Black Girlhood in ‘Bone Black’ by bell hooks, and ‘Zami’ by Audre Lorde

Francesca Sobande

Edited by Veronica Vivi

Art by Olivia Twist: http://www.yesoliviatwist.com/

For some, the work of bell hooks needs no introduction. It may have represented their entry into Black feminist media and cultural critique, or the starting point of their understanding of the intersections of sexism and racism. I will always remember when I first came across the writings of hooks. I found such excitement in reading a distinctly Black feminist voice that is rarely found in university curricula. As I read hooks’ engaging analysis of media and consumer culture, I thought to myself “I never knew that academic writing could be like this!”.

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Interview with Rowan Hisayo Buchanan, author of ‘Harmless Like You’

Interview by Toby Sharpe

Edited by Maria Elena Carpintero Torres-Quevedo

Illustration by Arta Ajeti https://www.instagram.com/artawork/

Could you start by describing your career? What do you do, and what have you written?

I wrote a novel called Harmless Like You about a Japanese artist living in New York in the 1960s and 1970s. She ends up abandoning her son. It’s about how and why that happens. Oh, and there’s a bald cat, if you’re a fan of bald cats.

I’m also the editor of an anthology called Go Home!, which is a collaboration with the Feminist Press and the Asian American Writers’ Workshop. It’s a collection of poetry, non-fiction, and fiction about home by writers who identify as Asian or Asian-American.

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The Heat Death of the Universe

Jossalyn Holbert

Edited by Jahna Hampshire

Art by Holly Summerson hollysummerson.wix.com/arts

Pamela Zoline’s “The Heat Death of the Universe” outlines a day in the life of Sarah Boyle, a married mother of an indeterminate number of children living in Alameda, California during the 1970’s. Her life consists of pink children’s bottoms fresh out of the tub, strawberry jam on a strawberry floor, cleaning her house and meticulously labelling the items within it as a means of creating some order in her cluttered space. Her home becomes an enclosed vacuum, a microcosm of the wider universe barreling quickly and unstoppably towards a state of complete chaos, entropy. Physics enters the story sideways and strangely, with the heat death of the universe occurring in Sarah Boyle’s very kitchen. She has no means to stop it, attempting every day to sweep, vacuum, dust, wipe down, and order every object before in her path – no small task given that there are 819 objects in the living room alone (4). Despite her efforts, entropy descends upon Sarah’s kitchen anyway. Throughout the text, Zoline combines a feminist critique of the heterosexual, nuclear family dynamic pervading life at the time with a metaphysical association of the home as a miniature universe. Sarah Boyle’s struggle is not only against the social norms that tie her to her kitchen, full of dripping strawberry ice cream and ‘wet jelly beans’ (8), but also the monumental, intangible, unconstrained laws of the universe. The only agency she has, then, comes with hastening the inevitable state of entropy so that it occurs all at once and by her own hands. In other words, Sarah Boyle trashes her kitchen.

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Black is Beautiful: A Philosophy of Black Aesthetics

Temitope Ajileye

Edited by Veronica Vivi

Art by Anonymous

“I don’t know where to begin […] because nothing has been written here. Once the first book comes, then we’ll know where to begin”. Barbara Smith

There is some irony in how I came across Black is Beautiful, a masterpiece created by African American scholar Paul C. Taylor. I was looking for Russell’s History of Western Philosophy and, while waiting for the bookshop staff to locate it (their attempts would eventually prove unsuccessful despite their certainty that ‘Russell has to be in the shop’), my eyes wandered and settled on Taylor’s book. How lucky I was!

        The opening quote, taken from Barbara Smith’s Toward a Black Feminist Criticism, immediately presents us with the urgency that the book tackles and tries to solve. There is much art by, about, and with black people, but not enough thought to connect them together, help us think more productively about black expressive culture, which would allow us to contextualise and understand our reactions to black art. There is a strong feeling that much can be said about this art and an even stronger desire for these intentions to be finally clearly stated.

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Mules and Men

Anonymous

Edited by Jahna Hampshire

Art by Anonymous

After close to two years of studying anthropology, Zora Neale Hurston has yet to appear on any of my reading lists. This is a great shame, not only because it exemplifies the erasure of black women in academia that is all too common in higher education, but because her work specifically has so much to offer to new anthropology students.

