An extraordinary, exquisitely written memoir (of sorts) that looks at racein a fearless, penetrating, honest, true wayin twelve telltale, connected, deeply personal essays that explore, up-close, the complexities and paradoxes, the haunting memories and ambushing realities of growing up black in the South with a family name inherited from a white man, of getting a PhD from Yale, of marrying a white man from the North, of adopting two babies from Ethiopia, of teaching at a white college and living in America's New England today. From the acclaimed editor of Remember Me to Harlem: The Letters of Langston Hughes and Carl Van Vechten ("A major contribution," Henry Louis Gates; "Magnificent," Washington Post).
"I am blackand brown, too," writes Emily Bernard. "Brown is the body I was born into. Black is the body of the stories I tell."
And the storytelling, and the mystery of Bernard's storytelling, of getting to the truth, begins with a stabbing in a New England college town. Bernard writes how, when she was a graduate student at Yale, she walked into a coffee shop and, along with six other people, was randomly attacked by a stranger with a knife ("I remember making the decision not to let the oddness of this stranger bother me"). "I was not stabbed because I was black," she writes (the attacker was white), "but I have always viewed the violence I survived as a metaphor for the violent encounter that has generally characterized American race relations. There was no connection between us, yet we were suddenly and irreparably bound by a knife, an attachment that cost us both: him, his freedom; me, my wholeness."
Bernard explores how that bizarre act of violence set her free and unleashed the storyteller in her ("The equation of writing and regeneration is fundamental to black American experience").
She writes in Black Is the Body how each of the essays goes beyond a narrative of black innocence and white guilt, how each is anchored in a mystery, and how each sets out to discover a new way of telling the truth as the author has lived it. "Blackness is an art, not a science. It is a paradox: intangible and visceral; a situation and a story. It is the thread that connects these essays, but its significance as an experience emerges randomly, unpredictably . . . Race is the story of my life, and therefore black is the body of this book."
And what most interests Bernard is looking at "blackness at its borders, where it meets whiteness in fear and hope, in anguish and love."
|Publisher:||Knopf Doubleday Publishing Group|
|Product dimensions:||5.30(w) x 7.50(h) x 1.00(d)|
About the Author
EMILY BERNARD was born and grew up in Nashville, Tennessee, and received her PhD in American studies from Yale University. She has been the recipient of grants from the Ford Foundation, the NEH, and a W. E. B. Du Bois Resident Fellowship at Harvard University. Her essays have been published in journals and anthologies, among them The American Scholar, Best American Essays, and Best African American Essays. She is the Julian Lindsay Green and Gold Professor of English at the University of Vermont.
Read an Excerpt
This book was conceived in a hospital. It was 2001, and I was recovering from surgery on my lower bowel, which had been damaged in a stabbing. A friend, a writer, came to visit me in the hospital and suggested not only that there was a story to be told about the violence I had survived, but also that my body itself was trying to tell me something, which was that it was time to face down the fear that had kept me from telling the story of the stabbing, as well as other stories that I needed to tell.
I began to write essays. The first one I published was “Teaching the N-Word.” Over the next few years, more essays followed, along with several attempts to write about the stabbing. I couldn’t tell that story yet because I didn’t know what it meant. It took seven more years for me to understand that the experience of being at the wrong end of a hunting knife was only the situation, not the story itself; it was the stage, not the drama. In The Situation and the Story: The Art of Personal Narrative, Vivian Gornick writes: “The situation is the context or circumstance, sometimes the plot; the story is the emotional experience that preoccupies the writer: the insight, the wisdom, the thing one has come to say.”
The setting of “Scar Tissue,” which is the essay I eventually wrote about being stabbed, is my gut; the blood let flow by the knife is the trail I followed until I discovered the story, which is the mystery of storytelling itself, and how hard it is to tell the whole truth. Each essay in this book is anchored in this mystery, in blood. They are also rooted in contradictions, primary among them being that the stabbing unleashed the storyteller in me. In more than one way, that bizarre act of violence set me free.
