetoric was emotionally
charged, nationalistic, and framed in binary terms that left little room for nuance or
dissent.

“Senseless and unprovoked attacks”: This phrase erases the long and
complex history of U.S. involvement in the Middle East — including military
interventions, support for authoritarian regimes, and the Israeli-Palestinian
conflict. Framing the attacks as “senseless” denies any political or historical
causality, which in turn justifies an immediate and aggressive response.

“Act of war by cowards and barbarians”: This language dehumanizes the

enemy, invoking colonial tropes of “civilized” vs. “savage.” Statements like
“We’re gonna smoke them out of their caves” rely on orientalist imagery —
portraying Muslims and Arabs as primitive and irrational.

Dissent framed as treason: The rhetorical strategy equates patriotism with

blind allegiance. Criticizing government policy — especially military action —
becomes suspect, and critics are cast as traitors. This has chilling implications
for civil discourse.

“You’re either with us or against us”: A totalitarian form of patriotism that

demands full compliance. There's no room for multiple loyalties or
ambivalence, especially for Arab or Muslim Americans who may feel torn
between their identities.

Macho nationalism: American heroism is celebrated while Arab masculinity is

portrayed as weak, cowardly, or threatening. This gendered discourse justifies
violent retribution and positions masculinity in terms of domination and
control.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 283

 Literary Relevance: Arab American authors challenge these binaries, explore the
emotional toll of being labeled as “other,” and provide counter-narratives to the
dominant rhetoric of fear and patriotism.

Restriction of Civil Liberties Post-9/11 and the “War on Terror”

The post-9/11 legal and political landscape saw a massive expansion of state
surveillance, policing, and incarceration under the guise of national security.

Department of Homeland Security and the Patriot Act: These introduced

broad and invasive powers. The Patriot Act, in particular, enabled:

Surveillance without warrants

Secret detention

Racial and religious profiling

Suppression of dissent

Questioning these measures was equated with disloyalty, creating a climate of

fear and compliance.

Historical Continuity of Harassment: The slide places this within a historical

context:

McCarthyism and the Red Scare

Japanese internment during WWII

COINTELPRO targeting Black Panthers and Native activists

This pattern reveals how U.S. governance historically demonizes and surveils
those who threaten its ideological or geopolitical narrative.

Fear of Political Expression: Especially regarding Palestine. Arab Americans

who express solidarity with Palestinians are often smeared as “anti-American”
or “anti-Semitic.” This shuts down free speech and isolates individuals within
their communities.

Impact on Arab-American Literature: Writers address:

Isolation and surveillance

The trauma of being perpetually suspect

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 284

 The complexities of identity and belonging

Key Author: Steven Salaita, referenced here, has written extensively about how
Arab American intellectuals are marginalized in the public sphere.

“Imperative Patriotism” – Salaita (2005)

Steven Salaita introduces “imperative patriotism”, a critical concept that refers to
a coercive form of nationalism:

Definition: A demand that all citizens display unwavering support for the state,
especially in times of conflict. Criticism of government policy is framed as
betrayal.

Historical Lineage:

Salaita connects this to settler colonial logic. Early American settlers

justified the dispossession and extermination of Indigenous peoples by
constructing a national identity rooted in moral and religious superiority.

This mentality resurfaces in post-9/11 rhetoric. To oppose war or criticize

American foreign policy is to place oneself outside the imagined national
community.

Consequences:

Arab Americans and Muslims are especially affected. Their patriotism is

constantly under scrutiny.

Literary works by these groups often explore what it means to “belong” in

a nation that questions their loyalty.

Newfound Visibility
Before 9/11: Arab Americans were largely invisible in mainstream culture.
Though present in the U.S., they were underrepresented and rarely theorized
as a distinct ethnic group.

After 9/11: Their visibility increased — but not in a positive way.

Now seen through the lens of national security.

Subjected to stereotyping, fear, and suspicion.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 285

 Often forced to explain or “translate” their culture to a skeptical audience.

Policing Visibility: Law enforcement (FBI, ICE, etc.) targeted Muslim and Arab
communities. Literature from this period often portrays how surveillance seeps
into everyday life — from airports to universities to mosques.

Key Point: Visibility becomes a double-edged sword. It allows for cultural

expression but also invites racial profiling and marginalization.

Laila Lalami, “Allegiance” (from Conditional Citizens, 2020)

Biography:

Moroccan-born, educated in Europe and the U.S., Lalami brings a

transnational perspective to American identity.

Naturalized U.S. citizen, but remains critical of the ways in which citizenship is
unevenly experienced.

Themes in “Allegiance”:

1. Conditional Citizenship:

Not all citizens are treated equally. Legal status doesn’t guarantee social
inclusion.

Arabs, Muslims, Black Americans, Latinx, and others experience a

“contingent” form of belonging — always under review.

2. Allegiance and Loyalty:

After 9/11, minorities are asked to prove their loyalty.

This demand is often one-sided: the state doesn’t have to prove anything
in return.

3. In-Betweenness:

Lalami describes the emotional limbo of being part of the nation but also
excluded.

Her work deals with themes like memory, belonging, and identity
fragmentation.

4. Citizenship and Identity:

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 286

 Lalami argues that true citizenship must include participation, dissent,
and dignity.

Literature offers a space to imagine more inclusive forms of belonging.

Edward Said’s Orientalism (1979)

Edward Said’s groundbreaking work, Orientalism, provides the theoretical
foundation for much of postcolonial critique — including Arab American literature.

The West and the Orient: Said argues that the West has historically
constructed “the Orient” as its inferior Other — exotic, irrational, dangerous.

Orientalism as Knowledge-Power:

Not just stereotypes, but a system of knowledge used to dominate.

