Challenges us to think beyond America’s racial binaries.— Zaid Jilani
An elegant and sharp-eyed writer.… In a publishing environment where analyses of race tend to call out white fragilities and catalogue historical injustices, Self-Portrait in Black and White is a counterintuitive, courageous addition.— Carlos Lozada
A fluent, captivating, if often disquieting story.… We witness Williams on a journey of both self-discovery and self-creation, and his memoir is most valuable as a way deeper into, as opposed to a way out of, race talk.— Emily Bernard
Williams has the essential things a writer needs—command of language, complexity and depth of thought, and, maybe above all, courage. In Self-Portrait in Black and White he sticks his neck way out in pursuit of unfashionable, necessary truths. This book brings a blast of fresh air that will change your thinking about race in America.— George Packer, author of The Unwinding: An Inner History of the New America
Thomas Chatterton Williams’ Self-Portrait in Black and White is a gorgeously written and deeply knowledgeable account of fatherhood, identity, and race. Tender and probing, respectful of intellectual disagreement and of the raw emotions these subjects can stir, it nevertheless proceeds fearlessly and rigorously toward his own original and challenging conclusions. This is a book that will surely provoke, inform, and move readers, regardless of where they stand on the political and philosophical divide.— Phil Klay, author of Redeployment
This small book poses a very large question: How to become a self? Williams uses his own story to remind us that inner freedom depends on escaping the insidious categories of history and the suffocating clichés of the present. It is a stirring call to genuine liberation.— Mark Lilla, author of The Once and Future Liberal
In fifty years, smart students will be writing senior theses seeking to understand why anyone in the early twenty-first century found anything in Self-Portrait in Black and White at all controversial. For now, curl up with this book to join a conversation on race about progress rather than piety, thought rather than therapy.— John McWhorter, author of The Creole Debate
This moving and engrossing memoir is unfashionable in the best of ways. At a time when even purportedly optimistic visions of the future seem to assume that Americans will always be defined by the color of their skin, Thomas Chatterton Williams makes us dream of a future in which the importance of race will recede, and we are finally able to love each other for who we truly are. An energizing book by one of the greatest writers of our time.— Yascha Mounk, author of The People vs. Democracy
With Self-Portrait in Black and White Thomas Chatterton Williams has given us an elegantly rendered and trenchantly critical reflection on ‘race’ and identity—one that is perfectly suited to our time. This is a subtle, unsettling, and brave book. Using his own journey through life as point of departure, Williams launches a major assault on the conventional wisdom about racial categorization in America. Not only does he envision a New World; he dares to point the way toward how we all might yet arrive on those uncharted shores.— Glenn Loury, professor of economics and faculty fellow, Watson Institute, Brown University
Thomas Chatterton Williams has written a brave and powerful book that I could not put down. At a time when white supremacy is resurgent in many countries, should we fight it by insisting on the equality of the races or the elimination of race as a social and biological category? It is a question that needs to be asked and a debate that needs to be had.— Anne-Marie Slaughter, CEO, New America
★ 2019-07-08
A standout memoir that digs into vital contemporary questions of race and self-image—among the most relevant, "What is proximity to the idea of whiteness worth and what does color cost? And the reverse?"
Williams (Losing My Cool: How a Father's Love and 15,000 Books Beat Hip-Hop Culture, 2010), a 2019 New America Fellow and contributing writer at the New York Times Magazine, moves away from the "Black Man" label to offer a chronicle of why he is aiming to think of himself as "an ex-Black Man." Raised in the 1980s in New Jersey by a "black" father and a "white" mother, the author grew up thinking of himself as black. The trigger for writing this lyrical, incisive memoir was the birth of his daughter in 2013, followed by a son. They are also mixed-race given the author's marriage to Valentine, a Frenchwoman. (The family resides in Paris.) Though Williams is determined to move beyond categorizations of "black" and "white," in order to communicate clearly in this memoir, he knows he must rely heavily "on our language's descriptive conventions," which he explains in the opening author's note. We see the author's psychological struggle as he thinks through the conundrums, including what the confusion might mean for his white-looking children. In the hands of a lesser writer, the back and forth of his pondering could have sunk the memoir. However, it succeeds spectacularly for three main reasons: the author's relentlessly investigative thought process, consistent candor, and superb writing style. Almost every page contains at least one sentence so resonant that it bears rereading for its impact. The lengthy prologue is grounded heavily in discussions of race as a social construct. Part 1 takes readers through Williams' adolescence, Part 2 through his marriage, and Part 3 through dealing with his family on both sides. In the epilogue, the author speculates on "the shape of things to come." Shelve this one alongside Kiese Laymon's Heavy, Mitchell Jackson's Survival Math, and Imani Perry's Breathe.
An insightful, indispensable memoir.
