A Language and Power Reader: Representations of Race in a "Post-Racist" Era - Softcover

9780874219241: A Language and Power Reader: Representations of Race in a "Post-Racist" Era

Softcover

ISBN 10: 0874219248 ISBN 13: 9780874219241

Verlag: Utah State University Press, 2014

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A Language and Power Reader organizes reading and writing activities for undergraduate students, guiding them in the exploration of racism and cross-racial rhetorics.

Introducing texts written from and about versions of English often disrespected by mainstream Americans, A Language and Power Reader highlights English dialects and discourses to provoke discussions of racialized relations in contemporary America. Thirty selected readings in a range of genres and from writers who work in ?alternative? voices (e.g., Pidgin, African American Language, discourse of international and transnational English speakers) focus on disparate power relations based on varieties of racism in America and how those relations might be displayed, imposed, or resisted across multiple rhetorics. The book also directs student participation and discourse. Each reading is followed by comments and guides to help focus conversation.

Research has long shown that increasing a student?s metalinguistic awareness improves a student?s writing. No other reader available at this time explores the idea of multiple rhetorics or encourages their use, making A Language and Power Reader a welcome addition to writing classrooms.

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�ber die Autorin bzw. den Autor

Robert Eddy is an associate professor of English at Washington State University, and he was the department's director of composition from 2002 through 2010. He has directed writing programs in China and Egypt and won the University of North Carolina Board of Governors' Award for Excellence in Teaching in 2001. Victor Villanueva is Regents Professor in the English Department at Washington State University. He is the Edward R. Meyer Distinguished Professor in Liberal Arts and has been awarded the Sahlin Faculty Excellence Award for Research, Scholarship and the Arts; the Martin Luther King Jr. Distinguished Service Award; and the first National Council of Teachers of English Advancement of People of Color Leadership Award, among many others.

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A Language and Power Reader

Representations of Race in a "Post-Racist" Era

By Robert Eddy, Victor Villanueva

University Press of Colorado

Acknowledgments, 
Introduction: On Writing Processes, 
Part One: Defining Language and Culture, 
1 Suheir Hammad, Nother Man Dead (poem), 
2 Tyrone Aire Justin, Raps: Suite Brown and Black (poem), 
3 LeAnne Howe, Blood Sacrifice (story), 
4 jessica Care moore, I Am a Work in Progress (poem), 
5 Alma Luz Villanueva, La Llorona / Weeping Woman (story), 
6 Jessica Hagedorn, Filipino Boogie (poem), 
7 Darrell H.Y. Lum, Beer Can Hat (essay), 
Part Two: Complicating Identities, 
8 Janet Campbell Hale, The Only Good Indian (essay), 
9 Cecilia Rodr�guez Milan�s, Negrita (essay), 
10 Mar�a de Jes�s Estrada, An Angel in the Orange Groves (essay), 
11 Saleem Peeradina, Reflections on the Other (poem), 
12 Dale Allender, On Academic Being and Becoming (essay), 
13 Han Yu, How to Define a Teacher (essay), 
14 Jon A. Yasin, Keepin' It Real: Hip Hop and El Barrio (essay), 
Part Three: Crossing Cultures, 
15 Cynthia Hamilton, Women, Home, and Community: The Struggle in an Urban Environment (essay), 
16 Thomas Van Cantfort, Expanding the Multicultural Debate: Culture and Nonhuman Primates (article), 
17 Peter Lamborn Wilson, Against Multiculturalism (essay), 
18 Min-Zhan Lu, Representing and Negotiating Differences in the Contact Zone (essay), 
19 K. Anthony Appiah, Identity, Authenticity, Survival: Multicultural Societies and Social Reproduction (essay), 
20 Carmen Kynard and Robert Eddy, Toward a New Critical Framework: Color-Conscious Political Morality and Pedagogy at Historically Black and Historically White Colleges and Universities (essay), 
Part Four: Balancing Color Blindness and Identity, 
21 J-Love Calderon, White Like Me: 10 Codes of Ethics for White People in Hip Hop (essay), 
22 Four Newspaper Articles on Cultural Mascots (articles), 
23 Victor Villanueva, Memoria Is a Friend of Ours: On the Discourse of Color (essay), 
24 Sandra Mar�a Esteves, From Fanon (poem), 
25 Samuel P. Huntington, The Hispanic Challenge (essay), 
26 Rachel L. Swarns, A Bilingual America? The Trend among Hispanics Suggests Not (article), 
27 John Streamas, The Year 2042 (poem), 
About the Authors, 
List of Credits,

