28 research outputs found

    “You Should’ve Seen My Grandmother; She Passed for White”: African American Women Writers, Genealogy, and the Passing Genre

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    This thesis critiques the prevailing assumption that passing is passĂ© in contemporary African American women’s literature. By re-examining the work of Toni Cade Bambara, Toni Morrison, Gloria Naylor, Dorothy West, Alice Walker, and Barbara Neely, I argue that these writers signify on canonical passing narratives – Brown’s Clotel (1853) and Clotelle (1867), Chesnutt’s The House Behind the Cedars (1900), Johnson’s The Autobiography of an Ex-Coloured Man (1912), Larsen’s Passing (1929), and Hurst’s Imitation of Life (1933) – in order to confront and redress both the historical roots and contemporary contexts of colourism. As well bridging this historiographic gap, I make a case for reading passing as a multivalent trope that facilitates this very process of cultural interrogation. Rather than focussing on literal episodes of passing, I consider moments of symbolic, textual, and narrative passing, as well as the genealogical and intertextual processes at play in each text which account for the spectral hauntings of the passing-for-white figure in post-civil rights literature. In Chapter 1, I examine the relationship between passing and embodiments of beauty in Morrison’s The Bluest Eye (1970), Bambara’s “Christmas Eve at Johnson’s Drugs N Goods” (1974) and Neely’s Blanche Among the Talented Tenth (1994). In Chapter 2, I discuss passing, class, and capital in Naylor’s Linden Hills (1985) and Dorothy West’s The Wedding (1995). In Chapter 3, I suggest that Walker and Morrison revisit Larsen’s Passing in their short stories “Source” (1982) and “Recitatif” (1983). Finally, I conclude this project with a discussion of Toni Morrison’s God Help the Child (2015) in order to demonstrate the continued centrality of the passing trope for authors interested in colourism, genealogy, and black women’s experiences

    Between Antagonism and Eros: The Feud as Couple Form and Netflix’s GLOW

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    A feud is an antagonism that is continuous and extended; “a state of prolonged mutual hostility” (OED). Historically, feuds take place between families or communities, or result from failed couples. Considered as a couple form in its own right, however, the feud is associated with aesthetic forms often coded as camp, queer, or feminized. In such popular, serialized forms, the feud must be open ended and of unforeseen futurity, for resolution brings an end to the feud as such and dissolves the couple. Thus, feuds reject normative modes of coupling (such as the nuclear family) that center harmonious or happy feelings. The article begins with the political economy of the feud through an examination of the pre-modern form of the blood feud and continues with its late-modern presence in popular culture. We rehearse the idea of the feud as it emerges from anthropology and philosophy, especially as it impacts notions of debt and alternative economies, before thinking through the contemporary “coupling” of the feud in popular culture, fandom, and, via the performance form of professional wrestling and Netflix’s GLOW

    Effect of angiotensin-converting enzyme inhibitor and angiotensin receptor blocker initiation on organ support-free days in patients hospitalized with COVID-19

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    IMPORTANCE Overactivation of the renin-angiotensin system (RAS) may contribute to poor clinical outcomes in patients with COVID-19. Objective To determine whether angiotensin-converting enzyme (ACE) inhibitor or angiotensin receptor blocker (ARB) initiation improves outcomes in patients hospitalized for COVID-19. DESIGN, SETTING, AND PARTICIPANTS In an ongoing, adaptive platform randomized clinical trial, 721 critically ill and 58 non–critically ill hospitalized adults were randomized to receive an RAS inhibitor or control between March 16, 2021, and February 25, 2022, at 69 sites in 7 countries (final follow-up on June 1, 2022). INTERVENTIONS Patients were randomized to receive open-label initiation of an ACE inhibitor (n = 257), ARB (n = 248), ARB in combination with DMX-200 (a chemokine receptor-2 inhibitor; n = 10), or no RAS inhibitor (control; n = 264) for up to 10 days. MAIN OUTCOMES AND MEASURES The primary outcome was organ support–free days, a composite of hospital survival and days alive without cardiovascular or respiratory organ support through 21 days. The primary analysis was a bayesian cumulative logistic model. Odds ratios (ORs) greater than 1 represent improved outcomes. RESULTS On February 25, 2022, enrollment was discontinued due to safety concerns. Among 679 critically ill patients with available primary outcome data, the median age was 56 years and 239 participants (35.2%) were women. Median (IQR) organ support–free days among critically ill patients was 10 (–1 to 16) in the ACE inhibitor group (n = 231), 8 (–1 to 17) in the ARB group (n = 217), and 12 (0 to 17) in the control group (n = 231) (median adjusted odds ratios of 0.77 [95% bayesian credible interval, 0.58-1.06] for improvement for ACE inhibitor and 0.76 [95% credible interval, 0.56-1.05] for ARB compared with control). The posterior probabilities that ACE inhibitors and ARBs worsened organ support–free days compared with control were 94.9% and 95.4%, respectively. Hospital survival occurred in 166 of 231 critically ill participants (71.9%) in the ACE inhibitor group, 152 of 217 (70.0%) in the ARB group, and 182 of 231 (78.8%) in the control group (posterior probabilities that ACE inhibitor and ARB worsened hospital survival compared with control were 95.3% and 98.1%, respectively). CONCLUSIONS AND RELEVANCE In this trial, among critically ill adults with COVID-19, initiation of an ACE inhibitor or ARB did not improve, and likely worsened, clinical outcomes. TRIAL REGISTRATION ClinicalTrials.gov Identifier: NCT0273570

    Book review: the impact of racism on African Americanfamilies: literature as social science by Paul C. Rosenblatt

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    In focusing on what literature can tell us about various aspects of African American life, including housing, earnings, assets, unemployment, household violence, teen pregnancy and encounters with the criminal justice system, Paul C. Rosenblatt hopes to fill a gap in the existing literature. Engaging with novels written by African American authors, this book seeks to explore their rich depictions of African American family life, showing how these can contribute to our sociological knowledge and making the case for the novel as an object and source of social research. Janine Bradbury feels that Rosenblatt fails to open a true dialogue between disciplines in the ways that the likes of Kimberlé Crenshaw, Patricia Hill Collins and bell hooks have so expertly achieved

    Grace Jones: Cyborg Memoirist

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