Tuesday 23 December 2014

a moment before I was born

I recently received a message from an art history graduate of St Andrews informing me of a semi-ethnographic /memoir-ish photo essay project that she has just set up, and asking me if I would like to contribute.

Her name is Livia Marinescu and her project is entitled 'a moment before I was born'.

As she writes on the site description,

In memory of my paternal grandparents, with whom I grew up, I created this online archive called 
a moment before I was born. It is relatively close in time to us, about a generation ago, in the time of our grandparents, that photography was a much rarer and precious act. I would like to invite people to submit portraits of their grandparents when they were young, close to the moment when they met. These photographs attest for a time when young couples would not be able to take hundreds of photos. It was most probably a special, memorable event, to sit in front of the camera and have this experience of togetherness. When you send the photo, please mention your grandparents’ names, the place and year where and when the photo was taken (if you know this – if not, then the places/countries they lived in). You can also write about how they met or anything else that you'd want to share'

I felt inspired by her concept and so I responded by writing the following mini photo essay the very same night.





Thursday 18 December 2014

The Baby Mother's Tale (a Radio 4 documentary)

A lecturer and teacher of mine recently told me about a radio show that she heard on radio 4 called 'The Baby Mother's Tale'. This fascinating 28 minute documentary explores the stories of (first to third generation) Afro-Caribbean mothers living in Birmingham, UK and their reflections on parenting and conjugal dynamics within their communities. 

Whilst the blurb rightly highlights that 'the voices of these women are almost never heard', the show did remind me of Jamaican Sociologist/Author Olive Senior's path-breaking book, Working Miracles, which documents many similar such stories throughout Caribbean island contexts. In many ways Rebecca Lloyd Evans' radio-short traces the continuity of the familial patterns Senior documents into a metropolitan diasporic frame.   



The Baby Mother Tale interrogates the popular tropes of 'baby mother' (mother of a man's child), 'wifey' (main woman) and 'side chick' ('outside' woman) as various patriarchal categories that the women have to reckon with on an everyday basis as they negotiate relationships with their far from perfect 'child-fathers'. 

The show sketches a candid picture of maternal resilience and roving marginal men. Yet, there's an interesting moment in documentary where a younger man challenges the practices of his elder peers, forcefully provoking them to admit to their paternal shortcomings. Another poignant moment is when one of the young mothers visits her granny to discuss the history of the phenomenon, with her granny revealing the continuity between the 'other woman' of her generation and the 'side chick' of today. 



Friday 24 October 2014

Illustrating Intimacy: A Fathermen Special Edition from Stella Phipps

In this special edition, Fathermen proudly presents the work of burgeoning Glasgow-based artist Stella Phipps. 

The illustrations that feature here, are part of a collaborative project between Stella and Adom that seeks to illuminate new interpretive angles on the themes of paternal visibilities and the mundane - yet under-recognised - caring kin-practices of Caribbean men.

(Some text will follow - first from artist, then ethnographer - to offer a contextual backdrop to subjects and project).




© Stella Phipps






© Stella Phipps






© Stella Phipps



Of her images Stella writes:
"These portraits depict the unique bond between father and child, suggesting shared memories and experiences. Here, the fathers are caring for and nurturing their children, a vital part of each-others lives; based on my own childhood experiences and close relationship to my dad.

For me, Fathermen celebrates the diverse responsibilities that come with fatherhood in Dominica and beyond. It opens up engaging conversations about more equal forms of parenting and challenges stereotypes of 'absent' or uncommitted fathers in society"

----------------------------------------------------------------------


Adom:

