A revelatory, well-argued work of cultural criticism.
A literary scholar examines the many ways in which African American influences are incorporated, without acknowledgment or thanks, into the white cultural mainstream.
Cultural appropriation, writes Jackson (English and African American Studies/Northwestern Univ.), “gets a bad rap.” Rap, for instance, borrows from the styles of earlier generations—soul, disco, funk, even gospel—but includes the likes of Billy Joel and Paul Simon in its DNA. Appropriation, she writes, “is everywhere, and it is inevitable,” though it is also a matter of power as much as artistic license: The culturally dominant group gets away with borrowing fashions, musical styles, and language, developing “black aesthetics without black people.” In a lucid explication of the work of appropriation in music, she examines borrowings not just by white artists such as Britney Spears, but also members of minority populations such as Jennifer Lopez, who, by Jackson’s account, lifted liberally from a less-known artist named Ashanti. It’s Lopez’s good luck that the borrowing, including the passing insertion of the N-word, took place in a time when “the internet wasn’t then what the internet is now, and time forgives all slurs.” Pop star Pink took a different course, gradually shedding any blackness in her sound, even as Miley Cyrus dropped her white-pop teen persona to embrace the hip-hop world and Khloé Kardashian did her hair up in cornrows and called herself a “Bantu babe.” The author ranges across a broad field of reference, writing of the appropriation of the Southern-ism “chile” (child, that is) by means of the TV show Real Housewives of Atlanta and the culinary borrowings of Paula Deen, “white Mammy, plumping America one fried delicacy at a time,” who got in trouble not for her lifting recipes but instead for using the N-word. Jackson is evenhanded throughout, though there’s a welcome fire to her discussion, as when she writes, “America is addicted to hurting black people. America is addicted to watching itself hurt black people."
A revelatory, well-argued work of cultural criticism.Pub Date: Nov. 12, 2019
ISBN: 978-0-8070-1180-5
Page Count: 184
Publisher: Beacon Press
Review Posted Online: Sept. 10, 2019
Kirkus Reviews Issue: Oct. 1, 2019
This moving, potent testament might have been titled “Black Lives Matter.” Or: “An American Tragedy.”
The powerful story of a father’s past and a son’s future.
Atlantic senior writer Coates (The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood, 2008) offers this eloquent memoir as a letter to his teenage son, bearing witness to his own experiences and conveying passionate hopes for his son’s life. “I am wounded,” he writes. “I am marked by old codes, which shielded me in one world and then chained me in the next.” Coates grew up in the tough neighborhood of West Baltimore, beaten into obedience by his father. “I was a capable boy, intelligent and well-liked,” he remembers, “but powerfully afraid.” His life changed dramatically at Howard University, where his father taught and from which several siblings graduated. Howard, he writes, “had always been one of the most critical gathering posts for black people.” He calls it The Mecca, and its faculty and his fellow students expanded his horizons, helping him to understand “that the black world was its own thing, more than a photo-negative of the people who believe they are white.” Coates refers repeatedly to whites’ insistence on their exclusive racial identity; he realizes now “that nothing so essentialist as race” divides people, but rather “the actual injury done by people intent on naming us, intent on believing that what they have named matters more than anything we could ever actually do.” After he married, the author’s world widened again in New York, and later in Paris, where he finally felt extricated from white America’s exploitative, consumerist dreams. He came to understand that “race” does not fully explain “the breach between the world and me,” yet race exerts a crucial force, and young blacks like his son are vulnerable and endangered by “majoritarian bandits.” Coates desperately wants his son to be able to live “apart from fear—even apart from me.”
This moving, potent testament might have been titled “Black Lives Matter.” Or: “An American Tragedy.”Pub Date: July 8, 2015
ISBN: 978-0-8129-9354-7
Page Count: 176
Publisher: Spiegel & Grau
Review Posted Online: May 5, 2015
Kirkus Reviews Issue: July 1, 2015
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
BOOK TO SCREEN
BOOK TO SCREEN
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
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