PUB: Wising Up Press Home Page

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WISING UP PRESS


 NATURALIZED CITIZENSHIP PROJECT

CALLS FOR SUBMISSIONS & INTERVIEWS


Universal Table/Wising Up Press is developing a series of projects in the coming year, both books and social conversations, focused on citizenship and constructive acculturation in order to add an engaged but also musing, exploratory voice to the current questions about immigration we face as a country.  We do so with the hope of creating a more generous, nuanced and open conversation that acknowledges the genuine doubts and grievances on both sides: "No matter how long we live here, no matter what we do, you will never see us as equal." vs. "All you want are our resources, not our ideals."

Our special focus is the social and psychological dynamics of naturalized citizenship, especially for women, and, in particular, the various repercussions of an intentional, personal commitment to values of individual equality and liberty that may be quite different from the values of a girl or woman's country and culture of origin.  We do so with the understanding that these experiences will invite those of us who have unreflectively received citizenship as a birthright to think more deeply and clearly about what intentional commitments we need to make as citizens in a country whose essential claim to unity is the voluntary, intentional commitment to the core values of individual equality and the rights of life, liberty and the pursuit of happiness made repeatedly by different waves of immigrants in whom we each find our own progenitors.

We are issuing Calls for Submissions for three anthologies that focus on groups whose perspectives we think are especially valuable in expanding different dimensions of this conversation:

  • Refugee and Immigrant Women who have chosen to become citizens as adolescents or adults 
  •  U.S-raised Illegal Immigrants who feel fully naturalized by language, education, culture, and values but have at present no legal avenues to citizenship
  • Adopted Chinese Daughters who became citizens in U.S. families through the adoption process 
 
We are looking for memoirs, essays, fiction and poetry that are firmly grounded in experience and combine passion, clear thinking, empathy and self-reflection.

Natural Woman: Naturalized Citizen
Deadline: October 1, 2010

Chinese Daughters
Deadline: November 1, 2010
 

Except for the Paper, as American as You
Deadline: December 1, 2010
 



WISING UP PRESS WRITERS COLLECTIVE

 

We're pleased to announce the beginning of our Writers Collective.  Please go to the following pages to learn more about it and how you might join. We will be publishing single author works of poetry, fiction, memoir, and creative non-fiction on themes of interest to Universal Table.

 


ABOUT WISING UP PRESS

 

We decided to create a small press to expand and support our various Universal Table programs - and because we love the written word, especially when it is used passionately and authentically to explore themes of abiding importance to us as individuals and as a society. Many of our publications focus on literature by contemporary writers because of the power of narrative to help us identify safely with others who may at first seem, by appearance or circumstances or culture, very different from us. Stories make the world feel more manageable by increasing our ability to tolerate suffering, to experience empathy, to marry hope and pain in a way that honors the reality in each of them. Stories teach us, in the very listening, in the very act of identifying with the storyteller, or the characters, that the existence of other points of view is a richness not a danger. In our own lives, most of us find it difficult to tell stories that have good roles for all of us, that can see our differences, however profound, as mysterious, unpredictable, but ultimately gracious - an invitation into a blessing story larger than any one of us can write alone. We want our publications to serve as an invitation to stand in that richer relation - empathic, musing, open to new meaning - with ourselves and with our neighbors.

 



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BOOKSTORE

 

PUB: platypus prize

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First Annual Platypus Prize
An Anthology of The Best College Writing: 2009-2010
 


THE PLATYPUS PRIZE
recognizes U.S. college students whose innovative writing demonstrates excellence in creative intent, conception and execution. Our goal is to recognize aspiring writers who explore creative possibilities far beyond the traditional literary process and product. We welcome submissions from students outside of creative writing programs.

WE STRONGLY ENCOURAGE writing, in any genre, that investigates the visual aspects of text and incorporates mixed media and/or multimedia in order to comment on contemporary expressions of narrative as they relate to the way we live now -- or may live later. CDs, DVDs, URLs and use of color are also encouraged.

WINNERS will be published in the anthology. Each will receive a copy of the full-color book published by Jaded Ibis Press and distributed through Amazon.com, Jaded Ibis Productions, and other literary distribution channels. One Editor's Choice Award receives $100. Press releases listing each winner's name, academic major and school will be sent to print and digital U.S. newspapers, magazines and other media outlets.


ELIGIBILITY REQUIREMENTS: Writers must be or have been enrolled in a Bachelors, Masters, or PhD program in any discipline in a U.S. college, or in a Community College, at any time between January 2009 and December 2010. Enrollment will be verified through your school's records office.

AESTHETIC STATEMENT: Include a short paragraph discussing your creative process and/or conceptual intent regarding your entry. Aesthetic Statements of winners will also be published in the anthology. For statement examples, see fiction contributions at In Posse Review: Issue 26

FORMATS: Text and Text + Image submissions must be sent as a .pdf or .doc attachment. CDs, DVDs and URLs may be sent as a URL link. Please keep in mind that the anthology's print dimensions will be 8" x 10" with 1" margins, though page bleeds are accepted. Feel free to submit your writing as you would like it to appear in the final anthology. That is, do not double-space or use standard margins unless that is how you wish your writing to look. If your innovative writing is text only, with no special formatting or images, please indicate so at the top of your manuscript. For best results, .jpgs should be at least 300 dpi resolution at 100% size when ready for publishing; you may compress your entry as long as compression does not interfere with our reading/viewing of your work.

