It must be emphasized that non-violent resistance is not a method for cowards; it does resist.
If one uses this method because he is afraid or merely because he lacks the instruments of violence, he is not truly non-violent. That is was Gandhi often said that if cowardice is the only alternative to violence, it is better to fight. He made this statement conscious of the fact that there is always another alternative: no individual or group need submit to any wrong, not need they use violence to right that wrong; there is the way of nonviolent resistance. This is ultimately the way of the strong man. It is not a method of stagnant passivity. The phrase “passive resistance” often gives the false impression that this is a sort of “do-nothing” method in which the resister quietly and passively accepts evil. But nothing is further from the truth. For while the non violent resister is passive in the sense that he is not physically aggressive toward his opponent, his mind and emotions are always active, constantly seeking to persuade his opponent that he is wrong. The method is passive physically, but strongly active spiritually. It is not passive non-resistance to evil, it is active nonviolent resistance to evil. Read the Post Dr. King’s “An Experiment in Love”
Category: Racialicious Reads
Happy 2016 Racialicious Readers!
A New Year is full of promise, hope, and potential. And there’s no better way to start the year off than by reading a productivity guide meets advice memoir from the woman who owns Thursday nights?
Shona Rhimes is the powerhouse creator of Shondaland, featuring her mega-hit shows Grey’s Anatomy and Scandal. After an enviable career of penning hit movies and shepherding projects through the fickle whims of television, one would think Shonda had it all. But few people knew that underneath the amazing professional achievement, Rhimes struggled with feeling comfortable in the public eye. Year of Yes is the story of what happened after Shonda’s sister made an offhanded comment (“You never say yes to anything”) that became the driving force for 2014. Rhimes pledged to say yes to the opportunities that came her way, regardless of how terrifying – and also, learned how to say yes to herself.
*Some Spoilers Ahead*
Read the Post Start off 2016 with ‘Year of Yes’
I’ve been a fan of Marjorie M. Liu’s work for years. From her work on the Hunter Kiss novels to The Astonishing X-Men, Liu’s masterful and inventive storytelling creates deep, expansive worlds that consume the reader.
Liu’s latest work is no different. Teaming up with Japanese artist Sana Takeda, Monstress is a lush, art deco influenced exploration of war and power. In her own words:
MONSTRESS is the story I’ve wanted to tell for years, a dark epic fantasy about a young girl who has suffered tremendous loss and who isn’t quite certain how to put herself back together — if that’s even possible. To make matters worse, she fears something else is living inside her: a monster. And she’s right to be afraid.
My other motivation for telling this story is that powerful women are always imagined as monstrous. Bringing women, monsters, and power together — setting this in a world that never was, and could be — is something that speaks to my heart. Every single girl in the world has had to fight to have herself heard, to have space and a self in societies that try their best to deny them all three. Every single girl, whether we want to recognize it or not, is a warrior. And me writing about a young warrior woman is less a fantasy than a reflection of what it means to grow up a woman in societies like ours.
Set against the backdrop of an alternate 1900s Asia, Monstress blends steampunk and kaiju to tell deeply personal story about loss, war, and jihad. In an interview with The Hollywood Reporter, she explains the core questions underlying the work:
“What does it take to hold on to one’s humanity when you’re forced to suffer the long, continuous, dehumanizing experience of war? Is it just strength? Is it something in your character? Is it the kinds of friends you surround yourself with?” — which is one of the key themes to the series. “Other questions I’ve wrestled with, both in this book and others [are] what it means to be of mixed race, what it means to straddle the borderlands of two cultures,” she added.
“The world of Monstress is one that has been torn apart by racism, slavery, by the commodification of mixed race bodies that produce a valuable substance that humans require like a drug. Even if you look human, you might not be safe. It’s a familiar story to people of color in this country, and in the last four or five years I’ve found myself deeply immersed in the study of identity and race, especially in the Asian American context.”
Check out the whole interview, it’s well worth the read.
If you haven’t picked up a copy, there are 500 signed editions at Midtown comics in NYC. (Not the Grand Central location, as I found out the hard way yesterday. They will get them in a few weeks.)
If you have read the comic, after the jump, I’ll talk a bit about female characters and darkness, particularly around one particular scene in Monstress. There are light spoilers from Monstress.
HERE THERE BE SPOILERS, CLICK WITH CAUTION.
As we ease into fall, strong pieces are brewing to take us into the colder months.
The Art Of Not Belonging [Guernica]
Dwyer Murphy interviews Edwidge Danticat on her new work, being an immigrant writer, and categorization.
Guernica: Would these be very different stories if you didn’t translate? If you took them down in Creole?