The figure of the father has a troubled place in the Caribbean imagination. Notions of paternal absence abound in popular discourses that repeat throughout the Antilles. Yet it seems that the image of the feckless father is so deeply embedded a notion in the Caribbean that quotidian acts of kining -so mundane and so unremarkably everyday that they seem beyond comment - are rendered invisible. Walking children to daycare, 'looking at' (minding) a toddler with a watchful eye whilst fixing a bicycle, bathing a sick child in the curative Caribbean sea or simply posé (resting), sitting and watching TV at home 'wid de kids' - are all examples of the unexamined ground of fathering and male kin-care in Dominica (and elsewhere). Many Caribbean men are in complex ways perceived by children and 'child-mothers' to be absented from their offspring's lives. Yet, this well recognized reality conceals another subtly vivid reality that deserves acknowledgement. Stella's illustrations are an ode to these subtle everyday intimacies between men and their young kin. We witness bodies in close contact - maybe brothers, fathers, uncles or simply neighbors - holding, embracing, feeding or stood with kin. The images convey moments that might be occasioned or routine , a snapshot of a summer with a returning father who resides 'overs' (overseas), perhaps, or being fed by a cohabiting father during his day off work. 

As illustrative interpretations of photographs, these images are the interwoven with the artist's fatherly memories and as such communicate a very fundamental and immediate human quality that traverses bounds of difference.This enables tthe bodies/subjects featured to stand apart from the caucophony of voices that malign and over-determine fathering in the Antilles. For a moment here Stella's drawings bring about a semblance of serenity, an incubated co-being, a silent kinship beyond parental frictions and disjunctures. Images of laboring bodies or protective, providing and disciplining hands might offer a more familiar picture of the embodied practice of Caribbean fathering, consistent with normative ideas about paternal duty and care in the region. Yet these less common images of bodily closeness offer a possibility of seeing men's affective relations with children as something ordinary and habitual. 

The drawings presented here are part of an emerging visual ethnographic project set to be exhibited in Scotland in early 2015 on the themes outlined above. It will present a composition of photography, quotations (from Dominican men/fathers), audiovisual installations featuring everyday kinship activities and, of course, more of Stella's illustrations.

We are currently locating the right space for such an exhibition; one that might offer a diverse public access to the project. If you have an exhibition space in mind or are interested in promoting / supporting this project, please leave your contact email in the comments box at the foot of this post.


                                     ----------------------------------------------------------------------
On the artist:

Stella Phipps is an artist and illustrator based in Glasgow. She recently graduated from Edinburgh College of Art and is currently involved in community arts projects with Impact Arts.

Stella's art emerges from personal experience, people and places, the surrealities of dreams, wild landscapes, folktales and the sea.  

For more of her work, please visit her website at stellaphipps.com or stellaphipps.tumblr.com.  




Tuesday 26 August 2014

Fruitvale Station: Kinship and the Catastrophic in the Life/Death of an Afro-American Man

A protestor holding his hands up chants 'Hands up, don't shoot' as SWAT police unit stands guard during protests against police killing of Michael Brown.
[Militarized Police and Protester in Ferguson, Missouri Last Week]
Last Sunday night, as protests over the police shooting of unarmed black teenager Michael Brown continued into another night in Ferguson, Missouri (US), I sat to watch Fruitvale Station (2013) a dramatized depiction of the life/death of another unarmed black male fatally shot by police in an American city (San Francisco). 


Fruitvale Station is the intimately told story of 22 year-old Oscar Grant's final day of life, before his killing by Bay Area Transport Police on a New Year’s morning metro platform. The film has a realist, almost experiential quality to it offering a close-grained view into Oscar’s partially-fictionalized interior word. Whilst the film's director undoubtedly endeavoured toward verisimilitude and achieves an honest presentation of the contested terminal encounter, the story is not so much about the particular circumstances of the killing as it is about Oscar's familial life, his transitioning masculine self and what the devastation of his murder means for his girlfriend, their young daughter and his grieving mother (an all too familiar image of a black mother grieving a dead son; see for example Michael Brown's mother). And equally, the substance of the film is ,indeed, what it reveals of the violence that America visits upon its black citizenry – in this case young black males. 