LENGTH: Minumum = 1 page
. Maximum = 50 pages, though bear in mind that unusually long works may affect judge's final decision. Excerpts from novels or novellas illuminating the work's innovation are welcome and do not have to be self-contained.

DEADLINE: December 31, 2010.

ENTRY FEE: $10 per submission submitted through PayPal. Jaded Ibis Productions is a PayPal Verified Merchant, for more secure shopping. (See "Pay Entry Fee" below.)


2010 GUEST EDITOR: Doug Rice is the author of Skin Prayer: Fragments of Abject Memory; Blood of Mugwump: A Tiresian Tale of Incest; and A Good Cuntboy is Hard to Find. He teaches literary theory, film theory and creative writing at Sacramento State University.   

SERIES EDITOR: Debra Di Blasi is Publisher-in-Chief at Jaded Ibis Press and president of Jaded Ibis Productions. She is an award-winning fiction writer and screenwriter who frequently lectures on 21st Century narrative forms. Complete bio at www.debradiblasi.com


ENTRY / ELIGIBILITY FORM is emailed to you for completion upon receipt of your writing entry or entries.

EMAIL ADDRESS: Type "Platypus Prize" in the Subject line and attach your Entry to: platypusprize@jadedibisproductions.com

 


QUESTIONS: If your entry falls outside of these specifications and you have questions regarding this or any of these guidelines, please don't hesitate to email us at platypus@jadedibisproductions.com, with the word "Questions" in the Subject line.

PAY ENTRY FEE

 

 

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PUB: The Briar Cliff Review

The 15th Annual Fiction, Poetry and Creative Nonfiction Contest

$1000 First Place for each category plus publication in Spring 2011

Entries will be judged by the Editors of The Briar Cliff Review.
$20 entry fee per story/creative nonfiction piece or three poems.
Omit author’s name on manuscript.

Deadline: November 1, 2010

Guidelines:       

  • Short story/creative nonfiction word limit up to 6,000.

  • Short stories and creative nonfiction should be typed,
    double-spaced, 8 1/2 x 11.

  • Poetry should be single-spaced, 8 1/2 x 11.

  • No more than one poem per page.

  • Send cover sheet with title/s, author’s name, address and email. Title but no name on manuscript.

  • Winning pieces are accepted on the basis of first-time rights.

  • Simultaneous submissions are accepted, but notify us immediately upon acceptance elsewhere.

  • Previous year’s winner is ineligible.

  • All entrants receive a copy of the magazine with winning entries. The magazine costs $15 a copy.

Send entries to:
Tricia Currans-Sheehan, Editor
The Briar Cliff Review
Fiction, Poetry and Creative Nonfiction Contest
3303 Rebecca St
.
Sioux City, IA  51104-2100
www.briarcliff.edu/bcreview

 

REVIEW: Book—Some Sing, Some Cry - By Ntozake Shange and Ifa Bayeza - NYTimes.com

Blood Ties

    For roughly the last half-century, nearly every black female writer of any consequence in America seems to have had one very particular story to tell — or, rather, one particular question she’s tried to answer: Just how in heaven (or hell) have black women managed to survive? How, that is, were great-­grandmothers not completely destroyed by enslavement, grandmothers not irreparably broken by bigotry, mothers not wholly defeated by loneliness? How have black women in this country kept on doing battle with everything, for what seems like forever, without falling apart? And what toll has this taken on their daughters? From Margaret Walker to Octavia Butler, Sherley Anne Williams, Toni Morrison and Gayl Jones, to name only a few, America’s black female authors have tried to make sense of a difficult present by writing bridges to the traumas of the past.

    Chester Higgins Jr./The New York Times
    Ntozake Shange, left, and Ifa Bayeza.

    _______________________________________

     

    SOME SING, SOME CRY

    By Ntozake Shange and Ifa Bayeza

    568 pp. St. Martin’s Press. $26.99

    Multimedia

    _______________________________________

     

    Now Ntozake Shange (of “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf” fame) and her playwright sister, Ifa Bayeza, have staked their own place in this tradition with their novel, “Some Sing, Some Cry.” A rich mix of storytelling and African-American history, it follows seven generations of black women who, largely through music, are able to survive the violence of their national and personal histories even as they find themselves too battle-scarred to mother their children with real joy.

    The narrative begins with the nostalgic musings of a newly emancipated slave, Betty Mayfield, as she prepares to leave Sweet Tamarind, a plantation on an island off the coast of South Carolina, with her granddaughter Dora. Daughter of a slave woman and the powerful white planter who would also become Betty’s own lover and the father of her three daughters (“Keep tellin’ myself ain’t no sin in ­bearin’ no child when there ain’t no choice”), she is a living testament to the perverse intimacy of “the peculiar institution.” Owned, abused, but maybe also loved by a man she calls “Pa-lover,” Betty refuses to be ashamed of the lasting passion she feels for this “lover and owner,” “master and partner.” On the contrary, she’s proud to belong, as she sees it, to the Mayfield family, to have been the favorite of its deceased patriarch and to have borne his children.

