Rankine’s questions disrupt the false comfort of our culture’s liminal and private spaces - the airport, the theater, the dinner party, the voting booth - where neutrality and politeness live on the surface of differing … Tags Claudia Rankine Just Us New books New releases Penguin Random House SA. And it seeks out not only understanding, but the ways in which that understanding might emerge. Poet Claudia Rankine reads from Citizen=, her recent meditation on race in America. Just Us is full of questions—runs of questions, questions revising earlier questions, questions about questions people ask. Rankine asks, invites, or insists that the white people around her acknowledge the centrality of race in their apparently innocent lives. Which is both to ask very little of Rankine’s readers, and to ask everything of us. Amid those failures, a few moments jut out as images of hope and models of connection. It combines her poetry and essays that lend itself to dialogue while reading the book AND after reading the book. This episode was originally produced by Andrea Gutierrez and edited by Jordana Hochman. While narrative drives most chapters, the book insists on contemplation. Yes, you are. • Just Us by Claudia Rankine is published by Allen Lane (£25). I don’t say that to minimize my failure (or, at least, not for that reason alone), but to describe one of the reasons Just Us and Citizen work so well. This September, decorated poet, certified genius, and former Pomona College professor, Claudia Rankine released her highly anticipated Just Us: An American Conversation (Graywolf, 2020). Born in Jamaica in 1963, Claudia Rankine is the author of five collections of poetry, including Citizen: An American Lyric (Graywolf Press, 2014), which received the 2014 National Book Critics Circle Award in Poetry. CORNISH: Claudia Rankine, recent MacArthur Genius winner. The sole exception, the pronoun “one,” stands out in its almost-inhuman formality, wondering how to speak, surrounded by actors “one” can’t or won’t identify. I want to honor Rankine’s invitation, to imagine what it would mean to go beyond the scripts that stand in “for the complicated mess of a true conversation.” The hardest part, for me, is thinking through disagreement (hence my waiting this long). Imagining that uprooting economic inequality will eliminate racism underestimates racism. She served as a Chancellor of the Academy of American Poets from 2013 to 2018. Special thanks to Justine Kenin and Art Silverman of All Things Considered. No subject—no human actor—attaches to them. That’s what’s interesting about Just Us. At one point, Rankine writes, “From Appalachia to Fifth Avenue, my precarity is not a reality shared.” That’s incontestable. For example, a poem made up of lines like “The gloom is // the off-white of white. She pulls dramatic tension from those moments, documenting both her own sometimes-awkward, occasionally timid, often-vulnerable attempts to force the issue and the resistance she encounters, first within herself, and then among the white people she tries to engage, most of whom fall back on one of the many available scripts—so familiar that we can read them without even realizing they’re scripts—for keeping race from knocking the familiar business of life off course. People like me. Poet Claudia Rankine on Just Us and Unearthing the Raw Truths of Anti-Black Racism. During one dinner party, a white woman cuts her off, apparently uncomfortable with Rankine’s talk of racism, by calling attention to the dessert tray. Vincent Acovino helped with engineering. Red dots in the main text point back to the left, so that you move two steps forward and one step back. Poet Claudia Rankine and dog Sammy at her home, September 26, 2014. Its main text only appears on right-hand pages. Who calls? She writes of attending the play Fairview—at the end of which a Black member of the cast asks white members of the audience to leave their seats and come on stage—with a white friend who does not get up. In addition, Rankine struggles to move with the same clarity outside of a white/black dichotomy. The moment keeps opening from there. Verbs dominate the poem, but they’re typically deployed as other parts of speech (”a call”) or shifted into the passive voice (“is named”). As an excerpt from a speech on anger, guilt, racism, and women by Audre Lorde runs without commentary on the left-hand pages, Rankine’s confusion and frustration with her friend escalates, and her questions speed up, as if scrambling for some purchase, some steady ground. Interpretation, for Rankine, is a source of vitality—a potential for understanding both context and individual that makes individuals present to each other in the shared spaces and moments of their different lives. Ricardo DeAratanha/Los Angeles Times via Getty Images, See It's Been a Minute with Sam Sanders sponsors and promo codes. I saw the question marks, of course. “The thing that brought both my husband and me to the gymnasium,” she writes as they visit her … And it's one of the over 350 books you can browse for all … At times, in Just Us, Rankine articulates an ambition that seems simple yet remains out of reach. Rankine read an excerpt from Just Us which explored a visit to the theatre with a white friend and a dissection of their uncomfortable behaviour during the performance. But listening without the possibility of disagreement isn’t listening; it’s patronizing—hiding from the possibility of reproach, and from the person who might reproach me. I’m a privileged white male, and the unnamed subjects in those opening questions are also the frequent subjects of the book itself—privileged white people. “Claudia Rankine’s Citizen comes at you like doom,” wrote Hilton Als. The illustrious author, poet, and playwright, Claudia Rankine, joins us with the release of her latest book, Just Us: An American Conversation. I felt reproached. This is my life, these conversations. But that doesn’t prevent her from twice offering