[Oscar and his daughter 'T' in Ryan Coogler's Film Fruitvale Station (2013)

Fruitvale is a person-centred tragedy about intimacy, kinship, brutality and humanity. In its presentation of these themes it illustrates a beautifully nuanced picture of youthful black fatherhood and masculine being, as well as more generally reminding viewers of the enduring perilousness and devaluation of poor black lives in America. Cornel West (2009) terms this condition of violent denial (of equality, opportunity and full humanity) the ‘Catastrophic’. Evidenced by disproportionate un/underemployment, de facto segregation, overincarceration, poor schools, housing and healthcare (amongst other things), the catastrophic is the continuous racialized blighting of poor black America by the dominant social order (state, ruling classes and popular culture). In Oscar’s story we witness the catastrophic writ-small, channelled, magnified, complicated by the personal, the everyday struggles of an individual man.Spanning approximately 24 hours between New Year’s Eve and New Year’s Morning of 2009/10, interspersed with flashbacks to stints of incarceration, we follow the protagonist's individual movement through his daily life. The film offers an over-the-shoulder insight into his affective interaction and play with his daughter, and his frictive yet loving romantic relationship with his girlfriend.We see moments of vulnerability as he conceals from her and his mother the financial insecurity of losing his supermarket job, along with his resigned return to dealing weed. 



We observe Oscar's mild and easy way with friends, kin and strangers, as well as adversarial flares during prison fights and the metro brawl shortly before his death. And we observe the mutually expressive filial bond between him and his mother: from texting her "happy birthday" in the early hours of New Year's Eve at the start of the film; to spending the day dutifully running errands for her birthday party; to his memories of their intense argument in prison and the anguish of her telling him she will no longer visit him there (see video clip, right).

Interestingly, Oscar’s story echoes in many ways the transitional story of Scratchie D, a Dominican man whose redemptive journey I have been documenting in my thesis and an ethnographic film project I recently finished filming. Scratchie’s moral reorientation from a life of  crack cocaine smoking and dealing, ‘touching people thing’ (i.e. theft) and incarceration between Guadeloupe and Dominica; to his marriage, becoming a father/grandfather and securing stable employment, all signal the realisation of the kind of transition Oscar was just beginning to embark on. Interestingly, Scratchie identified kin relations to his mother and, later, his daughters as a key motivator for his transformative endeavours. It is evident that the same is true of Oscar grant's personal journey. The special love between mother and son and the associated maternal pain of repeatedly having to visit an incarcerated childis common to both Scratchie and Oscar’s stories. Indeed, in an interview for the documentary Scratchie’s mother narrated to me a story not entirely dissimilar to the scene above in its thrust and effect (see unedited clip below).


Oscar is a young man engaged in processes of becoming. He is struggling towards maturity - a sense of personal and familial stability -  in spite of the vagarious and catastrophic conditions of his existence. Therefore, although the fundamental tragedy of the film is the very fact of Oscar’s killing by state force - a repeating and increasingly routine American phenomenon (that of the 'accidental' police killing of poor black men with impunity) - an added tragic dimension of the tale is that the viewer gets the feeling that the new years day of Oscar's death paradoxically signaled the beginning of the rest of his life. The magic of film is that although the viewer is aware that his death is inevitable and impending, one can’t help but be optimistic for his unfolding future. The contradictions of optimism and the ominous, as well as the hope of a shared familiy future and the violent disjuncture of death, all feed the intensity of the film’s most poignant scene.

Oscar dies from multiple gunshot wounds at the end of the film, a fate shared with a growing list of black men killed at the hands of police in America – of which Michael Brown is one of the most recent (http://www.alternet.org/civil-liberties/how-often-are-unarmed-black-men-shot-down-police?paging=off&current_page=1#bookmark ). Fruitvale Station provides provocative viewing, helping us to think through recent events in Missouri and the realities of black male being in America, whilst staving off the lure or reductive tropes. As one reviewer wrote of film's the director,


His main intention — and his great achievement... is to make Oscar a fully human presence, to pay him the respect of acknowledging his complexities and contradictions. The radicalism of “Fruitvale Station” lies precisely here, in its refusal to turn a man into a symbol. Nearly every black man... tends to be flattened out by popular culture and the psychopathology of everyday American life, rendered as an innocent victim, a noble warrior or a menace to society. There is a dehumanizing violence in this habit, a willed, toxic blindness that “Fruitvale Station” at once exposes and resist.