    These dubious beginnings haunt Betty’s female descendants. Not quite a curse, but certainly no blessing, their blood ties to the Mayfields make them stand out, as much for their exceptional beauty (“girls whose eyes suggested fog-laden dawns, whose skin was opalescent, whether bronze or ivory”) as for the ancient crimes their surprising features recall (“The shame lookin’ em right in the eyes. Eyes dey call beauties. Got dey nerve”). “Some Sing, Some Cry” traces the way each of these Mayfield women fights not just to survive but to thrive in a world seemingly arranged to ruin her. Shange and Bayeza give us generation after generation of black women whose greatness and potential for happiness are undone, or nearly so, by men who lash out at their own impotence. If any of the Mayfield women manage to realize some measure of success, it’s despite — or to spite — the men in their lives.

    For her part, Dora builds a successful dressmaking business in Jim Crow Charleston, only to suffer a gang rape by a group of wealthy whites that leads to the birth of her first daughter. She’s brought low again by a desperate marriage to the father of her second daughter, a man she never lets herself love or need. Her girls, Elma and Lizzie, follow similar paths. They rise high and fall hard. A talented singer, Elma is a star in college but marries a man who delivers on none of his promises. Lizzie, raped by her best friend’s older brother, ultimately abandons the daughter this violence produces. And all this takes us through only the first two-thirds of the book. Every one of these women’s stories could be a novel on its own; every one has a complexity and scope that keeps readers turning page after page.

    That said, it’s also true that “Some Sing, Some Cry” is a very long book, one that at times feels too full, too rushed, too obvious ­— too much. The novel bears at once the doubled voice of its co-creators and the polyphonic contributions of all the women who get to say “I” over the course of its hundreds of pages. It’s as if Shange and Bayeza hoped to tell every black woman’s story to make up for the silence of the past. As a result, the narrative suffers from a surfeit of drama, with characters who shine almost too brightly to be entirely credible.

    In a somewhat gimmicky appropriation of Josephine Baker’s life story, for example, Lizzie moves north, transforms herself into a Harlem chorine, then high-tails it to Paris, where she takes the music-hall scene by storm, develops a signature song “honoring her dual nations” and ends up spying for the French Resistance. Cinnamon, the daughter Lizzie leaves behind, gets into Juilliard, begins a career as an opera singer, attends Marian Anderson’s Easter Sunday performance on the steps of the Lincoln Memorial — where she’s hit on by none other than the Rev. Adam Clayton Powell Jr. — and later loses her voice to an incurable case of laryngeal dystonia. Cinnamon’s daughter is a Grammy­winning R&B darling whose comeback tour in Africa closes the novel.

    And yet, despite such soap-operatic indulgences, this story of lifesaving music and heartbroken maternity is engaging from start to finish. The Mayfield women are hilarious and sexy, gorgeous and strong. They all work the same refrain: “Never go backward. Always be movin’, movin’ forward. Life is in front of me, not behind.” After every near defeat, these women pick themselves up, sometimes literally off the ground, and take the next impossible step. And while they all take that step differently — choosing to run or to work, to curse or, yes, to sing — not one of them spends much time crying.

     

    Kaiama L. Glover teaches French and Francophone literature at Barnard College and Columbia University.

     

    VIDEO: “Coming Back For More” (The Forgotten Legacy Of Sly Stone) > Shadow And Act » Trailer

    Trailer – “Coming Back For More” (The Forgotten Legacy Of Sly Stone)

    Picture 11

    What happened to Sly Stone? His Woodstock contemporaries died and went on become legends. Sly survived drug addiction but disappeared from the music scene in the early 80’s. In 2004, after an exhaustive search, director Willem Alkema found Sly living in a house at the end of a dead end street, on a hill outside Los Angeles. 5 years, the documentary, Coming Back For More, was born.

    It’s said to feature candid interviews with band members and other associates, as well as vintage TV footage from the musician’s highs and lows.

    The film is currently playing the film festival circuit. CLICK HERE to visit its website for screening locations and dates.

    Trailer below:

    INFO: Help end violence against women and girls – today | Racialicious - the intersection of race and pop culture

    Help end violence against women and girls – today

    By Guest Contributor Rob Fields, cross-posted from Bold As Love

    Please support the international effort to end violence against women and girls.

    This Tuesday, September 28, please check out the film Tapestries of Hope, which is filmmaker Michealene Risley’s documentary that exposes the horrors of the rape and sexual abuse of thousands of young girls in Zimbabwe by men who believe it will cure HIV/AIDS.  It focuses also on the work of Betty Makoni, Zimbabwean child rights activist and a 2009 CNN Hero, who works to shelter, educate and empower these female victims through her Zimbabwe-based Girl Child Network.

    In addition to having the film screened simultaneously in more than 100 theaters around the country, the other goal of this event is to raise awareness for the International Violence Against Women Act and encourage folks in the nationwide audience to contact their congressional representatives to urge them to support it.  The bill is a bipartisan initiative led by Senator John Kerry and others and, according to a press release, “is the first comprehensive legislation aimed at ending violence against women and girls worldwide.”

    The simplest thing you can do to support this effort is to write to your representative now.

    The Tapestries of Hope site has other suggestions for ways you can get involved.

