20th Century African American Women

"We keep denying the importance of race because white people are becoming the minority."

"("Are there any countries working to acknowledge the historical and cultural impact of their African roots?") Every single country in Latin America and the Caribbean is doing that, including places you would never imagine like Chile and Uruguay and Paraguay, all have Black advocacy organizations. The only exception is El Salvador. And I think we can contribute some of the reluctance to organizing to El Salvador’s civil war. The political instability works against organizing."

"Afro-Latinos serve as bridges. The most obvious example would be Arturo Alfonso Schomburg. The Schomburg Center for Black Culture [Harlem, New York, USA] is probably the premiere institution for any type of serious scholarship and research on Africans and their descendants. Schomburg was a Black Puerto Rican who came to the United States from Puerto Rico in 1891 at 17. He became an integral part of the Black community – African American and Caribbean; most definitely he served as a bridge. Most of his writings were about Black Latinos, whether in Spain, the Caribbean or South America."

"Jiménez Román and Flores write: "Afro-Latin@ is at the personal level a unique and distinctive experience and identity because of its range among and between Latin@, Black, and United States American dimensions of lived reality. In their quest for a full and appropriate sense of social identity Afro-Latin@s are thus typically pulled in three directions at once and share a complex, multidimensional optic on contemporary society." Taking a cue from W.E.B. Du Bois, we might name this three-pronged web of affiliations "triple-consciousness." To paraphrase those unforgettable lines from The Souls of Black Folk (1903) in studying the historical and contemporary experience of United States Afro-Latin@, one ever feels his three-ness, -a Latin@, a Negro, an American; three souls, three thoughts, three unreconciled strivings; three warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder. Du Bois's reference to strength and resilience bears emphasis: the multiple experiences and perspectives including the contradictions, pain, and outrage-does not necessarily translate into pathological confusion. As many of the contributions to this volume suggest, embracing and celebrating all the dimensions of one's self has not only been possible but has also resulted in significant innovations at the personal and collective level."

"The way ideology is constructed in Latin America –if you claim Blackness or talk about race, it’s because you have some kind of complex; you just can’t seem to deal with the world the way it is. It’s a good way of silencing any kind of protest against discrimination because people think you’re saying because you have a problem, it’s your personal problem not collective discrimination."

"we’re not in a post racial state. Race is still a very important part of how all of us – globally – live our lives. African-Americans and Latinos need to get together, create change that will benefit not just Latinos and African-Americans but all people of color."

"This kind of book should have been around when I was a kid because blackness was equated with being African-American. This limited view left me concerned about my blackness because I grew up as a Black Puerto Rican and I’m very conscious how race and ethnicity have both impacted my life."

"In the process of putting the book together, we discovered a whole series of people who were identified as being African-American because they appeared—Black. There was no real attention to their [Latino] ethnicity even if they spoke Spanish; they served as bridges. Afro-Latinos function in two worlds: African [Black] and Latino."

"In Latin America there is this general concept that because we are all racially mixed, somewhere back in everybody’s family tree there is an African or Indian then we are incapable of being racist because that would be being racist against ourselves. Since most of these countries became independent that has become the guiding line that we are all mixed and because we are all mixed we cannot be racist."

"Prior to graduating high school, Miriam wrote, “Each new mask is put on, tested, and finally disposed of…Just who am I?” adding, “It should not matter who your parents were. The product is what is of importance. It should not matter!” This introspection and insightfulness would serve her well in future endeavors."

"She received all of her formal education in public schools and universities during the early years of ethnic studies, saying, “I owe my less formal but likely strongest intellectual, professional and personal development to the African diasporic community of scholars and activists,” whose worked inspired her for a lifetime."

"struggling for racial equality [in Latin America] is far behind the United States."

"Whether we look at race as a fixed notion or culturally constructed concept it is very real. Race itself is an invention, a creation. Many people feel race is something that’s fixed, rigid and doesn’t have variances. By looking at Afro-Latinos, you kind of get a better sense of how fluid race has been. People have constructed it in different ways depending on conditions and circumstances."