 A mother’s prayer and the silent scene of Oscar playing with his young daughter as he teeters on the brink of death emphatically underscore the contingency of black American life and uncertain futures. 

This film is well worth watching, more today than ever. It is currently screening in cinemas in the UK and available for sale online.


Some good reviews:



Cited:



David Kyuman Kim. "Democracy, the Catastrophic, and Courage: A Conversation with Cornel West and David Kyuman Kim." Theory & Event 12.4 (2009). Project MUSE. Web. 18 Aug. 2014. <http://muse.jhu.edu/>.]


A very brief contextual intro to recent frictions in Ferguson, Missouri



Wednesday 16 July 2014

'Cleaning the Streets Saved My Life': Christabella George's Story




'Christabella George, [aged] 47, [mother of] 5 Children, had to fend for herselt at the tiny age of 13. Life for her then turned extremely sour, sleeping in garbage, eating garbage, serving time in prison and a long stint of drug addiction. She says her job rewarded her with a cleaned up lifestyle. Her best rehabilitation yet. This is her Story' 

This short documentary tells Christebella's fascinating story of overcoming addiction, abuse and years on the road as we follow her through her narrated life journey, redemption and morning's work cleaning the streets of Portsmouth, Dominica's northern town. This is not a story about a father or a man but it is very interesting all the same.  





A well made and subtly ethnographic documentary courtesy of InsidePossi.com

We need more documentaries like this that bring to light the lesser recognized everyday realities of regular Dominican people. 
I have pasted the YouTube comments below

Saturday 14 June 2014

A Father's Day radio show

I recently received an email from Dr Peter Weller of CariMAN informing of a radio show he and journalist/activist Owen Blakka Ellis  will be presenting on an internet radio program discussing masculinity and fatherhood for Father's Day 2014 - please tune in :
Sunday, Fathers Day at 12:30 EDT/Trini time.
The link:
http://www.blogtalkradio.com/yardieskeptics/2014/06/15/yardie-skeptics-s2ep12-fatherhood-masculinity-and-religion


It promises to be stimulating and provocative! 


Wednesday 28 May 2014

Family and Colour in Jamaica - an ethnographic re-reading




In recent months I have returned to some of the classical early kinship studies in Caribbean anthropology with the goal of mining for interesting themes and patterns that might spark dialogue with the ethnographic info I have collected during fieldwork in Dominica. 

This morning Jamaican anthropologist Fernando Henriques' Family and Colour in Jamaica (1953) fell through my door (a heavy eyed late night Amazon purchase I'd forgotten making some weeks ago). 

I read somewhere that a good ethnography is one that contains sufficient sociological richness and detail to be read as the author directs you, and then re-read, revealing its potential for alternative reinterpretation and reanalysis. This is one such ethnography. 

Here's a brief meditation on and rereading of the place of the father in Henriques' account with reference to a short autobiographical portrait of a 'lower class' schoolgirl that Henriques has annexed in his appendix.

For the most part the book is the kind of empirical overview of 'social organization' that was typical of the day - attempting to offer a cogent and comprehensive ordering of kinship across the class-colour strata of Jamaican society. 
Yet it  also seems the author felt a commitment to the first person narratives of two female interlocutors collected during his fieldwork (the diary of a Jamaican schoolgirl constitutes the similarly rich appendix II) and as such wanted them to go into print, despite convention forcing him to append them at the back of the book. His choice is a wise one though, it leaves them analytically open since appendixed items didn't demand authorial elucidation and as such they are allowed to speak for themselves. 

In the main body of the text in a chapter on 'lower class families' Henriques outlines the role of father in relation to his procreative kin (children, child-mother) and household:

[see red lined section in scan below (as you'll  observe I enjoy owning books as you can write in them with pen!)]


However, despite the 'minor' role of the 'absent' or unconcerned father and the occasional proud father when viewed structurally, 'Appendix III: Fragment of A Lower Class Autobiography' reveals a subject-oriented account that positions father/step father at the centre of a young girl's kinship world. Here we glimpse the kind of richness, depth of field and audibility of voice that would only become visible decades later in anthropology.

