Always In Season
by Jacqueline Olive
Always in Season is the first documentary feature film to spotlight recent grassroots efforts for justice and reconciliation. The film introduces viewers to relatives of the perpetrators and victims of lynchings in four communities grappling with how best to acknowledge the victims, repair the damage, and reconcile--all in the midst of pushback and heated national discourse about the value of black lives.Read More at IndieGoGo
Some Striking Feature: Whiteness and Institutional Passing
by Sara Ahmed
In situations of proximity between those historically understood as “different races,” and let’s give that proximity its name, colonialism, difference becomes a defence: an assumption that we can always “tell the difference,” that race as such is a tellable difference. The figure of the passing mixed-race individual thus became a site of anxiety, particularly in the United States in the early twentieth century. One of the famous texts to tell the story of what became known as the tragic mulatto whose passing as white prefigures her passing into death is Nella Larsen’s novella Passing, first published in 1929. In one scene, two light skinned African American women Irene and Clare are observing each other. They are seated at a table in a restaurant reserved for whites; they are both passing successfully, which means not only that neither of them realises that the other is passing but that they also do not realise they know each other; passing provides a cloak of anonymity.Read More at Feminist Killjoys
Acting Up & Acting Out: The Wondrous Work of Kristina Wong
by Jenn Fang
Kristina Wong (@mskristinawong) has dedicated her life to holding up a mirror to Asian America’s politics, pride and foibles through her work as our community’s foremost contemporary performance artist. Wong has influenced generations of Asian American activists with the range of her work tackling such weighty issues as mental health (in her one-woman show “Wong Flew Over the Cuckoo’s Nest“) and celebrity obsession (in her ongoing performance piece wherein she appears at public events with hopes of marrying Jeremy Lin).Read More at Reappropriate
But the Mystery, like the Melody, Still Lingers on . . .: on Roberta Flack
by I. Augustus Durham
Roberta Flack is, unequivocally, my mother’s favorite artist of all time. Although Maxine gave Roberta to me as her own, I learned of her genius via my own listening. Which is to say perhaps my mother loved Roberta because my mother believed herself to be like Roberta and, through my own maturation, now I equally understand that in this identity of twoness, via Farah Jasmine Griffin, if Roberta somehow was not free, in various and sundry ways, my mother was certainly the mystery.
By Aaron Bady
I’ve been fascinated by the notion that a rape scene should be (or could be) necessary. “Episode six ending was brutal – but was it necessary?” is a common way of framing it; Vanity Fair declared that “Game of Thrones Absolutely Did Not Need to Go There with Sansa Stark,” while over at Slate, the argument is made that “this particular scene was necessary,” given the grim bargain Sansa Stark had struck. Most striking, to me, was Jill Pantozzi (the editor-in-chief of the The Mary Sue) explaining why The Mary Sue would no longer actively promote the show.