"cI been watching them girls for the past couple of years and I was like, ‘What the f**k?’ It made me feel good, they represented Memphis right. It’s only been me and [La] Chat that came out of Memphis,” she said. “A year later, GloRilla got signed. I got distracted because I was thinking of her glow-up. I think she was 19, remember when [I] was that age?"

"Too often, America - the Atlantic model - is cited in policymaking for black Britain. Aside from our similar racial origins, however, black America and black Britain have less in common than meets the eye. Black America is largely monolithic and our roots tend to be Southern Baptist and rural. We have roughly the same accent as a result of segregation and its consequent restriction of movement. We have lived continuously on American soil, most of that time in slavery, for more than half a millennium. (These, by the way, are some of the elements that make Barack Obama seem alien to many black Americans.) Black Britain, on the other hand, is international. It is urban. It has no rural history in this country. Within the living experience and memory of all black Britons are other countries, other cultures. And ironically, because of the impact of biraciality, the term "black" may not define black Britain in the future at all. Therefore, black Britain should concentrate on life as lived here."

"The last time I saw him was at the Columbia medical centre. I walked past this room and saw a guy who looked about 75 and really sick — all shrivelled up, with no hair or teeth. It took me a moment to realise it was Ivan. His body looked lifeless, like there was no blood or sweat in him. But even when he was this bag of bones that could hardly move, he still said that all he needed was rehabilitation and he would get better. Inside I was screaming and thinking: "How could this happen?" But on the outside I was saying: "Yeah, we’ll see what we can do." After the funeral I left for London. The theatre scene in New York had been decimated, and with so many people dying around me I felt it was important that I made the most of my life. I needed to escape the shadow of death."

"Nick Griffin and many viewers, I’m sure, would have wanted, even expected, me to come across as an abrasive, point-scoring, shouty, finger-pointing black woman. That would have played into Griffin’s game plan, because that is the view of his party. The BNP portrayed me as a "black history fabricator" on its website. There was no way that I was going to live up to any negative mental pictures that it would have had about me, or of any other black woman. Even at the risk of looking "ineffective"."

"It wasn’t even nothing personal. I left the group when I was 21. They were my manager, my producers, my label. Also, I was just young. I was on a spiritual journey. At the time, I thought it was religion."

"[On the early years of the AIDS crisis in New York City.] It was 1982 when we figured that something was really wrong. It was terrible — a kind of plague. I was 33 and the average age of the guys I knew was 36. Between 1979 and 84, about 35 of them died. All in the most horrific way. What was so awful was that everyone thought it was contagious, so they weren’t allowed in the hospital. People stopped shaking hands or kissing when they saw each other. Ivan got ill in 1983. That’s when the lesions started showing up on his face and people would run from us in the street."

"My parents were... It was in the house along with James Baldwin, and Amiri Baraka when he was LeRoi Jones. All of that was in the house. It was like my play land. And I'd like to say, they are like regular working class people who contribute to the bottom line. They didn't necessarily show up at the writers' conventions, or stand up at readings, but they bought books and read them regularly. In fact, that's how I learned about Tolkien. It was in the house. There were books everywhere and, of course, LPs [long-playing records] everywhere."

"Most of my friends who do love to read would, at the time, never consider themselves science fiction readers. They associated it with whatever they saw on television and whatever they stopped reading when they were little. And that's it. They simply thought white boys with guns, white boys with toys, lasers, or space operas, and that's it. They had no idea of all the different amazing work that's been going on for decades and decades and decades. And I thought, once they get it they're gonna love it."

"I remembered being so amazed by Greg Bear's stories from when my parents subscribed to OMNI magazine."

"I like to write about ordinary folks in extraordinary circumstances."

"Mainly because I am a reader first and foremost and the book that I wanted to read didn't exist at the time. I really went looking for the book and couldn't find it...what I read for pleasure was science fiction. I wanted to read more Octavia Butler; I wanted to read another Tananarive Due book; I even read a LeVar Burton novel. I don't know how to tell you how desperately I was searching."