    Finally, Facebook will will be interviewing the director on Tuesday at 2pm PST, and you can watch the interview and ask questions right from your Facebook account via this link.

    Check out the film’s trailer here.

    Shout out to Kevin Powell for the heads up on this.

    OP-ED: I Won't be Your Flavor of the Month > Irresistable Revolution

    "The duty of the radical artist is to make the revolution irresistable" -Toni Cade Bambara

     

    Thursday, September 23, 2010

    I Won't be Your Flavor of the Month

     


    Figuring out transnational race politics is no easy task. Race, like other systems of oppression, shifts and alters with geography, with time, with culture, with context. The way I experience race in the US, where I'm usually primarily seen as a woman of color (with my nationality/ ethnicity being secondary), differs from Dubai where my dark-skin and South Asianness is emphasized, which differs from Sri Lanka where I'm part of the ethnic majority and therefore privileged.

    What inspired this blog post though, is a trend I've noticed lately in Hollywood that corresponds with something long prevalent in Sri Lankan communities I've lived in. In regards to Hollywood, I like to call this the 'ethnic lite' phenomenon. You know what I'm talking about. The one where it's trendy and desirable to have 'ethnic' features like full lips and curvy bottoms, so long as you're still white enough to be, well, white.

    Think Angelina Jolie as Cleopatra. Think the swooning over 'dark beauties' like Megan Foxx. Think WOC celebrities like Beyonce, Eva Longoria, Jennifer Lopez and Jessica Alba having to blond up and tone d0wn before going mainstream. Racialicious had a great post on how, when it comes to models of color, the fashion industry wants "white girls dipped in chocolate". I can't even list the number of nauseating articles I've come across in mainstream media outlets about how fashion is 'diversifying' and reflecting a globalized culture, when what's actually happening is WOC with sufficiently Eurocentric features are being exalted, with a particular emphasis on racial' 'ambiguity' and a fetish for 'exotic' mixed-race heritage that's actually extremely dehumanizing and reductive of the experience of multiracial people. This latest article by CNN basically sums up a disgusting, neo-colonialist, racist trend that's taken shape: where 'ethnic' features are commodified and appropriated, and used as weapons of further marginalization against the very people they once helped racialize. Now, WOC are measured not only against the white woman ideal, but against other WOC who fit the image of 'exotic' other.

    How does this fit with my experience in Sri Lanakn communities? Let me explain. One of my many Sri Lankan friends has gorgeous golden skin, high cheekbones and a dancer's body. She in fact bears a striking resemblance to Jennifer Lopez. Whenever Sri Lankan people talk about her obvious beauty, they fall back on how great it is that she looks ethnically ambiguous i.e she could be from any number of countries between Asia and the Middle-east. This quality is seen as extremely desriable.

    Pictured on top is the most popular beauty queen in Sri Lanka right now, Jacqueline Fernandez. Sri Lankan people I know, are almost uniformly crazy about her. They fawn over her height, her slenderness and her wonderfully light skin. They talk about how she is a 'true beauty'.

    While I concede that Miss.Fernandez is quite beautiful, I object to the standards in our society that value her beauty above others. She is actually part Malaysian, which is something else Sri Lankans seem to drool over: mixed ethnicity. People will say 'oooh, she looks that way because her father is XYZ or her mother is YYX', or ' she is part Sri Lankan and part-xxx, she is sooo beautiful'.

    I'm not setting up to police who can identify as Sri Lankan, or who's an 'authentic' woman of color. What I'm trying to draw attention to is the way Hollywood fetishizes race ambiguity and exotic looks in ways that marginalize those of us who aren't ambiguous or exotic; just like Sri Lankan society exalts mixed-ethnic looks among its community in a way that suggests, to me, that we should aim to dilute our ethnic traits in favor of the cosmopolitan, race-ambiguous look of Jacqueline Fernandez. If the primary reason we swoon over multiracial beauty is because we think it edges us that much closer to whiteness, then we have a problem.

     
    I have brown skin that gets darker brown in the summer. My hair is thick and strong. I'm very short. I look nothing like Jacqueline Fernandez, and neither do many of my friends (some of whom are mixed heritage). I refuse to stay silent in the face of our collective post-colonial brainwashing that elevates one kind of Sri Lankan beauty over another.

    In Dubai, many Sri Lankan women are employed as domestic workers, largely in Arab or white households. When people in Dubai have told me (and it's happened a lot) "You don't look Sri Lankan at all!" they expect me to respond like they've just paid me a compliment. Because of the high number of our women employed in domestic work, and because it's perfectly naturally all over the world to view dark, poor women as born to serve the needs of those that are lighter and richer, most people are surprised when faced with a Sri Lankan woman who is not under their power, and who can look them in the eye and demand access to the same things they have.

    But many of us middle class to upper class Sri Lankans, when faced with these stereotypes, are quick to say 'Not all Sri Lankan women are maids' or 'Many of us are very well educated' or 'They look that way because they are gamay (village) people'.


    Why this apologetic tone? Why the back-pedaling? What's wrong with looking like our women who labor under dehumanizing conditions to generate one of the biggest sources of revenue for our country? ( women employed outside the country remit a large amount of their money back home).


