Esi Edugyan
Författare till Washington Black
Om författaren
Foto taget av: wikimedia.org
Verk av Esi Edugyan
Garden of Lost Socks 2 exemplar
Associerade verk
New Daughters of Africa: An International Anthology of Writing by Women of African Descent (1992) — Bidragsgivare — 83 exemplar
Taggad
Allmänna fakta
- Födelsedag
- 1978
- Kön
- female
- Nationalitet
- Canada
- Födelseort
- Calgary, Alberta, Canada
- Bostadsorter
- Victoria, British Columbia, Canada
- Utbildning
- Johns Hopkins University (MA ∙ Writing Seminars)
University of Victoria, British Columbia, Canada - Yrken
- novelist
- Relationer
- Price, Steven (husband)
- Priser och utmärkelser
- Giller Prize (2011|2018)
Medlemmar
Diskussioner
Half Blood Blues by Esi Edugyan i Booker Prize (september 2011)
Recensioner
In five essays, Edugyan explores the ways in which race is portrayed in art and storytelling all around the world.
She begins with art in Europe, investigating the ways that Black people were portrayed in paintings (when they were at all), such as using symbols to show the "other". "Canada and the Art of Ghosts" was an interesting look at the ghost stories that do - and don't - get told, what we are collectively afraid of and what we allow to be forgotten.
I was particularly struck by the middle essay, "America and the Art of Empathy", in which she takes on the idea of transracialism, briefly talking about "passing," but spending more of her time on folks such as Rachel Dolezal who was born white but self-identifies as Black. There was a lot to chew on there, and I highlighted this quote:
Finally, in "Africa and the Art of the Future" she talks about Afrofuturism and her experience watching Black Panther, and "Asia and the Art of Storytelling" (possibly the weakest of the bunch, but still good) details her own story of traveling Asia and the challenging relationship China and Japan have with race, particularly in accepting Black people and why their attitudes are what they are.
There is a lot to unpack in this fairly slim book, but it's well worth the effort.… (mer)
She begins with art in Europe, investigating the ways that Black people were portrayed in paintings (when they were at all), such as using symbols to show the "other". "Canada and the Art of Ghosts" was an interesting look at the ghost stories that do - and don't - get told, what we are collectively afraid of and what we allow to be forgotten.
I was particularly struck by the middle essay, "America and the Art of Empathy", in which she takes on the idea of transracialism, briefly talking about "passing," but spending more of her time on folks such as Rachel Dolezal who was born white but self-identifies as Black. There was a lot to chew on there, and I highlighted this quote:
Perhaps all our arguments around transracialism come down to a larger social disconnect between the individual freedoms we all cherish and the authenticity we now demand of everything. We want to everyone to be able to live out exactly the lives they wish, for our children to grow up to be anything, for everyone to be free to experience their true selves. But we are also living now in a time when the concept of identity is fragile, and we put great stock in absolute authenticity. We ask that art transport us to places and into lives we could not have otherwise fathomed, but we also put fences around those imaginative acts, by demanding, for example, that only gay actors play gay roles, or that only Black writers write Black characters.That resonates a lot with me, as it's a tension I find in my reading. I want to read diversely, and sometimes that means I notice when a book is all-white characters, but a lot of the time it means that I'm purposely seeking out books by people who are Black or Asian American or Latinx, and yes, I do look for a certain "authenticity" in that I don't want all the diverse stories I read to be written from a white lens. But, at the same time, I do think that a creative act should allow a writer to write about things they have not personally experienced. It can be a fine line to walk sometimes, and the lack of diversity in publishing with the decision-makers adds another layer to this.
Finally, in "Africa and the Art of the Future" she talks about Afrofuturism and her experience watching Black Panther, and "Asia and the Art of Storytelling" (possibly the weakest of the bunch, but still good) details her own story of traveling Asia and the challenging relationship China and Japan have with race, particularly in accepting Black people and why their attitudes are what they are.
There is a lot to unpack in this fairly slim book, but it's well worth the effort.… (mer)
Listor
To read (1)
World Books (1)
5 Best 5 Years (1)
Facebook list (1)
To Read (1)
Booker Prize (2)
Female Author (1)
Priser
Du skulle kanske också gilla
Associerade författare
Statistik
- Verk
- 9
- Även av
- 3
- Medlemmar
- 3,789
- Popularitet
- #6,691
- Betyg
- 3.8
- Recensioner
- 223
- ISBN
- 94
- Språk
- 8
- Favoritmärkt
- 1
- Proberstenar
- 296
La domanda sorge spontanea nel corso della lettura perché Titch è un abolizionista e chiaramente è raccapricciato dalle condizioni dellз schiavз nella piantagione di famiglia, ma allo stesso tempo non si fa troppi scrupoli nel chiedere al fratello (che materialmente gestisce la piantagione) di prestargli una manciata di schiavз per i suoi esperimenti scientifici. Uno di questз schiavз, Wash, instaurerà con lui un rapporto molto stretto che continuerà a interrogarci sulle reali intenzioni di Titch. Che poi è un modo per interrogare noi stessз: quanto è solido il nostro antirazzismo? Quanto del nostro antirazzismo è genuino e quanto è parte della nostra vanità e della nostra velleità di essere le brave persone che sogniamo di essere?
Ecco, il rapporto tra Titch e Wash è abbastanza esemplare delle fratture che il razzismo crea nei rapporti interpersonali tra persone bianche e persone razzializzate: Titch non è cattivo, ma nemmeno buono come probabilmente si pensa. È un uomo bianco cresciuto in una società profondamente razzista e ha scalfito appena la superficie del suo razzismo: non basta posare la frusta per non essere più uno schiavista.
Peccato aver avuto con questo romanzo lo stesso problema che avevo avuto con Questo suono è una leggenda: la storia ha catturato subito la mia attenzione, ma, esaurita la sua propulsione iniziale, mi sono ritrovata in una palude. La parte centrale del romanzo mi ha annoiata terribilmente ed è stata una faticaccia arrivare alla parte finale, dove la storia riprende forza. A questo punto penso proprio di avere un problema con quest’autrice, che scrive di tematiche molto interessanti, ma che non riesce proprio a mantenere desto il mio interesse per tutta la durata della storia.… (mer)