"It blows your mind, right?...it's a very painful story. And he has to get through the pain with humor. And also, the way he sets up some of our heroes, the leaders at time. I mean, Madam C. J. Walker doesn't come off too well in the book. Brother Frederick Douglass doesn't do too well either. W. E. B. Dubois . . . No one is safe. Not the black characters, not the white characters. He just kind of lays it out there."

"Long before The Heart of Darkness, the imagination had acted as an instigator of historical change. Africa became the "unknown" and blackness was equated with the "Other." Two hundred years of slavery said so. And as these thoughts became institutionalized and codified, first in the form of slavery and later in the imaginary lines of political maps that documented the scramble for Africa, the people behind the "blackness" receded into the background. They became dark matter, invisible to the naked eye; and yet their influence-their gravitational pull on the world around them-would become undeniable."

"Good stuff is always being published. We want more “good stuff” and mo’ different good stuff, thank you! Work that reflects other lenses, other values, other world views in addition to the other good stuff that is traditionally published. I couldn’t say if there is a specific number in mind, but there is certainly a lot of encouraging, exciting work being created and shared today in a number of mediums, enough to see the flourishing of multiple communities of speculative writers and artists around the country and around the world. What an amazing, gratifying thing it is to be able to reach for whole volumes of South Asian steampunk, a novel imagining Belgian steampunk, African or Cuban science fiction, or whole volumes of any number of other fascinating bodies of work that might not have been visible two decades ago. If the increasing scholarship and number of Afrofuturism classes are a sign, and the festivals and conferences are a symbol, then new ground is being explored within and beyond the academy and the publishing industry. And that’s progress!"

"I never quite know how to answer this question. I started working on Dark Matter in 1998, sold it in 1999, and it was published in 2000. We’re still having the same conversations about the paucity of diversity in the publishing industry that we were having then—except then, people could identify only a handful of black writers actively writing and publishing in the genre. Samuel R. Delany and Nalo Hopkinson spoke about waiting to see that “critical mass” and the inevitable backlash from that."

"What still needs to be accomplished can be summed up by the lovely album released on my birthday last year by Solange—A Seat at the Table. How much significant, systemic progress and change can be made if you still don’t have a seat at the table? Walter Mosley was organizing around this question in the early 90s via PEN’s Open Book Committee, which I believe he founded, to help bring more people of color into the publishing industry. Why is that vital? Because different people at the table ask different questions, seek different voices, and have a different relationship to all the things we are told are “universal.” Intersectionality matters. Consider what work we wouldn’t get to read if other talented people didn’t get a seat at the table, a chance to guest edit, an opportunity to curate, to be a juror, to host, promote, celebrate, read and review, be reviewed, speak …"

"One of my favorite poets is Lucille Clifton, author of a good number of fine books, including Blessing the Boats, Quilting, and Two-Headed Woman."

"I wondered what it might be like if your dreams—or those of others—took a more lasting toll on us."

"She went back and collected folklore that so many people had forgotten. So many people don't even tell their children anymore. Don't even know that we used to tell the stories. The tongue can barely even sing the songs anymore. She brought it back and she brought it back for children. That, coupled with the wonderful art that always went with her work . . .When I think back on my childhood book collection, there were very few books that reflected me. Very few with black children, or black anyone. And the few that I had were by Virginia Hamilton . . . and I feel that she touched many lives and did it so beautifully. Such a brilliant storyteller and writer. I mean, it's one thing to retell someone's story, but to tell it in such a way that was uniquely hers. She's such an amazing writer and that's just the folklore. You go into her novels. The House of Dies Drear. The Planet of Junior Brown. Sweet Whispers, Brother Rush. Just really amazing. And who knew that she wrote a traditional science fiction trilogy?"

"the incredible Sheree Renée Thomas, who edited the groundbreaking anthology Dark Matter: 100 Years of Speculative Fiction From the African Diaspora."

"It is my sincere hope that Dark Matter will help shed light on the sf genre, that it will correct the misperception that black writers are recent to the field, and that it will encourage more talented writers to enter the genre."