While reading Mules and Men, Hurston’s ethnographic text on black communities around the American South, I was first struck by her confident centring of self. In great contrast to the majority of other ethnographic texts I have read, Hurston actively recognises her own place in the context of her fieldwork, making no attempt to hide herself in her ethnography. Rather, Hurston makes personal experience an equally valid and visible dimension of her ethnographic exploration, an approach whose significance I explored in a previous Myopia article (projectmyopia.com/toyin-odutola). In Mules and Men, Hurston unapologetically presents her jovial disputes with her research participants, casual banter with old friends and new acquaintances, and even being mocked and criticised by the people whose presence she was in. These honest and colloquial dialogues are not means to the ethnographic material, but the qualitative data itself… arguably, creating a richer picture that authentically describes the extent to which the presence and identity of the anthropologist affects the relationship between ethnographer and ethnographic subject; and the knowledge that is chronicled as a result.

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Caucasia

Maria Elena Carpintero Torres-Quevedo

Edited by Ketaki Zodgekar

Illustration by Maïa Walcott https://maiawalcott98.wixsite.com/mysite

Danzy Senna’s first novel, Caucasia (1998), is a coming-of-age story about a girl named Birdie with a black academic father and a white mother who is the estranged descendant of a prominent Bostonian family. The story follows the highly problematic construction of the young girl’s identity after being separated from her sister and black father and growing up with her white mother on the road around New England assuming different racial identities, which she is able to do due to her ambiguous ethnicity and her ability to “pass” for white.  It is a story deeply indebted to the history of the American Bildungsroman, or coming-of-age story, and its philosophical preoccupations, providing poignant commentary on the trope of “lighting out,” a term taken from Adventures of Huckleberry Finn, meaning going west, shedding history, and switching identities. While, during my undergraduate education, I studied a number of texts that addressed these genres and themes, Caucasia highlights the racialisation of the traditional American Bildungsroman and the American identity that it constructs in a way that none of the other texts I studied did.

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Interview with Professor Ngũgĩ Wa Thiong’o

Interview by Tanuj Raut

Edited by Rianna Walcott

Art by Maïa Walcott https://maiawalcott98.wixsite.com/mysite

I think that Greek mythology should be taught comparatively with African, Norse, Scandinavian, Icelandic and Asian mythologies. They are all very exciting and it is not necessary to put them in a hierarchical relationship to each other. Let them network.

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Launch Night Excerpts

Art by Priyanka Meenakshi https://www.priyankameenakshi.com/

We celebrated Project Myopia with a beautiful launch event towards the end of semester 2. It was a night of music and poetry, as well as an opportunity for some of our contributors to elaborate on their essays and ideas. Our performers touched on a wide range of serious issues: from the exclusion of racial minorities’ contribution to the canon of literature, to the oppressive nature of zero-hour contracts that prevent tutors from being able to fully engage in helping all students get ahead, let alone those from a minority background who need assistance most. We’re incredibly grateful to everyone who performed and shared their experiences, and we also have to thank everyone who attended and helped us drink the wine we provided! Project Myopia aims to bring marginalized people together and amplify their voices, and our launch felt like a perfect culmination of our semester’s work: people came together and shared their experiences of an academic world we need to change.

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Stone Butch Blues

Ronan Karas

Edited by Karli Wessale

Art by Priyanka Meenakshi https://www.priyankameenakshi.com/

“Strange to be exiled from your own sex to borders that will never be home” (Feinberg, 19XX, pg. 11).

Leslie Feinberg’s words echo in my head. I think about how strange yet familiar the feeling is of finding a work of fiction that you relate to on such a deep and personal level. I’m a trans man and I first started transitioning two years ago, in which time I’ve searched libraries, websites, lists upon lists of queer authors and gender theorists, all in the search for an answer to a question I can’t quite put into words. I wanted to find an account of someone who felt like I did. When you’re straight and cisgender, your sexuality and gender are never called into question by the literature surrounding you, but when you’re trans or queer, your identity becomes academic. Something to be debated around a table of people who don’t identify as you do. As a friend put it: “Cis people have gender, trans people have gender identities.”

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‘A Vindication of the Rights of Women’ by Mary Wollstonecraft, and ‘Ain’t I a Woman?’ by Sojourner Truth

Mattia Ventre

Edited by Toby Sharpe

Art by Alice Markey

Two figures spring to mind as the key voices of feminism and women’s rights in modern history that every student should discover: Mary Wollstonecraft, and Sojourner Truth. In my experience, however, a undergraduate student would struggle to hear about these women fully in class, let alone appreciate the impact of their ideas on our society. Women’s experiences have been erased from our curricula, and great thought from women is denigrated even today.

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