Institutions like universities, museums, and governments produce

authoritative “truths” about the East — while silencing Eastern voices.

Material Investment:

Orientalism is not a fantasy. It is supported by economic and political

systems — colonialism, imperialism, and war.

Post-9/11, this structure re-emerges through the “War on Terror,” racial

profiling, and the cultural depiction of Arabs as terrorists.

Literary Importance:

Arab American authors challenge Orientalist tropes.

They reassert their agency, complexity, and multiplicity through fiction,

memoir, and poetry.

What is SWANA?
SWANA = Southwest Asian and North African

A more accurate and decolonial term than “Middle East,” which centers Europe
geographically and politically.

Why use SWANA?

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 287

 Geographical clarity: Describes the region based on location rather than
political ideology.

Anti-colonial move: Rejects colonial-era terminology.

Inclusivity: Embraces racial, ethnic, and religious diversity.

Solidarity: Especially among communities facing racialized oppression in

the U.S. and abroad.

Variants:

SSWANA includes South Asia.

Terms like SWANA help diasporic communities define themselves outside

of Orientalist frameworks.

She wrote a dissertation about 9/11 fiction, one of the first things we nd to
distinguish are that the differences between arab and muslim, muslim are people
who adhere to a religion which is islam and an arab is a person who was born in
an arab community, an arab community is an thicity where we include cultural
factors, how people identify with thse groups whereas race is assigned to you,
and rgarding religion, being correlated to ethnicity

Sometimes there isn’t an awareness and we also somtimes confus this, there are
muslim and arabpeople,arabic as a language ans muslimas a ethnicity, ethnicity
wether they are derived from languages tsc tc these two things are often confused
as there are overlaps, the point here is that vn whhn we look at race we are
looking at physical differences that they hav taught us that under these
differences there are biological differences, race seems to be more fxed because
it is baseed on physical characteristics but this doens’t mak it moe tre, this is a
more diffused and fined category bcause there are many things that go toward
defning an thnic group, thnicity are many things, and the thnicity is something that
you choose to relate with, if you change a religion that doesn’t change the thnic
group that you actually blong to, arabs is a partcular thnicity but we can call it
other things

Dark green in the map is the mayority of araab pople, muslim states with arab
minorities etc tc and f we look at the arab population arounf the world they have
spread across many places, we see a lot of arabmigratons to the USA.

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 288

 What we have to consideer n th case of the USA is that it is the latest group and
tha until th late 80’s we can trace this back, its very lat in the 19th cntury ans we
can’s actually talk about arab americans until the 1980’s these group is generally
considered as invisible, because we have the early migration, we have many arabs
coming from what’s lebanon nd we geta lot of arabs who are christian, then we
talk about the censu because this idea of co-existnce is generally assimilated s
everyone is ing ncouraged to asismilate and they all have this idea of going back,
vnthogh many nd up staying and the ida of being arab american takes a lot of time
to dvelop, after that weget a second wave of migration which is more politically
concious and we gt more recognition of the meddling that all the uropean
countries have had exploiting these countries, what happns is that aprt of this
whole migration is muslim, this talks abut how we go from invisibility

Again the us census and the laws maning who gts naturalized by this, starting in
1979 we get many differenet acts and thy ar xpandinmng in this idal ofwho is an
amrican and it’s vry clar that to b an american you nd to b whit so bfor eth 1920’s
arabs are still not considered white and then after some time the census refers to
the arabs as whites, there is a possibility of passing as a white, which isappealing
and the is this ideaof also being radically different
Orientalism, as we will s, said was a plstinian and this was a greately influential
book, orientalism is much more than a stereotyp, swhen we think about thw
oorient we think about the extic and what we see in movies, but Said says that the
orient is some sort of epistemology the orient isn’t adjectened to x palce but it’s
epanded toward other places as well, it is a source of civilization and languages,
the orient will always function as this opposition that works to define yourself in
opposition to who you aren’t in addition the orint has alsi haleped to define europe
in other trems as well, this is the case within the 18th century, this si a way of
producing knowldg nd th elat is also th age of the empires etc ct, so this
oppositional building of ast and west happens in the 18th cntury mostly speaking

This pseudo-scientific talk, is happning in countris and othr placs, orintalism is a

corporat intitution, howw com to think about th orint and how it is tachd, explaind,
tachd, everything that has to do with the orient is the body of knowledge, through
this discourse is how we come to dominat others etc etc

precisely because of this orientalsit knowledge there is still this radical otherness
of wat it means to be european, this first eperiod (ealy 20th century), we are trying

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 289

 to sho the points of cntact that we have and ifwe ar exotic (not as modern) what
people from this ra are trying to show is how they re compatible with americans,
then the middle peiod which i lss rearkable, als clld they aren’t fully writing about
the americans or they are trying to find a nostalgic output, bcaus they have
assimilated something lse but again the assimilation thta is pushingeveryone
isvery intrestting
the early stage we havee this split vision and the other that is looking at the
homeland so the are looking at one way pr anothr they are writing as an immigrant
or aas an americans when we start talkig about arab ameericans th idea is that if
we don’t dfine ourslves all the identity this group that has bn so assimilatd fls th
need to start writing about themselves as they feel both american and arab,
another thingthat is key is th political events that play a role

9/11 ⇒ especially for connection with what later happened here in spain

ೋও𝕷𝖎𝖙𝖊𝖗𝖆𝖙𝖚𝖗𝖊 𝖆𝖓𝖉 𝕰𝖙𝖍𝖓𝖎𝖈𝖎𝖙𝖞 𝖎𝖓 𝖙𝖍𝖊 𝖀𝖓𝖎𝖙𝖊𝖉 𝕾𝖙𝖆𝖙𝖊𝖘 ೋ 290