But, of course, the stabbing has been a source of misery as well as opportunity. For instance, I suffered from recurrent, excruciating stomach pain for many years before another trip to the hospital revealed that I had developed adhesions in my bowel. The surgeon was able to untangle my intestines and scar tissue, but he warned me that the adhesions would return. There was nothing I could do to prevent or predict them. “You’re just unlucky,” he said sympathetically. The pain, he assured me, would be random and severe. It did return, thundered, again, throughout my body, and sent me back to the hospital, where a third surgeon ceded to the inherent mystery of the malady and confessed that medicine was more art than science. The gift of his honesty was, to me, as valuable as any solution to the problem would have been.
Once I accepted the randomness of the situation in my bowel, life took on a new urgency, and so did the desire to understand it. I turned to art over science, story over solution. I found a voice. The book imagined in 2001 began to take shape in a need to know, to explore, to understand, before it was too late. Insofar as the personal essay is, at heart, an attempt to grasp the mysteries of life, the form made sense to me on a visceral level. The need to understand, in fact, was what engendered the stabbing in the first place: I met the knife head on. Something in me just needed to know.
Each essay in this book was born in a struggle to find a language that would capture the totality of my experience, as a woman, a black American, a teacher, writer, mother, wife, and daughter. I wanted to discover a new way of telling; I wanted to tell the truth about life as I have lived it. That desire evolved into this collection, which includes a story about adoption that is as pragmatic as it is romantic; a portrait of interracial marriage that is absent of hand-wringing; and a journey into the word “nigger” that includes as much humor as grief. These stories grew into an entire book meant to contribute something to the American racial drama besides the enduring narrative of black innocence and white guilt. That particular narrative is not false, of course, which accounts for its endurance, but there are other true stories to tell, stories steeped in defiance of popular assumptions about race, whose contours are shaped by unease with conventional discussions about race relations. These other true stories I needed to explore, but I was mainly driven by a need to engage in what Zora Neale Hurston calls “the oldest human longing—self-revelation.” The only way I knew how to do this was by letting the blood flow, and following the trail of my own ambivalence.
I was not stabbed because I was black, but I have always viewed the violence I survived as a metaphor for the violent encounter that has generally characterized American race relations. The man who stabbed me was white. But more meaningful to me than his skin was the look in his eyes, which were vacant of emotion. There was no connection between us, no common sphere, yet we were suddenly and irreparably bound by a knife, an attachment that cost us both: him, his freedom; me, my wholeness. Revisiting that wound has been a way of putting myself back together. The equation of writing and regeneration is fundamental in black American experience. So, if race was not an essential factor in what brought me into contact with a hunting knife, I have certainly treated the wound with the salve that I inherited from people whose experiences of blackness shaped their lives as fully and poetically as it has shaped mine. I am most interested in blackness at its borders, where it meets whiteness, in fear and hope, in anguish and love, just as I am most drawn to the line between self and other, in family, friendship, romance, and other intimate relationships.
Blackness is an art, not a science. It is a paradox: intangible and visceral; a situation and a story. It is the thread that connects these essays, but its significance as an experience emerges sometimes randomly and unpredictably in life as I have lived it. It is inconsistent, continuously in flux, and yet also a constant condition that I carry in and on my body. It is a condition that encompasses beauty, misery, wonder, and opportunity. In its inherent contradictions, utter mysteries, and bottomlessness as a reservoir of narratives, race is the story of my life, and therefore black is the body of this book.
Table of Contents
Scar Tissue 3
Teaching the N-Word 21
Mother on Earth 70
Black Is the Body 84
White Friend 111
Her Glory 122
Going Home 163
People Like Me 193
Epilogue: My Turn 215
Most Helpful Customer Reviews
Most of the books I read are strictly teen fantasy, so this is a definite change of pace. But this captivated me with it's own magic. Her storytelling and insight amazes me. Her stories are thoughtful and intentional.
I found each essay captivatingly intimate. I especially love how Emily expresses her deliberations and honest interpretations of life and humanity. Black Is The Body is a fluid, lovely, meaningful read. If you value motherhood, family, friendship, culture and human connection, you will love this book!