    What's wrong, in fact, with these women? Can it be that they remind us, that despite our designer clothes and Western accents, that we come from a land of dark people and that our shared history is one of oppression and colonization based on darkness? Maybe it's because we know, in our heart of hearts, that our class privilege and education and conformity buys us that much into whiteness, while many of our men and women live and die under the shadow of racist colonialism that STILL devalues dark bodies.

    So here's me doing my bit to counteract the brainwashing we all participate in. I look Sri Lankan. I look South Asian. I am dark. I have thick hair that gets bushy.


    Dark is beautiful. Sri Lankanness, in its MANY shapes and forms, is beautiful. I won't be commodified and appropriated into white patriarchy's latest fantasy, and I refuse to see such commodification as positive in any way.

    So let's stop pretending that Hollywood's latest fetish is a step forward. I want real representation on screen, one that doesn't box in, mislabel and exoticise my multiracial brothers and sisters. One that doesn't deploy colonial race politics that tear us further apart. One that's really committed to honoring our humanity.

    Anything less is just not good enough.

     

     

    INFO: White America Has Lost Its Mind > Village Voice

    White America Has Lost Its Mind

    The white brain, beset with worries, finally goes haywire in spectacular fashion

    By Steven Thrasher

    published: September 29, 2010

    About 12:01 on the afternoon of January 20, 2009, the white American mind began to unravel.

    It had been a pretty good run up to that point. The brains of white folks had been humming along cogently for near on 400 years on this continent, with little sign that any serious trouble was brewing. White people, after all, had managed to invent a spiffy new form of self-government so that all white men (and, eventually, women) could have a say in how white people were taxed and governed. White minds had also nearly universally occupied just about every branch of that government and, for more than two centuries, had kept sole possession of the leadership of its executive branch (whose parsonage, after all, is called the White House).

    But when that streak was broken—and, for the first time, a non-white president accepted the oath of office—white America rapidly began to lose its grip.

    As with other forms of dementia, the signs weren't obvious at first. After the 2008 election, when former House majority leader Tom DeLay suggested that instead of a formal inauguration, Barack Obama should "have a nice little chicken dinner, and we'll save the $125 million," black folks didn't miss the implication. References to chicken, particularly of the fried variety, have long served as a kind of code when white folks referred to black people and their gustatory preferences—and weren't many of us already accustomed to older white politicians making such gaffes? But who among us sensed that it was a harbinger that an entire nation was plunging into madness?

    Who didn't chuckle, after all, the first time they heard that white people had doubts that Barack Obama had even been born in the United States and was therefore ineligible to be president? It sounded like one of those Internet stories in which some (usually white) writer does his best to prove something everyone knows to be true is actually the exact opposite. And you go along with it for a few paragraphs to see how long the writer can convince you that what you know is right is actually wrong.

    Seemed like that, didn't it? After all, what was the beef? Obama's father was Kenyan, and the kid was born in Hawaii—which is barely a part of the United States to begin with (only a state in 1959!). His mother was white, and after the Kenyan guy left, she married an Indonesian guy, so little Barack lived in Jakarta for a while before coming back to Hawaii to be brought up largely by his white grandparents. . . . And that's it? Come on, this was after-school-special material, the kind of thing that brings a tear to your eye because little half-Kenyan/half-white Barry made good, not the stuff of conspiracy novels.

    But the more you shook your head at it, the more it seemed to have taken root deep in the lizard part of the white nervous system. Obama is not an American. He says he's Christian, but he has a Muslim-sounding name. He's not black, he's not white. . . . Is . . . is he even human?

    Today, Newsweek has found, nearly a quarter of Americans believe that Obama is a Muslim, with barely 42 percent of the nation accepting his claim that he's a Christian. CNN finds that a quarter of Americans also believe that Obama was "probably or definitely" born in another country.

    Harris found in an online poll that 14 percent of Americans believe in their hearts that President Barack Obama is the antichrist, with nearly a quarter of Republicans saying so.

    At least in this form, however, Satan (sometimes) wears a flag pin.

    What was going on? Had decades of sucking down so much high-fructose corn syrup not only made Americans incredibly obese, but also messed with white brain chemistry to the point that some sort of tipping point had occurred?

    Not a bad theory, but no, there's a simpler explanation, with two parts: For the first time in their lives, baby boomers are hard up against it economically, and white boy is becoming outnumbered and it's got his bowels chilled with fear.

    "In an age of diminished resources, the United States may be heading for an intensifying confrontation between the gray and the brown," writes Ronald Brownstein in his July National Journal article, "The Gray and the Brown: The Generational Mismatch." That's a polite and understated way of saying that older white folks are losing their shit as they're being replaced by young brown and black kids while the economy is in the crapper.

    Brownstein notes that 40 percent of the nation's population under 18 is already non-white, with that number significantly higher in the Southwest (read: Mexicans!). By 2023, that number of young non-whites will be an outright national majority.

    At the same time, the baby boomers are getting older. At 80 percent white, boomers have gotten pretty used to dominating nearly every field of endeavor in this country since they came of age—politics, business, education, the arts—just about everything but MTV programming. Boomers set the national agenda in so many ways that we can forget how much the national economy and national media cater to them. Bewildered by the number of Cialis ads you see on television showing those flabby couples sitting in bathtubs? Or the way that older women are suddenly "cougars" and "MILFs" and . . . oh, yeah, you remember, boomers are getting old, but still want to think they can get the sheets sweaty. See? Boomers and their fixations and fears explain nearly everything. . . .

