Racialicious

Racialicious is a blog about the intersection of race and pop culture. Check out our updates on the latest celebrity gaffes, our no-holds-barred critique of questionable media representations. If you've been on the blog, you know how this Tumblr works, too. Including the moderation policy.
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Posts tagged "children's literature"

Dear Editors,

You’re in luck that I’m at least writing this letter to you in my best handwriting because I am very angry at you. Why should it not be prohibited to write ‘Neger’ in children’s books? One has to be able to put oneself in somebody else’s shoes. Because my father is Senegalese, and he is a very dark shade of brown; I am café-au-lait brown. Just imagine if you were Afro-German and lived in Germany. You’re a newspaper reader and unsuspectingly buy the ZEIT of January 17th 2013. Suddenly, you note the article ‘The Little Witch Hunt.’ This is when you read that the word ‘Neger’ is supposed to be deleted from children’s books, and that this would allegedly spoil the children’s books. I find it totally shit that this word should remain in children’s books if it were up to you. You cannot imagine how I feel when I have to read or hear that word. It is simply very, very terrible. My father is not a ‘Neger’ [lightning bolt sign] nor am I. This is also true for all other Africans. Right. That was my opinion. This word should be deleted from children’s books.

Yours,

Ishema Kane, 9 1/2 years old

P.S.: You’re welcome to send me a response.

[more lightning bolt signs]

<3

9 1/2-year-old Ishema Kane schooling the editors of the German newspaper ZEIT on their defense of the German equivalent of the n-word in children’s books. (via stoptalk)

navigatethestream:

callofdawild:

a dope illustrator has just died.

he knew the people could fly………….

(via guerrillamamamedicine)

One of the things that we love most about Once Upon a Time is that, while Mary Margaret may be the soggiest lettuce in town, Snow White is a highwaywoman, a fighter, and a swashbuckler—every bit Prince James’s equal. Snow White is no longer a prize to be claimed, no longer an object to be won, and no longer a passive element in what is supposed to be her own story. And if she needs rescuing, she is quite capable of rescuing herself, thank you very much.

This is both so very needed and very empowering. It’s powerful to not only create new stories that empower marginalised bodies, but re-examine these old tropes and challenge them in a way that not only sets a new paradigm but highlights how wrong the old paradigm was.

The problem, of course, is that strong woman still means straight, able bodied, cisgender, and white. Snow White may not necessarily be waiting in her coffin for true love’s first kiss, but we do know that there will be a love interest and it will most certainly involve a man.

We always expect fairy tales to be 100% straight simply because they are seen as children’s stories (and pervasive bigotry holds that any GBL&T inclusion is both sexual and obscene) and because they are often seen as historical (and, for some bemusing reason, there’s a stubborn idea that all GBL&T people arrived from space in the 70s or 80s) so any GBL&T inclusion in this genre is always an uphill struggle. But nearly all fairy tales—and certainly most of the ones popularised by Disney—revolve around a romance. The Princess will meet her Prince, and then there will be Happily Ever After.

Unlike the Disney version where Black is seen as negative through the clothing choices of the evil queen, modern incarnations of Snow White do have characters of colour. These characters are always secondary and work to serve either the protagonist or the antagonist. Their characters normally can be erased from the film or television show in question without being missed, making it appear as though the choice to include a person of colour was based in a hope to forestall critique based in a lack of racial inclusion.

The perfect example of this is the magic mirror in Once Upon A Time,who lives to follow the orders of Regina, The Evil Queen. The actress who plays Regina is Latina, but nothing about the character of Regina reads anything other than white. Even taking her as Latina, when we then consider that Snow White is meant to represent the epitome of white female beauty and that she is battling a woman of colour to see who is the fairest in the land…definitely there is a problem. It suggests that no matter how conniving a woman of colour is that she will always and forever be second because she can never attain the true beauty of a white woman.

It is no accident that, as the population demographics change, there has been a return to Snow White. No matter the text, there are constant references to her pale skin and dark flowing hair. Snow White is exclusionary from start to finish—no matter how many side characters of colour are included—simply because the role could never ever be played by a woman of colour. If the desire behind it were to actually revisit folklore, there are plenty from cultures of colour that would make fascinating stories. The fact that these stories have been ignored to once again focus on a narrative that is exclusionary tells me that this is about upholding whiteness as a standard for what is good and pure in this world.

Ah, intent. You unfalsifiable talisman of airy exoneration. This is the second twanging string to the Belgian court’s bow, the outraged insistence that the artist was no racist, had no intent to “create an intimidating, hostile, degrading or humiliating environment.”

The great advantage for its deployers of this defence is that it is completely unprovable either way. Which is why, whatever one’s opinions of their actual bona fides, it is generally strategic to focus on what a person said or wrote, rather than what they think or are.

Which is exactly what Mondondo and Enright do. Their claim is that this book is racist. Because it is. Intent shmintent: whatever Hergé intended, are these disgusting sub-minstrel figures ‘degrading’? Anyone who denies that the answer is yes is a fool or a knave.

There is the absurd hyperbole, to turn a victimiser’s culture into a victim. In his effort to derail the issue, Staggs insists that the “trump” of racism is “used to blot out any part of our cultural heritage that might cause embarrassment.”

“Blot out.” Right. Who, after all, could forget the monstrous erasure performed by Stalin on Trotsky, by putting a warning sticker on him and refusing to shelve him alongside The Gruffalo? The Tintin Vanishes. Quick, conjure images of book burning! First they came for the Boy Reporter and shelved him alongside Persepolis & Sandman, and I did not speak out, because I was not a Boy Reporter, etc.

I’m all on the Yes Train about China Miéville’s analysis on racism apologists and their crusade to excuse the children’s book Tintin

I’m riding the Yes Train because China says exactly what I think about people trying to give racism a pass on “intent.”

roesheen:

In 1940, Life magazine published a short photo essay focused on a little boy in Liberty County, Ga., who was about to undergo a blood test. Keats was struck by the sweet images of the child, and cut the group of photographs out of the magazine. That little boy was the inspiration for Keats’ character Peter, the African-American protagonist of The Snowy Day and six books that followed. (via ‘The Snowy Day’: Breaking Color Barriers, Quietly : NPR)

(via so-treu)