front cover of Beneath the Surface
Beneath the Surface
A Transnational History of Skin Lighteners
Lynn M. Thomas
Duke University Press, 2020
For more than a century, skin lighteners have been a ubiquitous feature of global popular culture—embraced by consumers even as they were fiercely opposed by medical professionals, consumer health advocates, and antiracist thinkers and activists. In Beneath the Surface, Lynn M. Thomas constructs a transnational history of skin lighteners in South Africa and beyond. Analyzing a wide range of archival, popular culture, and oral history sources, Thomas traces the changing meanings of skin color from precolonial times to the postcolonial present. From indigenous skin-brightening practices and the rapid spread of lighteners in South African consumer culture during the 1940s and 1950s to the growth of a billion-dollar global lightener industry, Thomas shows how the use of skin lighteners and experiences of skin color have been shaped by slavery, colonialism, and segregation as well as by consumer capitalism, visual media, notions of beauty, and protest politics. In teasing out lighteners’ layered history, Thomas theorizes skin as a site for antiracist struggle and lighteners as a technology of visibility that both challenges and entrenches racial and gender hierarchies.
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The Book of Skin
Steven Connor
Reaktion Books, 2003
It is the largest and perhaps the most important organ of our body—it covers our fragile inner parts, defines our social identities, and channels our sensory experiences. And yet we rarely give a thought. With The Book of Skin, Steven Connor aims to change all that, offering an intriguing cultural history of skin.
 
Connor first examines physical issues such as leprosy, skin pigmentation, cancer, blushing, and attenuations of erotic touch. He also explains why specific colors symbolize certain emotions, such as green for envy or yellow for cowardice, as well as why skin is the focus of destructive rage in many people’s violent fantasies.

The Book of Skin then probes into how skin has been such a powerfully symbolic terrain in photography, religious iconography, cinema, and literature. From the Turin shroud to Ralph Ellison’s Invisible Man to plastic surgery, The Book of Skin expertly examines the role of skin in Western culture. A compelling read that penetrates well beyond skin-deep, The Book of Skin validates James Joyce’s declaration that “modern man has an epidermis rather than a soul.”
 
“Richly conceived and elaborately thought out. No flicker of meaning has escaped Connor’s ferocious, all-seeing eye.”—Guardian
 
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front cover of From Dessalines to Duvalier
From Dessalines to Duvalier
Race, Colour and National Independence in Haiti
Nicholls, David
Rutgers University Press, 1996
In this lively, provocative, and well-documented history, David Nicholls discusses the impact of "color" on the political relationship between the black majority and the mulatto elite during almost two hundred years of Haitian history. The divisive factor impeding harmony in Haitian culture, argues Nicholls, has not been race, but color. Identifying themselves as non-white, blacks and mulattos acknowledge racial unity. But color divisions, reinforced by religious, regional, and class differences, have nonetheless prevented the two groups from achieving poltitical and ideological unity. Nicholls grounds this sophisticated analysis in great historical detail and engaging, witty prose. Students and general readers alike will delight in this insightful and informative history of Haiti.
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front cover of From Dessalines to Duvalier
From Dessalines to Duvalier
Race, Colour and National Independence in Haiti
Nicholls, David
Rutgers University Press, 1996
In this lively, provocative, and well-documented history, David Nicholls discusses the impact of "color" on the political relationship between the black majority and the mulatto elite during almost two hundred years of Haitian history. The divisive factor impeding harmony in Haitian culture, argues Nicholls, has not been race, but color. Identifying themselves as non-white, blacks and mulattos acknowledge racial unity. But color divisions, reinforced by religious, regional, and class differences, have nonetheless prevented the two groups from achieving poltitical and ideological unity. Nicholls grounds this sophisticated analysis in great historical detail and engaging, witty prose. Students and general readers alike will delight in this insightful and informative history of Haiti.
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I
New & Selected Poems
Toi Derricotte
University of Pittsburgh Press, 2019
Winner, 2020 Frost Medal
Finalist, 2019 National Book Award
Honorable Mention, 2020 BCALA Literary Awards


Toi Derricotte’s story is a hero’s journey—a poet earning her way home, to her own commanding powers. “I”: New and Selected Poems shows the reader both the closeness of the enemy and the poet’s inherent courage, inventiveness, and joy. It is a record of one woman’s response to the repressive and fracturing forces around the subjects of race, class, color, gender, and sexuality. Each poem is an act of victory as the author finds her way through repressive forces to speak with beauty and truth.
 
