Second Class Citizen

Elizabeth Lawal

Edited by Muireann Crowley

Art by Zoë Guthrie http://zoeguthrie.com/

Second Class Citizen (1976) by Buchi Emecheta is set in Lagos, Nigeria during World War II, and is about a woman called Adah and her marriage to Francis. Although life initially seems rosy for Adah, things turn sour when it becomes clear that Francis is physically and emotionally abusive.

When I was in high school I came across this book by chance; it was in a box full of books the teachers said we could take for free. The main reason I picked the book was because I noticed that the writer was Nigerian and of Igbo descent. Later on, I gave a presentation on it because there were no books by a black woman on our English Literature syllabus. After the presentation I asked if the book could be added and although the teacher was encouraging, my classmates were not. I think it was quite different to what they were used to – most of my classmates were white British. I vividly remember an Irish girl shouting from her desk, “I don’t want to learn about Africa.” I was a confrontational child, so I asked, “Why?’’ And she hit me with: “I just don’t.” I remember being so disappointed, and saying, “Well, I don’t want to learn about James I or Shakespeare and the Industrial Revolution, but you don’t hear me complaining.” This was met with silence.

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Continuing The Unfinished Conversation: Stuart Hall through the lens of John Akomfrah

The archive has been the space of intervention from the beginning. One of the few spaces, reservoirs of memory, for diasporic subjects is the archive.

John Akomfrah (2014)

Benjamin E.I. Lubbock

Edited by Maria Elena Carpintero Torres-Quevedo and Rianna Walcott

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

Memory and the moving image are John Akomfrah’s materials. In The Unfinished Conversation, a three-screen video installation, his subject matter is the formation of identity, which, for individuals struggling to define themselves in their social contexts, is a matter of urgency. It is not easy to explain how identities are created, and there are few who have considered the matter in greater depth than Stuart Hall, around whom the film revolves. Born in Jamaica before immigrating to Oxford, Hall became editor-in-chief of the New Left Review and a founding figure of the New Left movement. He was an activist, regularly televised for his analyses of media reports, and co-authored seminal texts such as The Popular Arts (1964), which advanced the claim that film, media and pop culture should be taken seriously as objects of study. But what he was arguably most renowned for were his theories of identity: “Identity is formed at the intersection between the political and the personal” (Hall, 2013).

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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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Moonlight

Fatima Seck

Edited by Maria Elena Torres-Quevedo

Art by Fatima Seck

In a year and a half of studying anthropology I’ve gathered one thing: apparently, LGBTQ folk do not exist.

With the exception of an optional reading about transgender sex workers in Brazil, and a discussion of the Vezo sarin’ampela, (described as men who live as and become women), I have not yet had the opportunity to learn about queer identities in my degree programme. Anthropology is a discipline characterised by breadth: quite literally anything can be studied anthropologically, and I appreciate that consequently, our studies must have certain limits and constraints. However I simply cannot accept that in the study of humanity — one guided by the question of what it means to be a person — LGBT+ identities do not have their rightful place. With the rise of incisive, beautiful and creative media by folks of marginalised backgrounds there is no shortage of content from which we can study queer folk, and I hope we can make these productions significant parts of our curriculum.

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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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‘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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Quicksand

Sarah Thomson

Edited by Rianna Walcott

Art by Jazmine Sheckleford www.facebook.com/jasmineillustrations13

Despite taking courses titled ‘International Modernism’, ‘World Gothic’ and ‘Comparative Feminist Drama’, it wasn’t until enrolling in a ‘Black American Fiction’ seminar in the final semester of my degree that I was first assigned a text written by a woman of colour, Nella Larsen’s Passing (1929). Although I initially I felt guilt that I’d apparently chosen classes with so little diversity, I soon realised that Passing would have made a fitting addition to a range of courses I’d studied previously. A concise but complex novel, Passing packs articulate discussions of class, gender, sexuality and race into just over 100 pages. It’s an injustice to the quality of Larsen’s prose to see it pigeonholed into the category of ‘black’ fiction, rather than used to enhance a course on something else entirely. The fact that it took enrolling in a seminar built around race before it was addressed in one of my classrooms speaks to the prevailing issue of the erasure of minority voices in academe.

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Toyin Odutola

Fatima Seck

Edited by Rianna Walcott

Art by Fatima Seck

Contemporary anthropology is seldom malicious. Today’s anthropologists go to great lengths to remove themselves from the insidious origins of the discipline — no longer is anthropology a way to mock and ogle a ‘savage’ other. Indeed, anthropology has evolved to allow an extremely empathetic — maybe even beautiful — relationship between ethnographer and ethnographic subject to be the centre of its praxis.

To assume however that this empathy reaches the student is perhaps the most myopic practice of today’s anthropology. Ethnographic research inevitably travels across an academic landscape of anthropologists, notebooks, academic journals, lecturers and students. In this process, studied cultures become commodified, and even further, there is a tendency to uncritically assume the absence of the anthropologist’s voice. People who are empathetic subjects to the ethnographer become canonised objects to the student — teaching anthropology thus becomes a process of objectification.

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Wide Sargasso Sea

Iona Glen

Edited by Karli Wessale

Art by Fatima Seck

There is always the other side, always (Rhys 106)

Wide Sargasso Sea (1966) by Jean Rhys is a dark, compelling novel that charts the backstory of the infamous ‘madwoman in the attic’ of Charlotte Brontë’s Jane Eyre (1847), exploring themes of colonialism, gender, and power. Rhys wrote the novel in response to Brontë’s oblique representation of the Caribbean and Mr Rochester’s first wife, investigating processes of oppression through the character of Antoinette Mason, renamed Bertha by her husband as a means of controlling her identity. In Rhys’ version of the story, Antoinette’s marriage to an unnamed Englishman in the 1830s unravels dramatically following revelations of her mother’s alleged promiscuity and mental disintegration. She becomes Brontë’s ‘intemperate and unchaste’ creation who thwarts Jane’s marriage to Rochester, spiralling into madness and, eventually, arson and suicide (Brontë 270).

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