Approaching Caribbean family life from this angle urges us to interrogate the matrifocal thesis which would be later later introduced by RT Smith, and to which Henriques  formal observations above fore-run . In this account the father-daughter is the most centrally 'focal' relation through the optics of the narrator/protagonist, rather than the objectifying position of observer who might label the arrangement as matrifocal if they were simply observing from without. I offer this interpretation as a complementary counterpoint to matrifocal interpretations, suggesting the simultaneity of multiple perspectives on kinship from each subject-position in  ego-centered radial networks of kin - with dyadic bonds of varying intensity - could yield new conclusions about who's symbolically, practically, emotionally 'focal' in kin relations at a given moment. 
This sketch (below) could represent the girl's kin network in the autobiographical account below. It might be methodologically productive to call this a polyfocal reading of kinship arrangements if we were able to gather the subject centered accounts of each kin member mentioned and bring them at in analytic level into conversation.

[the size of dot connotes intensity/significance of relationship]

In the account that follows, a 34 year old woman recalls moments in her childhood through her own words. Interesting to reflect on is the significance of her father in structuring her kinship world:his protective  patriarchal (almost Oedipal) 'ownership' of her chastity, body and sexuality; his encouraging her to be hardy and learn to fight; hers and his tears upon her discovering he was her 'step father' not biological father; and the everyday taken-for-granted intimacies of his routinized food-sharing with her, her sleeping patterns with him and the mother, their playful observation of his provisioning banana trees through the window, and the episode of being separated during a hurricane as he walked her to school. 
These richly evidenced forms of everyday paternal practice seem far from anomalous to the narrator, yet the book up to that point conceals such realities behind concerns with familial form. 

It might be fascinating to see the complexity that such a close re: reading of other canonic Caribbean kinship studies might excavate. 

Below is a scanned copy of the appendix (I hope this is legal)

'Fragment of A Lower Class Autobiography'






For readers whom this book is of interest, a book about the Henriques family and their experience of pioneering prewar migration to the UK may be of interest too. It is titled The Jippa Jappa Hat Merchant and His Family 

Wednesday 12 March 2014

'Straight Talk' with Scratchie D - 'my life is a journey'


Last night on DBS radio's 'Straight Talk' program Delia Cuffy-Weeks and Kimara Hurtault hosted Scratchie Dan( aka Densley Stephens aka Montgomery Richards aka Old School) and myself (Adom Philogene Heron) to talk about Scratchie's life story on their program.


With his usual candid and rugged eloquence Scratchie shared the memories of his early life as a 'notorious criminal' between 'Gwada' and Dominica, and then reflected on his more recent moral and spiritual  refashioning into the figure of working 'family man' and 'big man in society'.

Scratchy also comments on some of the issues facing youth in today's global internet moment, looks back at his time in prison, his relationships to his mother, aunties and elder sisters who stood by him throughout his notorious criminal life, and also spoke of his excitement at recently becoming a grandfather.

I will not share anymore since I hope you will download and listen to the full show by clicking the Green box below:




A big thanks once again to our hosts Delia and Kimara for having us on the show
... and if you would like to contact Densley directly to find out more about his life or for him to come and share his story with a youth group, school or at any other event please contact him via Facebook here or you can email me (aph7@st-andrews.ac.uk)

Tuesday 11 February 2014

Be(com)ing papa: kinship senescence and the ambivalent inward journeys of ageing men in the Antilles

Here is the podcast of a working paper I recently delivered (2-12-14) on grandfatherhood, masculine being and ageing in Dominica, at Oxford university.



I presented at a multidisciplinary 'Generational Change in Reproductive Cultures' seminar funded by the Institute of Social and Cultural Anthropology and the Galton Institute @ Oxford, and convened byDr Kaveri Qureshi (Research Fellow, ISCA, University of Oxford) and Dr Sian Pooley (Lecturer, Faculty of History, University of Cambridge)


....thank you to both of them for the invitation and I commend them on a fascinatingly diverse and well organised series.

