“In a lot of places in the United States, you can still get a degree in English literature and not have to study any people of color,” says poet, author and educator Frank X Walker.
This postcard of a child with a book is from the The East Riverside Photographs Collection associated with the East Riverside urban redevelopment project of Asheville. Photo courtesy of Special Collections, UNC Asheville
“It’s part of the whole master narrative that displays the idea of a hierarchy in our society, that suggests whose work in this culture is more valuable. And it’s not women or people of color.”
I spent several months working on a three-part series about the history of black writers in Western North Carolina, and why the voices of those artists have been excluded from the dominant narrative.
Find Part 1 here (with quotes from Walker, UNC Asheville history professor Darin Waters and Asheville-based author Monica McDaniel); find Part 2 here (with quotes from authors Meta Commerse and Ann Woodford and poet Glenis Redmond); and find Part 3 here (with quotes from poets Nicole Townsend, James Love and Damion Bailey and author Charles Blount).
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
A vintage photo of African-American bikers from the story “Soul on Bikes & Black Chrome: The History of Black America’s Motorcycle Culture” at salvedgeyard.com.
An interesting read as we go into Asheville Beer Week (aka, not so much different from All Weeks in Asheville). The question that brought me to this article is: Why is Asheville’s beer scene (aka, outside of medical, probably its largest industry) not welcoming to or inclusive of people of color?
• “There Are Almost No Black People Brewing Craft Beer. Here’s Why.” by Dave Infante in Thrillist: “[The post-Prohibition] consolidation of most beer brewing in the US into very large corporations probably hurt all sorts of minorities who would have potentially owned breweries.”
To put this next piece context, I came to this story after being seriously annoyed by 45’s comment that an investigation into his Russian ties are a witch hunt. Witches, historically, were women healers and leaders who were persecuted for their independence and for the ways they sought to provide for their families and communities (doing what the governing bodies of their times would not). Witch hunts were systematic murders to stop the power of women. A white man of significant privilege and power aligning his predicament with that of “witches” (many of whom didn’t even identify as such), is tone-deaf and insidious. Here’s a story about a legitimate witch hunt in the 21st century. And be warned, it’s hard to take.
• “Witch hunt: Africa’s hidden war on women” by Witch hunt: Africa’s hidden war on women in The Independent: “These women are frightening anomalies here: they have a flicker of financial independence denied to all other females. It has to be stopped.”
• “Chelsea Manning’s Lawyer Knows How to Fight Transgender Discrimination—He’s Lived It” by Samantha Michaels in Mother Jones: “If you can’t go to the bathroom, you can’t go to school or have a job. … You can’t go to the movies or a restaurant. This is really a question of whether or not as a society we’re going to let trans people participate and be part of our social fabric.”
• Transcript of New Orleans Mayor Landrieu’s address on Confederate monuments in The Pulse: “In the second decade of the 21st century, asking African Americans — or anyone else — to drive by property that they own; occupied by reverential statues of men who fought to destroy the country and deny that person’s humanity seems perverse and absurd.”
“The thing about writing historic fiction is it’s easy to see the character’s flaws,” says Anton DiSclafani, author of The Yonahlossee Riding Camp for Girls and The After Party. “It give you automatic tension. The reader understands what the characters don’t: that their world is coming to an end.”
Story originally published at mountainx.com.
Anton DiSclafani, the New York Times best-selling author of The Yonahlossee Riding Camp for Girls, sets all of her books in the past. Her debut novel took place in 1920s Appalachia; her work-in-progress is set in 1940s Alabama, and The After Party, her just-published follow-up to Yonahlossee, gives readers a window into Houston in the 1950s. But “I’m a big believer in not letting the research get in the way of writing,” says DiSclafani. “I’m not somebody who wants to spends days and days in the library.”
The After Party was inspired by the River Oaks community, a wealthy neighborhood in Houston. Both sets of the author’s grandparents are from that city, and when she’d visit as a child, DiSclafani loved to drive past the sprawling homes of River Oaks. While many of those grand domiciles are now being demolished to make way for larger, newer houses (“Houston is all about the future,” the writer says), The After Party’s narrator, Cece Buchanan, can’t imagine living anywhere else.
Flash fiction, inspired by a house that was torn down on my block today.
The sewing machine man and his wife lived here for a hundred years, give or take. When they were young, the trolley tracks ran right up the middle of the street. The horse carriages went down at break-neck speed not because the hill was all that steep (though a kid on a bicycle could peddle himself breathless) but because some horses just have an evil glint in their eyes.
After the road was paved, the sewing machine man and his wife parked their 1953 Buick in the corner of the yard. Eventually the tire ruts made a driveway. They set up shop because what with all the modern conveniences, the neighborhood housewives could all trade their foot treadle machines for modern electric sewing machines that plugged in and rattled off at a startling speed. You could button-hole your thumb before you realized what you were doing. Continue reading
Authors at their desks. From top left: Amy Tan, Anne Sexton, and Daphne du Maurier. Middle row: Agatha Christie, Ursula Le Guin, and Pearl S. Buck. Bottom row: Anaïs Nin, Susan Sontag, and Margaret Drabble.
This most excellent piece of history was brought to my attention by the always-dapper Andrew J. Fletcher. “Cocktailest thou?” is my favorite, along with Fitzgerald’s enviable penmanship.