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The Alchemy of Race and Rights
Patricia J. Williams
Harvard University Press

Patricia Williams is a lawyer and a professor of commercial law, the great-great-granddaughter of a slave and a white southern lawyer. The Alchemy of Race and Rights is an eloquent autobiographical essay in which the author reflects on the intersection of race, gender, and class. Using the tools of critical literary and legal theory, she sets out her views of contemporary popular culture and current events, from Howard Beach to homelessness, from Tawana Brawley to the law-school classroom, from civil rights to Oprah Winfrey, from Bernhard Goetz to Mary Beth Whitehead. She also traces the workings of “ordinary racism”—everyday occurrences, casual, unintended, banal perhaps, but mortifying. Taking up the metaphor of alchemy, Williams casts the law as a mythological text in which the powers of commerce and the Constitution, wealth and poverty, sanity and insanity, wage war across complex and overlapping boundaries of discourse. In deliberately transgressing such boundaries, she pursues a path toward racial justice that is, ultimately, transformative.

Williams gets to the roots of racism not by finger-pointing but by much gentler methods. Her book is full of anecdote and witness, vivid characters known and observed, trenchant analysis of the law’s shortcomings. Only by such an inquiry and such patient phenomenology can we understand racism. The book is deeply moving and not so, finally, just because racism is wrong—we all know that. What we don’t know is how to unthink the process that allows racism to persist. This Williams enables us to see. The result is a testament of considerable beauty, a triumph of moral tactfulness. The result, as the title suggests, is magic.

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American Cocktail
A “Colored Girl” in the World
Anita Reynolds
Harvard University Press, 2014

This is the rollicking, never-before-published memoir of a fascinating woman with an uncanny knack for being in the right place in the most interesting times. Of racially mixed heritage, Anita Reynolds was proudly African American but often passed for Indian, Mexican, or Creole. Actress, dancer, model, literary critic, psychologist, but above all free-spirited provocateur, she was, as her Parisian friends nicknamed her, an “American cocktail.”

One of the first black stars of the silent era, she appeared in Hollywood movies with Rudolph Valentino, attended Charlie Chaplin’s anarchist meetings, and studied dance with Ruth St. Denis. She moved to New York in the 1920s and made a splash with both Harlem Renaissance elites and Greenwich Village bohemians. An émigré in Paris, she fell in with the Left Bank avant-garde, befriending Antonin Artaud, Man Ray, and Pablo Picasso. Next, she took up residence as a journalist in Barcelona during the Spanish Civil War and witnessed firsthand the growing menace of fascism. In 1940, as the Nazi panzers closed in on Paris, Reynolds spent the final days before the French capitulation as a Red Cross nurse, afterward making a mad dash for Lisbon to escape on the last ship departing Europe.

In prose that perfectly captures the globetrotting nonchalance of its author, American Cocktail presents a stimulating, unforgettable self-portrait of a truly extraordinary woman.

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The Rooster’s Egg
Patricia J. Williams
Harvard University Press, 1995

“Jamaica is the land where the rooster lays an egg…When a Jamaican is born of a black woman and some English or Scotsman, the black mother is literally and figuratively kept out of sight as far as possible, but no one is allowed to forget that white father, however questionable the circumstances of birth…You get the impression that these virile Englishmen do not require women to reproduce. They just come out to Jamaica, scratch out a nest and lay eggs that hatch out into ‘pink’ Jamaicans.”
—Zora Neale Hurston

We may no longer issue scarlet letters, but from the way we talk, we might as well: W for welfare, S for single, B for black, CC for children having children, WT for white trash. To a culture speaking with barely masked hysteria, in which branding is done with words and those branded are outcasts, this book brings a voice of reason and a warm reminder of the decency and mutual respect that are missing from so much of our public debate. Patricia J. Williams, whose acclaimed book The Alchemy of Race and Rights offered a vision for healing the ailing spirit of the law, here broadens her focus to address the wounds in America’s public soul, the sense of community that rhetoric so subtly but surely makes and unmakes.

In these pages we encounter figures and images plucked from headlines—from Tonya Harding to Lani Guinier, Rush Limbaugh to Hillary Clinton, Clarence Thomas to Dan Quayle—and see how their portrayal, encoding certain stereotypes, often reveals more about us than about them. What are we really talking about when we talk about welfare mothers, for instance? Why is calling someone a “redneck” okay, and what does that say about our society? When young women appear on Phil Donahue to represent themselves as Jewish American Princesses, what else are they doing? These are among the questions Williams considers as she uncovers the shifting, often covert rules of conversation that determine who “we” are as a nation.

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