Edwidge Danticat: Oh, definitely. I had that experience with Krik? Krak! I made some of the stories into radio plays in Creole and they become totally different. More alive in some way. More immediate. In the epigraph to Drown, Junot Diaz uses a quote from a Cuban poet, Gustavo Pérez Firmat—“The fact that I am writing to you in English already falsifies what I wanted to tell you.” This is the dilemma of the immigrant writer. If I’d lived in Haiti my whole life, I’d be writing these things in Creole. But these stories I am writing now are coming through me as a person who, though I travel to Haiti often, has lived in the U.S. for more than three decades now.
Often when you’re an immigrant writing in English, people think it’s primarily a commercial choice. But for many of us, it’s a choice that rises out of the circumstances of our lives. These are the tools I have at my disposal, based on my experiences. It’s a constant debate, not just in my community but in other communities as well. Where do you belong? You’re kind of one of us, but you now write in a different language. You’re told you don’t belong to American literature or you’re told you don’t belong to Haitian literature. Maybe there’s a place on the hyphen, as Julia Alvarez so brilliantly wrote in one of her essays. That middle generation, the people whose parents brought them to other countries as small children, or even people who were born to immigrant parents, maybe they can have their own literature too.
Are We Trayvon Martin? [The Margins]
I.Y. Lee at the Asian American Writers’Workshop examines racial space and conversation for the Asian American commmunity in the wake of the Trayvon Martin shooting.
Some Asian Americans have been Trayvon Martin in the past: in 1975, when Peter Yew was brutally beaten by police and it took the largest rallies in New York Chinatown’s history (some 10-20,000) to secure promises of no further police harassment; in 1982, when Vincent Chin was beaten to death with a baseball bat because his killers, who never served jail time, confused him with the Japanese auto industry; in 2001, when Balbir Singh Sodhi, a Punjabi Sikh, was shot and killed by a man who mistook him for Muslim and conflated Islam with 9/11; in 2011, when Private Danny Chen was driven to suicide by the racial tormenting of his peers and superiors in the army.
But today, the much-publicized “model minority” myth will tell you about the ‘success’ and assimilation of Asian Americans—so much that elite colleges may be quietly capping the numbers of Asians they admit. This is not a compliment. Indeed, it divides Asians from other people of color, obscures the real needs of Asian communities—e.g., between 2007 and 2010, Asian Americans/Pacific Islanders had the highest long-term unemployment rate of any group—and marginalizes the experiences of working class Asian immigrants.
By Guest Contributor Sikivu Hutchinson The two young men of color walk through the gallery…
[W]as he wrong? Should he give himself up? Would he be able to tell everything…
*Trigger Warning/Spolier Alert*
“Are we going back home?” Vivan asked.
Karl glanced at her, then looked around. He realized that he was heading back toward Palo Verde. He had left home heading nowhere in particular except away from Mary and Doro. Now he had made a large U and was heading back to them. And it wasn’t just an ordinary impulse driving him. It was Mary’s pattern.
He pulled over to the curb, stopped under a NO PARKING sign. He leaned back in the seat, his eyes closed.
“Will you tell me what’s the matter with you?” Vivan asked.
She was doing all she could to keep calm. It was his silence that frightened her. His silence and his obvious anger. He wondered why he had brought her with him. Then he remembered.”You’re not leaving me,” he said.
“But if Mary came through transition all right–”
“I said you’re not leaving!”
“All right.” She was almost crying with fear. “What are you going to do with me?”
He turned to glare at her in disgust.
“Karl, for heaven’s sake! Tell me what’s wrong!” Now she was crying.
“Be quiet.” Had he ever loved her, really? Had she ever been more than a pet-like all the rest of his women? “How was Doro last night?” he asked.
She looked startled. By mutual agreement, they did not discuss her nights with Doro. Or they hadn’t until now. “Doro?” she said.
“Oh, now – ” She sniffed, trying to compose herself. “Now, just a minute – ”
“How was he?”
She frowned at him, disbelieving. “That can’t be what’s bothering you. Not after all this time. Not as though it was my fault either!”
“That’s a pretty good body he’s wearing,” said Karl. “And I could see from the way you were hanging on him this morning that he must have given you a pretty good – ”
“That’s enough!” Outrage was fast replacing her fear.
A pet, he thought. What difference did it make what you said or did to a pet?
“I’ll defy Doro when you do,” she said icily. “The moment you refuse to do what he tells you and stick to your refusal, I’ll stand with you!”
A pet. In pets, free will was tolerated only as long as the pet owner found it amusing. Read the Post Mind of My Mind and Coercive Control [Octavia Butler Book Club]
[Doro] glanced at Rina in annoyance. Rina shrank back against the wall. “What’s the matter…