    Anyway, as boomers age, they get more politically active. That's just human nature, and their 40-million-strong AARP is the nation's biggest lobbyist. But as they try to wield that power, they're running into the growing, and less white, younger generations.

    "Like tectonic plates, these slow-moving but irreversible forces may generate enormous turbulence as they grind against each other in the years ahead," writes Brownstein.

    At some point, when tectonic plates build up enough tension, that destructive energy gets unleashed in a major earthquake, which is a pretty good metaphor for what happened on November 4, 2008. A black man got elected president, and suddenly every aging white boomer in this country turned into Carole King—they sure as hell felt the earth moving under their feet.

    Meanwhile, the brother moving into the White House inherited the kind of mortgage that even Wall Street executives might hesitate to call "subprime."

    A devastated economy. Two wars, neither being fought with clear goals. Housing markets that resembled war zones. A health system crippled with costs. An auto industry cratering.

    But surely, in a time of crisis, the country could pull together to fix this mess, right?

    Can you help a brother on health care? No.

    The economy? No.

    Financial regulatory reform? No.

    National security? No.

    Now, some black folks can be forgiven for thinking, as they watched the political drama in Washington unfold over the past two years, that this was just another form of the same old thing they'd put up with in one way or another in this conflicted multiracial country.

    But there is another explanation.

    White people have simply gone sheer fucking insane.

    Let's look at some examples to nail down that theory.

    The Association of Community Organizations for Reform Now was a nonprofit that organized voter drives and worked for improved wages and housing for poor, mostly non-white Americans. And because of who they organized, they became public enemy No. 1 in the eyes of certain people not so thrilled with black folks registering to vote in large numbers.

    Obama had once defended ACORN in a voting-rights case (as co-counsel alongside the Justice Department and the League of Women Voters). An ACORN offshoot was one of many Get-Out-the-Vote enterprises employed by his primary (but not general) campaign. The group's members did the same kind of community organizing that Obama had done as a young man. But throughout the 2008 election season, there was a concerted campaign to whip up hysteria about ACORN, and by November 2009, Public Policy Polling found that more than a quarter of Americans (and an outright majority of Republican voters) believed that ACORN had stolen the election for Obama.

    This was, of course, after the classic bit of Nixonian "rat-fucking" pulled off by a prankster named James O'Keefe.

    O'Keefe, a veteran at creating videos to make blacks look greedy and stupid (look for "Taxpayers Clearing House" on YouTube), spent the summer driving around the country with his accomplice, Hannah Giles, making videos in ACORN offices asking for advice about avoiding tax troubles with prostitution money. You've no doubt seen the images of O'Keefe dressed as a '70s pimp. But O'Keefe had carefully edited his tapes and left out, for example, that he was decked out in college preppie clothes, not pimp-wear. At least one ACORN office threw him out, and at least two knowingly played along with his ruse. (The San Diego office called the cops after he left, and the Philadelphia office filed a police report.) The upshot was that after his edited tapes became public, Congress quickly voted to strip ACORN of all federal funds. The organization effectively went out of business before the bill could take effect or be thrown out in court.

    O'Keefe has maintained he was "absolutely independent" in his project. But in September 2009, the Voice reported that he'd been funded by billionaire conservative Peter Thiel and the Leadership Institute, the same outfit that funded young Grover Norquist and Karl Rove. That revelation fell on deaf ears, however, and to this day, media outlets perpetuate O'Keefe's claim that he was operating without backing.

    O'Keefe got further help when his tapes were pushed by BigGovernment.com, which is run by an underhanded blowhard named Andrew Breitbart.

    Months later, O'Keefe was arrested by the FBI in a bizarre prank at Senator Mary Landrieu's office, in which he was either attempting to plant a wiretap or, in his explanation on Breitbart's website, just trying to find out whether her phone system worked to help her constituents reach her. (Yeah, that was a good one.)

    This summer, Breitbart picked out another black target with another selectively edited video, this one of a USDA employee named Shirley Sherrod. His editing so mischaracterized Sherrod's words and intent that the fallout, in the words of Frank Rich, "could not only smear an innocent woman but make every national institution that touched the story look bad. . . . The White House, the NAACP and the news media were all soiled by this episode."

    But, hey, politics is hardball, right? We've had rat-fuckers like Breitbart and O'Keefe around forever (the founding fathers were certainly not immune to dirty tricks in their day). What's different this time, however, is just how easily the lies and distortions of the rat-fuckers are being soaked up by the damaged crania of this country's drooling white masses. What sort of senility is softening up the frontal lobes of America's palefaces that they can't see through the black-hatred of a wanker like Breitbart?

    Out West, meanwhile, as home prices dropped faster than a burst piñata, an easy scapegoat was found: Mexicans. Long the scourge of aging white folks, who don't seem to understand the economics behind their cheap groceries, immigrants from Mexico, Guatemala, and other sweltering southern destinations became enemies of the American Dream.