This collection features more than thirty new poems as well as selections from five previous collections.
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Skin Acts
Race, Psychoanalysis, and the Black Male Performer
Michelle Ann Stephens
Duke University Press, 2014
In Skin Acts, Michelle Ann Stephens explores the work of four iconic twentieth-century black male performers—Bert Williams, Paul Robeson, Harry Belafonte, and Bob Marley—to reveal how racial and sexual difference is both marked by and experienced in the skin. She situates each figure within his cultural moment, examining his performance in the context of contemporary race relations and visual regimes. Drawing on Lacanian psychoanalysis and performance theory, Stephens contends that while black skin is subject to what Frantz Fanon called the epidermalizing and hardening effects of the gaze, it is in the flesh that other—intersubjective, pre-discursive, and sensuous—forms of knowing take place between artist and audience. Analyzing a wide range of visual, musical, and textual sources, Stephens shows that black subjectivity and performativity are structured by the tension between skin and flesh, sight and touch, difference and sameness.
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front cover of Skin Color, Power, and Politics in America
Skin Color, Power, and Politics in America
Mara Cecilia Ostfeld
Russell Sage Foundation, 2022
A person’s skin color affects their life experiences including income, educational attainment, health outcomes, exposure to discrimination, interactions with the criminal justice system and one’s sense of ethnoracial group belonging. But, do these disparate experiences affect the relationship between skin color and political views? In Skin Color, Power, and Politics in America, political scientists Mara Ostfeld and Nicole Yadon explore the relationship between skin color and political views in the U.S. among Latino, Black, and White Americans. They examine how skin color influences an individual’s politics and whether a person’s political views influence how they assess their own skin color.
 
Ostfeld and Yadon surveyed over 1,300 people about their political views, including party affiliation, their opinions on welfare, and the importance of speaking English in the U.S. The authors created a matrix grounded in their “Roots of Race” framework, which predicts the relationship between skin color and political attitudes for each ethnoracial group based on the blurriness of the group’s boundaries and historical levels of privilege. They draw upon three distinct measures of skin color to conceptualize the relationship between skin color and political views: “Machine-Rated Skin Color,” measured with a light-reflectance meter; “Self-Assessed Skin Color,” using the Yadon-Ostfeld Skin Color Scale; and “Skin Color Discrepancy,” the difference between one’s Machine-Rated and Self-Assessed Skin Color. 
 
Ostfeld and Yadon examine patterns that emerge among these measures, and their relationships with life experiences and political stances. Among Latinos, a group with relatively blurry group boundaries and low levels of historical privilege, the authors find a robust relationship between political views and Self-Assessed Skin Color. Latinos who overestimate the lightness of their skin color are more likely to hold conservative views on current racialized political issues, such as policing. Latinos who overestimate the darkness of their skin color, on the other hand, are more likely to hold liberal political views. As America’s major political parties remain divided on issues of race, this suggests that for Latinos, self-reported skin color is used as a means of aligning oneself with valued political coalitions. 
 
African Americans, another group with low levels of historical privilege but with more clearly defined group boundaries, demonstrated no significant relationship between skin color and political attitudes. Thus, the lived experiences associated with being African American appeared to supersede the differences in life experiences due to skin color.
 
Whites, a group with more historical privilege and increasingly blurry group boundaries, showed a clear relationship between machine-assessed skin color and attitudes on political issues. Those with darker Machine-Rated Skin Color are more likely to hold conservative views, suggesting that they are responding to the threat of losing their privilege in a multicultural society.
 
At a time when the U.S. is both more diverse and politically divided, Skin Color, Power, and Politics in Americais a timely account of the ways in which skin color and politics are intertwined.
 
 
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front cover of The White African American Body
The White African American Body
Martin, Charles D.
Rutgers University Press, 2002

Blacks with white skin. Since colonial times, showmen have exhibited the bodies of African Americans with white or gradually whitening skin in taverns, dime museums, and circus sideshows. The term "white Negro" has served to describe an individual born with albinism as well as those who have vitiligo, a disorder that robs the skin of its pigment in ever-growing patches. In The White African American Body, Charles D. Martin examines the proliferation of the image of the white Negro in American popular culture, from the late eighteenth century to the present day.

This enigmatic figure highlights the folly of the belief in immutable racial differences. If skin is a race marker, what does it mean for blacks literally to be white? What does this say not only about blacks but also about whites? Scientists have probed this mystery, philosophers have pondered its meaning, and artists have profited from the sale of images of these puzzling figures.

Lavishly illustratedwith many rarely seen photographsThe White African American Body shows how the white Negro occupied, and still occupies, the precarious position between white and black, and how this figure remains resilient in American culture.

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