CHAPTER 1

Nother Man Dead

SUHEIR HAMMAD

DOI: 10.7330/9780874219258.c001

Questions for Pre-Reading

1. How will the lack of periods or commas affect your reading of the poem? Can you read it differently when you go back, putting imaginary periods and commas in different places? How does meaning shift for you as you play around with short and long stops (which is what commas and periods are — short and long stops in reading aloud, even reading aloud inside your head).

2. The phrase "there are no words" is repeated twice, and there are variations such as "where the words" and "no words." What is the importance of the references to words in the poem, as you see it?

3. We think that in the era marked by September 11, 2001, "war criminals still celebrated" will bring up all kinds of images and ideas to students reading a poem by a Palestinian. If we are right, what are some of those images and ideas? What do you believe Suheir Hammad would be referring to?

4. Consider the image of "the rainbow arch." What might that be about in this poem?

Questions for Relating to Other Selections

1. In her books Drops of This Story and Born Palestinian, Born Black, Hammad writes about growing up in Brooklyn as a woman of color with Palestinian ancestry. Consider the way she deals with race and culture in "Nother Man Dead" and compare her richly complex identity with Jessica Hagedorn's presentation of multiracial experience and expectations in "Filipino Boogie." What experiences and commitments do they share and what important differences remain?

2. As poets and spoken word artists with a special sense of the power and possibility of language, compare the following lines of Hammad to those of jessica Care moore from "I Am a Work in Progress":

HAMMAD:

memory absorbs like soil there are no
words
and not one word
erases my earth

MOORE:

I was born writing
but will be taught to wait
I am an incomplete sentence a work in
progress
and I'm not finished yet

Suheir Hammad

In Suheir Hammad's brief memoir of ninety-three pages, Drops of This Story (1996), she writes about growing up in Brooklyn. She was born in 1973 in Amman, Jordan, and came to the United States with her parents as a five year old. Her first book of poetry, Born Palestinian, Born Black (1996), contains a series of poems about being a minority (Palestinian) among minorities (Black and Latina/o). Her other books of poetry include Zaatar Diva (2008) and Breaking Poems (2008), which won an American Book Award in 2009. She is the author of several plays and is the lead actor in Salt of This Sea (Lorber Films, 2008), about ancestral Palestinians returning to Palestine to find roots and meaning in a conflicted landscape. Hammad has received more than a dozen awards.

Nother Man Dead

    where the words
    to disguise what
    i see make
    visions palatable color
    these words with
    a palette more lady
    like less blood

    in language not mine
    that houses no beauty
    no comfort for
    nature for me
    words horrific and terrible

    what this shine eye
    girl sees through
    bars and barbed wire
    prisons prime
    real estate 25 years
    later no escape
    2 years before me
    attica was auschwitz is algeria
    ripped naked and stripped
    humanity forced to
    crawl mud-like
    and 25 years later
    war criminals still celebrated
    babies consecrated animals

    no words there
    are no words to

    sugar this up
    genocide passes as
    eye candy for
    media hungry for cash
    and like cash people are
    passed from hand to dirty

    hand open palms
    passing sand through
    time not mine living
    on borrowed clocks
    tupac is dead and attica forgotten

    in language ugly and time
    up where is there space
    for flowers
    in hearts jailed there...