Sunday 2 February 2014

'The Esu of Forgiveness or Black fatherhood takes the long way round' [repost of an excellent essay-commentary By Roger Bonair-Agard]



[Originally posted FRIDAY, JANUARY 17, 2014]



The Esu of Forgiveness or Black Fatherhood takes the long way round
My father married at 19, emmigrated to Canada with his new wife.  By 22, he had three children – his marriage floundering.  He met my mother somewhere around that time, at McGill University in Montreal.  They were both from Trinidad – opposite ends of the island.  My mother remembers him as a serious, organized student.  He helped her study for an important English final.  During the summers they would hang out together in New York, where my mother worked as a nanny for a wealthy family to put herself through school.  On my father’s 25th birthday, my mother was 7 months pregnant with his 4th child – me.  He was in Montreal.  My mother having graduated was in New York.  There are conflicting versions of the communication that took place between them, but he wasn’t there – for her pregnancy, for my birth, for any of the 2 years my mother had to leave me in the care of a foster family and return home to Trinidad to look for a job, before she returned to get me and take me home. 

My father came home to Trinidad once or twice a year.  My mother would call him to remind him of birthdays and to send something for Christmas.  I grew up without him.  I am – if you read every report about black youth – a statistic.  According to the ‘evidence’, anecdotal and otherwise, black fathers routinely abandon their children, and they’re left to the ravages of a world that preys on children.  Listen closely to the timbre of some of this evidence and you’ll hear the strains of ‘this is really the reason that black children flounder – their absentee fathers, their single mothers, their lack of sustained family units and relationships and their failure has nothing to do with any larger forces we may want to ascribe to it.’  Listen closer and you’ll hear some other things about blackness too, but – one thing at a time.

+++

I am today, a father – a black father.  To be sure, the jury is not yet in on the success or failure of my attempts at fatherhood.  At the writing of this, my daughter – my first child – is only 8 months old.  There are several years of testing to go before I can say I’ve been a great, or even adequate father. Still, I moved to a city that I didn’t want to live in so I could be there for my daughter.  This is not something that requires an ovation.  It is part of what I see as my job.  I consider myself lucky to have become a first time parent at the advanced age of 45.  I have significantly more clarity than your average 25 year old about what kind of parent I want to be.  I’ve significantly more sense of who I am and what patience means and requires – not because I’m wonderful, but because I’ve survived.  Moreover, I look around me at my friends – other black fathers, and what I see is the most dedicated cadre of fathers you can think of – men who are not only shouldering their share of the financial burden, but working hard to be there for their sons and daughters regardless of the state of the relationship with the mothers of those children.  Indeed, not one black man with whom I have an intimate relationship can be said to have abandoned his children.  Wherefore then this idea that black men are more likely to not be there for their kids?  How then did this narrative get born?


+++

I’m a freelance teacher of creative writing.  Among the places I do this work is in juvenile jail.  You probably know where I’m going with this thread. Many of my students have not had the privilege of involved fathers.  They are all Black and Latino.  They almost all come from Chicago’s South and West sides, which in the context of America’s continued segregation, means neighborhoods of low socio economic status and entirely black and brown. Further, a significant number of their fathers have also been in prison or continue to be in prison.  The stories are as common among that population, as they are heart-breaking.  Their fathers give them what advice they can – father them however they know, until they are taken away again.  Uncles and grandmothers and mothers pick up the slack.  Indeed uncles and grandmothers and older folk in the neighborhood are involved whether or not the fathers are there.  The village attempts to raise because it has no choice – because their schools are terrible.  There are no resources.  Jobs are scarce and they fall back on the extended family – the family that existed before industrialization and modern business slicked us with the con game of the nuclear family, cleaved from the rest of its support, to fend for itself in a post-industrial landscape.