"Dark matter as a metaphor offers us an interesting way of examining blacks and science fiction. The metaphor can be applied to a discussion of the individual writers as black artists in society and how that identity affects their work. It can also be applied to a discussion of their influence and impact on the sf genre in general. While the "black sf as dark matter" metaphor is novel, the concept behind it is not. The metaphor is neither farfetched nor uncommon if one considers popular themes within the black literary tradition. An excellent example is Ralph Ellison's Invisible Man (1945), a novel that introduced the idea of black invisibility."

"I'm genuinely just so thrilled any time people are taking actions based on a principle and a belief that what does Ruth Wilson Gilmore say-where life is precious, life is precious. That makes me very excited and happy."

"In other parts of the world, what one sees is a very simple fact: Where life is precious, life is precious. In places where the state, the government, municipalities, social justice organizations, faith communities, labor unions work together to lift up human life, the incidents of crime and punishment, including the incidents of interpersonal harm, are less likely to occur. And this is in places where populations are every bit as diverse as in the United States. We also see that in places where inequality is the deepest, the use of prison and punishment is the greatest. Nowhere, however, gets even close to the United States."

"Abolition seeks to undo the way of thinking and doing things that sees prison and punishment as solutions for all kinds of social, economic, political, behavioral and interpersonal problems. Abolition, though, is not simply decarceration, put everybody out on the street. It is reorganizing how we live our lives together in the world. And this is something that people are doing in a variety of ways throughout the United States and around the planet already."

"There are many, many ways for us to think about organized abandonment, but that thinking should bring us to consider both how capital — large and small — and state — municipal or greater — work together to raise barriers to some kinds of people and lower them for others."

"I continue to think that it is an unfortunate fact of everyday consciousness in the U.S. because of its racism and its sexism, that somehow the mere fact of representation is what the entire struggle has been for."

"the economic sanctions and embargoes are no less expressions of organized violence that result in premature death than the military incursions."

"There are all kinds of reasons to complain. Fine. That’s true of anything that we set ourselves out to do. We can complain about what’s wrong with the categories we have decided to embrace. But what abolition still gives us if we take it seriously, is a way of understanding that if freedom is a place, then abolition is life in rehearsal of making that place."

"Some of the leading abolitionists in the United States and around the world today are people like Mariame Kaba and Andrea Smith and Kelly Gillespie and others, who came out of work against domestic violence — i.e. it was in doing work to try to fight against violence and harm, that they realized abolition was the only way to resolve the problems that were not being resolved by having better, faster, more swift and sure punishment when somebody harmed somebody else."

"I learned as a child that despair is a luxury I just don’t have a right to."

"what spurred and motivated a lot of people to very good organizing, starting with Bob Bullard’s Dumping in Dixie exposé of how environmental racism was encountered with impunity by these big corporations throwing lead, and you name it, various carcinogens into people’s water tables and so on and so forth."

"the relationship between large-scale capitalist activity and the forces of organized violence have been intimate for the entire history of capitalism"

"The only way that inviolability has maintained its force overtime has been through the forces of organized violence standing between that concept of property and everybody else. That is it...the forces of organized violence, while very much tied to military uniforms, weapons, industrialized killing in that way, what Rosa Luxemburg called organized murder"

"the extraction of time from people who are detained, captured, disappeared, incarcerated is the annihilation of space by time, which is something that nappy haired philosopher Karl Marx said in the middle of the 19th century capitalism was busily doing to the planet, annihilating space by time. And so in taking back time in the various ways that we can provisionally is indeed part of the anti-capitalist struggle when it is part of the anti-capitalist struggle."

"California was on a path to making what was an huge and bulging prison system to be bigger and bigger and bigger. And that’s where contemporary abolition movement in the United States took root. And we fought and fought and fought, throughout urban and rural California, making common cause with labor unions, healthcare workers, faith communities, environmental justice activists, and other, to denaturalize the notion that crime was the problem for which prisons and punishment was the right solution, as a result of which the number of people in California prisons is much lower than it was even imagined it could be in the year 2000, because of the work that abolitionists did."

"freedom is a place. That it’s not like a destination, it’s the place that we make."