Image from endangeredpolarbear.com
A writer who I don’t know but follow on Twitter posted this William Faulkner quote today: “The only thing worth writing about is the conflict in the human heart.” And my first thought was, “Wait, is that right?”
I like quotes from writers and quotes about writing, but the thing about quotes is they sound like edicts when, in fact, they’re just the musings of creative people who, like the rest of us, are making it up as they go. Continue reading
There’s a house on Kimberly Avenue. There are many houses, but this one in particular is the kind of house that exudes style and dignity and the kind of manicured calm that comes from proximity to wealth. The whole street is like that — wide and well-maintained with grand old shade trees casting cool green over sidewalk and tended lawn.
No one is ever tending this particular lawn. Landscaping crews piloting tractor-sized mowers are for the nouveau riche; the truly wealthy have yards maintained by elves who show up, soundlessly, after midnight, and pluck every clover and sorrel by hand so nothing remains but a uniform blanket of St. Augustine sod. Continue reading
I learned something this week: There are no artists of color performing at the upcoming Riddle Festival, an annual event celebrating Lesley Riddle. What you need to know here is that Riddle was an African-American musician from Burnsville who greatly influenced the Carter Family. So think about that for a minute: The first family of country music has a black musician to thank.
Lesley “Esley” Riddle, right, with guitarist Brownie McGhee.
This is not the only story where mountain, Appalachian, country, folk and roots music — much of which seems so of the domain of white folks — is actually closely tied to and even originating from the creative efforts of people of color. But because the white narrative has long been the dominant narrative, people of color tend to be diminished or overlooked or left out altogether. Or not invited to participate in a festival commemorating a person who looks like them and represents the history, hopes, talents, and ingenuity of their community.
I don’t think the organizers behind Riddle Fest intended any harm or slight, but I do think these kind of oversights pile up, one on top of the next, until we really can’t see past them anymore. Words like “appropriation” get bandied about — for good reason — but I see a greater harm. Yes, when white musicians record and profit from the songs of unrecognized musicians of color, it’s plagiarism and Continue reading
“Skull House, Mississippi, 2014,” by Rachel Eliza Griffiths
You guys. I love Junot Díaz and really love both this writer’s use of a Díaz quote and just where he’s coming from in general.
• “Dragons Are for White Kids with Money: On the Friction of Geekdom and Race” by Daniel Jose Ruiz in The Millions: “There is progress; we now have an unapologetically black super hero series in Luke Cage. There is BlerDCon (Black Nerd), and Blerds (the term is typically inclusive of any non-white nerd) even get a shout-out in a song (thanks Childish Gambino).”
• “The Loneliness of Donald Trump” by Rebecca Solnit at lithub.com: “Instead of the dictator of the little demimondes of beauty pageants, casinos, luxury condominiums, fake universities offering fake educations with real debt, fake reality tv in which he was master of the fake fate of others, an arbiter of all worth and meaning, he became fortune’s fool.”
• “Let’s Play: Intuition, Imagination, and Black Creativity” by Maggie Millner at PW.org: “There’s a diversity within the black arts community that we don’t always acknowledge. … There’s no one way to be black or to celebrate our lives.”