+++

I’m running away with a rant now.  My daughter laughs when I go into her room to get her in the morning.  She can’t believe I’ve come back.  She continues to shriek as I read to her while she holds the bars of her crib and bounces up and down maniacally.  She fusses through the changing of her clothes and we head out to the bus – or the subway.  Everyone smiles at me on the street.  White women who pretend I’m ether when I’m alone, talk to me at the streetlights waiting to cross.  Occasionally, I end up with a free ride on the bus – if I’m scrambling for my bus card or it turns out that I miscalculated and my card hasn’t enough of a balance on it.  I’m praised for the simplest act of caretaking – the body of my child strapped to mine as I go about my daily business.  Black women are often ecstatic or confused.  I am a menace when alone, something to be sized up.  With my child I’m somewhere between magically visible and an alien from a foreign land.  So much of what we believe about ourselves is a confusing mélange of lived experience, a con job about what should be, and statistics, damned lying statistics.

+++

Here’s what I’ve come to notice:  in general white men are far more awkward with Nina (especially in her first 3 months) than black men have been.  They are scared to hold her, or think she’s too little – scared they might break the infant.  They’ve had no experience with children in their family they say, or, they’ve never been asked to hold a child even if there’ve been children there.  Mostly, these white men are young middle-American and middle-class.  They fit comfortably into narratives of who they are as ‘men’ in their society.  Not much comes up to make them question their manhood in the general scheme of the dominant white American narrative, even though they’re progressive, liberal white men in most cases.  I guarantee that none of these men has ever heard it questioned whether he will or will not be present when he has a child. 

Almost to a man the black men in my life and black children for that matter, pick Nina up as if it’s a matter-of-fact.  They feed her – from their fingers even as did my best friend’s 13 year old son.  They signify all the various ‘tones’ of blackness we’ve come to identify.  They’re intellectuals.  They’re titans of commerce.  They’re violent cops.  They’re thugs and reformed thugs.  They’re hat backwards freestyling on the train youths and their ability to be tender and show love is not new to me, but I’m an old man now and my daughter is my everything and black men close to me hold her like she is everything to them too.  They’re villagers, raising our children.  Why is this important?  Because this is an image of black manhood that we are nowhere in public representations of black men allowed to see.  The narrative that dominates is that black men are menacing and frightening and it is necessary to stand one’s ground against them (even if they’re running away) and this narrative goes even further to not just criminalize but animalize black men with the idea that we’re to expect that they/we, would abandon our young.

I have several white friends whose fathers weren’t there.  I know of white youth whose fathers didn’t manage to stay.  None of them seem to be treated as part of a statistic.  None of them seems to walk around with the ‘knowledge’ that this is part of some cultural statistical yoke they must wear. Indeed, in most of their interactions, others are surprised to learn this about them.  I have several white friends whose fathers were there, whose fathers are, indeed, still married to their mothers.  Some of them have parents who ‘waited until the children were gone’ to leave.  Some of those people wish to all the gods that their parents had divorced.  Some of them have parents who share an incredible love.  Some of them are working through years of therapy to parse their parents’ relationships.  No-one is surprised to learn about my father’s absence – to know this as a thing about me, because I’m black.  This includes black people and Latino people and white people.  We’ve bought the idea inter-generationally that we don’t take care of our children – that we are somehow incapable of nurture.  Since we’re on statistics, those will also let you know that black men are at least (depending on where you are in the country) three times more likely to be convicted for a crime of the exact same circumstance as white men are.  The socio-economic undertones of conviction for crack-cocaine as opposed to powder, and the generally racist undertones of the war on drugs have carted black and brown men off to prisons in record numbers in the last 30 years.  Indeed, America has found a way to cart black men off to jail at numbers far exceeding that of their white counterparts from the moment Reconstruction ended.  These arguments are not separate from the narrative of absentee fatherhood in black communities. The critique about a crisis in black fatherhood cannot be had without examining where black fathers go and why, when indeed they are absent.  It cannot be had without also talking about why black boys and girls are adultified in the media and the criminal justice system, and anywhere they are encountered, with often deadly consequences.  It cannot be had as a discussion without also having the discussion that the ability to freely go to the polls has only existed for black people in this last generation; in mylifetime.