    Suddenly, it was open season on brown-skinned fruit pickers and seamstresses. Arizona passed S.B.1070—a law that would force its residents to carry identity papers with them at all times. Jurisdictions around the nation are salivating to copy suit.

    Back East, meanwhile, we have our own brown-skinned devil: the Muslim. When an imam who had done diplomatic work for the Bush administration put together plans to build the Muslim version of a Jewish Community Center a few blocks from Ground Zero (but farther away than an off-track betting joint, a strip club, and the very financial institutions that had detonated the economy), white people freaked out.

    At Landmarks Preservation Commission meetings, white housewives from Staten Island suddenly took a great interest in preserving mid-19th-century cast-iron façades and the architecture of Daniel Badger—all to try to keep New Yorkers from taking swimming lessons in the same building where Muslims would have a place to pray. They argued that Muslims could never understand the impact of 9/11 (even though more than 20 Muslims were killed that day) and could never understand the concept of Ground Zero being holy ground (as if a building that would contain prayer services was somehow less holy than an outlet for betting on horses or stuffing dollar bills into G-strings).

    But by now, those sorts of distinctions are nearly impossible to make for a white mind so cluttered by decay. Race was always a tough one for white people to deal with, but now the backflips some people are doing over it requires a scorecard.

    There may be no better example than Laura Schlessinger and the great white outpouring of support following the bizarre flameout of her radio show.

    It all started with the most incomprehensible of happenings: that a black woman would, out of all reason, call the Dr. Laura show seeking advice.

    The sister called Schlessinger to ask how to handle her white husband's white friends, who sometimes say racist things that she's uncomfortable with, including using "the N-word."

    Schlessinger almost immediately went to, "A lot of blacks voted for Obama simply 'cause he was half-black."

    She told the caller not to "NAACP" her by taking her out of context.

    She said "nigger" is fine to say because "black guys use it all the time."

    She then wrote the caller off as having a "chip on [her] shoulder" and declared, "We've got a black man as president, and we have more complaining about racism than ever."

    She told the caller that if "you're that hypersensitive about color and don't have a sense of humor" (i.e., you even question that your husband's white friends say "nigger" to you in your house), "don't marry out of your race."

    The caller, Schlessinger thought, was suffering from "hypersensitivity—which is being bred by black activists." Her discomfort with the word "nigger," Schlessinger said, was just another "attempt to demonize whites hating blacks."

    The reaction from white America, who clearly had not remembered to take their thorazine that morning, was overwhelming: Who, if not Laura Schlessinger, should say "nigger" with impunity?

    Schlessinger announced on Larry King Live, however, that in order to "regain" her First Amendment rights of free speech, she would be canceling her show.

    Constitutional experts are still trying to parse that one.

    Sarah Palin then rushed to Schlessinger's, side, Tweeting in her inimitable style, "Don't retreat . . . reload!" Palin, we can only assume, wanted Schlessinger to utter "nigger" as often as she wanted.

    Perhaps the two of them, having both quit their jobs, can get together and put on a road show, opening with "Zip Coon" and finishing with a rousing rendition of "Carry Me Back to Ole Virginny"?

    On February 19, 2009, not a month into Obama's presidency, Rick Santelli—a former hedge-fund manager—had a meltdown on the floor of the Chicago Mercantile Exchange while broadcasting for CNBC. Santelli was incensed not that the government was bailing out the multimillionaires who had run giant financial institutions, but that assistance would also be going to help out ordinary people who found themselves defaulting on their home mortgages. Calling such folks "losers," he said, "How many of you want to pay for your neighbor's mortgage that has an extra bathroom and can't pay their bills?"

    He then added that he was not only mad as hell, but wanted to do something about it: "We're thinking of having a Chicago Tea Party in July. All you capitalists that want to show up to Lake Michigan, I'm gonna start organizing."

    Suddenly, other angry (and obviously very confused) white people began organizing their own "tea parties" and, from the start, had to defend themselves from charges that there was more than a little racial component to their movement.

    Few were really surprised, for example, when Tea Party Express President Mark Williams turned out to have penned a letter that could have been written in the worst decades of Jim Crow: "We Coloreds have taken a vote and decided that we don't cotton to that whole emancipation thing. Freedom means having to work for real, think for ourselves, and take consequences along with the rewards. That is just far too much to ask of us Colored People and we demand that it stop!"

    And it turns out that the "grassroots" modern tea party effort has been largely funded by the Koch brothers, reactionaries whose combined oil wealth places them just behind Bill Gates and Warren Buffet as America's wealthiest men. The brothers have given some $100 million toward the Tea Party's astroturf call to arms.

    "This right-wing, redneck stuff works for them," a former Koch associate told The New Yorker. "They see this as a way to get things done without getting dirty themselves." And in primaries across America this year, the Kochs have gotten one hell of a return on their investment. After decades of pouring money into think-tanks, the billionaire brothers now have an ally no institute fellow could ever match: a scared, angry white mob that votes.

    And what a mob. White folks used to shy away from candidates who e-mailed pictures of a woman being fucked by a horse, didn't they? Can you just see the scene down at the Republican Party headquarters: "Well, except for sending out those e-mails of horse-fucking, other e-mails of nigger jokes, and also fathering a love child, this guy Carl Paladino is just our kind of guy!"