My friend, Camille tells of how her mother hated to take her and her sisters shopping.  For her, a young woman who grew up in the 80s and 90s, the idea of shopping was a joyous occasion.  She could never understand why her mother didn’t share in their joy.  As an adult, she asked her mother who revealed that as a girl in Houston, when her own mother took her shopping for shoes, she’d have to have her foot outlined and presented to the clerk, because black people were not allowed to try shoes on – shoes that presumably might also have to end up on white feet.  Shopping, even in the 50s and 60s meant subjecting oneself to constant indignity.  Of course, the shopping example is only microcosmic about what all black life has been like in America up to very recently.  The decimation of schools in black neighborhoods, the prison industrial complex, Trayvon Martin and the 188thday since George Zimmerman’s acquittal, all conspire to suggest, that to speak of black fatherhood, in the context of that white American trope of nuclear family head-of-household figure, without also examining the myriad ways in which it might be made not possible or might not be the most advantageous model even, is to ask all the wrong questions and to cultivate willful ignorance.  It is also to ignore that across all lines national divorce rates are around 50% and climbing, that alternative modes of family are steadily on the rise among all people, that even as we speak America is deconstructing what family means.  Some of those very white friends who grew up in two-parent households aren’t sure that’s what was best ultimately.  But the narrative about black men and their children morphs into a narrative about nuclear family being something we should aspire to, and must ignore all the other truths in our lives in order to maintain a nuclear household or be counted (or looked upon) as part of that statistic and conversation about ‘the breakdown of the black family.’  In this narrative, marriage is sacrosanct and without recognizing it we engage in equating non-wed parenthood with abandonment of the offspring, even when those fathers remain involved on a daily basis.  We beat that idea about the head, because we desperately want it to be the reason for everything that ails ‘the black community.’  We’d rather not look to some more deeply seated, fundamental reasons for general social inequity.

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The Yoruba of West Africa, whose descendants peopled much of the Caribbean, and Americas through slavery, count among their orishas – their manifestations of the Godhead, Esu.  He is the messenger between the human and divine worlds, Undergod of duality, crossroads and beginnings, and also a phallic and fertility Undergod, transporter of souls to the underworld.  He is considered a trickster god. Think Coyote of some Native American traditions.  Esu is the embodiment of that very Christian of biblical ideas that we can’t possibly fathom how God works, or know what he has in store for us.  For the African in diaspora, Esu is a grounding idea (whether he participates in the Yoruba spiritual system or not).  How else to explain the Middle Passage, what God’s intention is, but by the idea that He manifests as a trickster with the ability to show multiple faces of the self to others and to ourselves.  I often think of Esu when I think of the myth of the absent black father, the black father gone, abandoning his charge.  Among the many stories told of the playful Esu, who manifests as Elegba often in the syncretization of Yoruba and Christianity in the Caribbean and South America, is that he once walked between two rows of workers on opposite sides of a path.  Half his body is painted blue, the other half red.  One row of people says “Did you see that blue man?”  The other row says “No, he was red!”  And so they argue until Esu passes back going the other way, such that the first row says in effect “My bad, he was red” while the other argues ”No, no. you were right. He’s blue.”  The essence of Esu is to remind us that not everything is as it appears, and that we must know all sides of a thing before we can locate what it really means.  My therapist, a man of endless analogies, says “Do you remember the movie Close Encounters of the Third Kind? Do you remember how many people had the vision of the mountain and drew it, but got to it and couldn’t make contact?  Richard Dreyfuss character made a 3-D model out of mashed potatoes or something, so when he got there, he knew he had to walk around it and go to the other side.”  We were talking about cognitive behavioral understanding or some such.  I was trying to understand my own actions, how I might live more honestly in them.  Fatherhood, is like that – but then so is blackness, and its intersection with maleness, and its intersection with white western post industrialized life.  We heed the lesson of Esu and forgive what we thought we saw the first time round.  All around me are black men so full of love and tenderness for their children that I’m often on the edge of weeping for joy when I see us on the street, give dap to us when we get together.  We can let statistics that want to tell one story ‘prove’ one thing to us, but we must watch what is actually happening and seek out stories on the ground; walk to the other side of the mountain to find out the real truth.

Fathermen