    Finding Rick Lazio not crazy enough, white New Yorkers nominated Paladino for governor by a margin of almost two to one.

    Sure, Lazio had made an effort. He'd gone after the "Ground Zero Mosque" like a good race-baiter, but he just isn't in Paladino's mouth-frothing league. "Crazy Carl" is threatening to take a baseball bat to Albany (and our Tom Robbins explained last week how Carl's looney ravings are an empty act).

    Now, try, if your cortex is not too far gone, to reel things back a couple of years. Imagine, if you can, Barack Obama surging in polls in 2008 if it were known he'd sent out e-mails of a white woman getting it from a horse, revealed that he had a 10-year-old love child, and was threatening to take a baseball bat to federal employees. It's really impossible to conjure up, isn't it?

    That—right there, more than anything—demonstrates just how much the white brain has become Swiss cheese in the last couple of trips around the sun.

    A close second place: the really crazy white shit happening down in Delaware, a state that never really caused much trouble (except for unleashing Joe Biden on us) until it nominated one-time witch Christine O'Donnell, who is so batshit crazy she makes Sarah Palin sound perfectly reasonable.

    By now, just about everyone has seen the precious moment in MTV's 1996 Sex in the '90s when O'Donnell made this monumental discovery about masturbation: "If he already knows what pleases him and he can please himself, then why am I in the picture?" Fourteen years later, it doesn't really seem to be dawning on the still-unmarried O'Donnell that she's not "in the picture" and might never be. But that, apparently, isn't going to stop her waging war against the sex lives of everyone else.

    Again, only white lunacy explains it: Neither O'Donnell nor Paladino is a fringe candidate. O'Donnell has a difficult, but not impossible, chance to become a U.S. Senator. Paladino may yet become New York's next governor. (He's already polling ahead of Andrew Cuomo among likely male voters, who are generally white and clearly stark raving mad.)

    Is there any hope? Can the white mind be cured? And what—other than a massive lobotomy—can salvage it? It's hard to imagine a cure when, at this point, the patient doesn't seem to realize that he's sick. Rush Limbaugh, for example, has declared that it's black Americans who have a problem. The "black frame of mind is terrible" because of unemployment, and, equally important, because of "Tiger Woods's choice of females," he has said. What was that about a pot and a kettle?

    If there is a cure, it likely won't come from Barack Obama. There are those who say that this president invited our current derangement by not being commanding enough. They say he should have inveighed Franklin D. Roosevelt, who famously said before ever being re-elected, "I should like to have it said of my first Administration that in it, the forces of selfishness and of lust for power met their match. I should like to have it said . . . of my second Administration that in it these forces met their master." But if Obama ever referred to being the "master" of anything, he'd scare white people more than he already does.

    Glenn Beck is one of the downright terrified, and has said that Obama has "a deep-seated hatred of white people or the white culture." Which makes you wonder, has Beck really not seen Obama in his golf attire?

    In the end, it goes beyond Obama, and the current economy, and is really about the inevitable demographic future of America, those coming browns and the grays. They will—one way or another—have to learn to get along.

    It is true, as Brownstein says, that the graying boomers will hate to pay for the education, health, and welfare of the coming browns. They'll be stingy about it. They'll scream about it. But they'll have no choice but to do it.

    After all, who but the hordes of young browns will be around to work when the grays retire? To pay taxes? To fund their Medicare and Social Security? And how will they earn enough money to finance boomers in their retirement if they're not well educated and healthy?

    To do this dance effectively, the white American mind is going to have to focus and prioritize. Maybe, just maybe, it might be required to act with a little ever-loving sanity every now and again.

    sthrasher@villagevoice.com

     

    VIDEO: Friday Film Pick: Acts of Defiance | Art Threat

    Friday Film Pick: Acts of Defiance

    by Aisling Chin-Yee on July 9, 2010 · http://artthreat.net/?p=4618">View Comments

    This July 11th marks the 20-year anniversary of the injustice against the Mohawk people of Kanehsatake, known in the media as the “Oka Crisis”. The stand off between Mohawks and social justice advocates against the Quebec police, and the Canadian Army was over the city of Oka’s desire to expand a 9 hole golf course. This expansion was to go into the Mohawk’s sacred land. Including a burial ground.

    To respectfully acknowledge this 20-year old conflict at Kanehsatake, and the ongoing struggle that the First Nations of Canada have everyday, the Friday Film Pick is Acts of Defiance by Alex MacLeod. This feature-length documentary focuses on the Mohawk community in Kahnawake (also in Quebec) during the events of the summer of 1990. The film reflects on the relationship between Canada and its First Nations at a particular time in history.

     

    (Also check out our previous Friday Film Pick, Alanis Obomsawin’s classic Kanehsatake: 270 Years of Resistance.)

    This historical event shed international shame on the Canadian government’s intolerance to the rights of Aboriginal people, but also became a message of First Nations’ solidarity to fight for their land and their culture. And as Jessica Yee points out in her Rabble.ca article, the Canadian government seems to be celebrating its own history of human rights violations at the G20 in Toronto. Let’s the hope that we can take a lesson learned from the Mohawks at Kanehsatake and persist for our voices to be heard against these recent atrocities.