up a friend’s condescending take that “Latinx and Asian people are the ‘junior partners’ in a white nationalist administration” as something worthy of consideration. Just Us focuses primarily on the places of economic privilege where Rankine lives and moves, and yet she doesn’t say much about class outside the realm of her own affluent circles. Up to a point, that feels meaningful—Rankine seems at times to be modeling the ways one might operate outside of fluency as she expands to think about Latinx- and Asian-Americans. Because white can’t know // what white knows” both exposes the limitations of the terms it uses and fails to achieve (at least for me) the kind of surprise that Rankine seeks. I’m especially invested in this trilogy in part, I suspect, because the last two books make that lack of fluency meaningful. What other inane things have I said?” Rankine responds with “Only that,” “And just like that, we broke open our conversation—random, ordinary, exhausting, and full of longing to exist in some image of less segregated spaces.”. Nathan Bajar for TIME. https://www.newyorker.com/.../the-misspent-insights-of-claudia-rankines-just-us She spoke to us earlier this year about her book "Just Us." One could imagine a concluding volume that either moved with more freedom—that would feel more spontaneous, more lyrical, more capable of imagining and embodying joy and anger—or one that went deeper into the human bodies, including the less privileged ones that were more prominent in Citizen, that American unfreedom continues to break. She recounts interactions she had when traveling first-class that are similar to what Wilkerson remarked upon in her book Caste. “The poet Erica Hunt describes love as ‘a close reading’ that ‘help[s] me invent myself more—in the future,’” she writes. I would have liked her then.” It’s a surprising claim—and a measure of just how exhausted she is by the ways her anger, her sanity, her life, is foreclosed. You have only ever spoken on the phone. The first-person plural surrounds Rankine’s “I,” and she goes out of her way to mark its inclusiveness, inviting in anyone willing to join her. Laughter is another aspiration here, an image of shared, embodied presence. Some disagreements don’t work. Claudia Rankine is an American poet, essayist and the editor of several anthologies. To disagree publicly, accepting that censure might come? This is One Way to Dance by Sejal Shah. Rankine ends Just Us holding out more hope than I’d expected: The murkiness as we exist alongside each other calls us forward. Describing a moment with her husband, she writes: This white man who has spent the past twenty-five years in the world alongside me believes he understands and recognizes his own privilege. As the subtitle indicates, Just Us is an extended, open-ended conversation.The text asks us what conversation can do, what work must be done to even arrive at the point where we can honestly speak … On the left, Rankine includes notes, fact checks, images, other texts. Claudia Rankine’s Just Us: An American Conversation begins with a poem composed mostly of questions, starting with these: What does it mean to wantan age-old callfor changenot to changeand yet, also,to feel bulliedby the call to change?How is a call to change named shame,named penance, named chastisement?How does one saywhat ifwithout reproach? Her friend refused to go up on stage when asked, in an attempt to draw attention to the class divide in the theatre. Usually you are nestled under blankets and the house is empty. And it’s the meticulous care of a writer, rather than the loose freedoms of face-to-face conversation, that gives the book its form and force. She sat down and wrote.” It’s not everyone’s ideal of love or friendship, but at least for those of us who cherish close reading, it’s often engrossing to read. Among the many potential privileges of whiteness, of those of us Rankine asks this of, is fluency—the ability, for example, to say what you think without thinking, in the confidence that you are good, and your goodness sufficient. 1 Votes C. Related. Rankine tells story after story about failed conversations, situations in which privileged white people—in the first-class section of an airplane, at a dinner party, in her marriage—close down any chance of recognizing the active presence of racism, and so fail to leave space for parts of her experience—which is their own experience, too, were they (we, I) to acknowledge it. All we need to do is to recognize an American potential for—and ongoing history of—terror, violence, injustice, whiteness, innocence: the worst of us. And I do think Rankine gets some important things wrong. Watch an … Claudia Rankine: Just Us. Though she likes to work in the gray area between objective understanding and subjective experience, she’s an authoritative writer; even her self-doubt registers her command. She wants the possibility of surprise—the surprise of a better world, or at least of a more honest recognition of this one. While she does, for example, address the impacts of racial disparities in generational wealth, she concentrates on the disparities between her and a white friend who owns a house as nice as hers. That refusal is then compounded by another one: Her friend refuses to explain why. That book is called Just Us: An American Conversation, and in this episode, we revisit her chat with NPR's Audie Cornish, co-host of All Things Considered and host of the podcast Consider This. Greywolf/AP But I suspect it had a lot to do with me, too: I felt chastised. A special bonus episode, recorded live at On Air Fest on March 8, 2020 (just before social distancing sent everyone home), featuring a crowded room of lovely human beings enjoying an immersive live performance of The Paris Review Podcast.The show opens with excerpts of Toni Morrison’s 1993 Art of Fiction Interview, scored live by some of the musicians that created the score for Seasons 1 and 2. Born in Kingston, Jamaica, poet Claudia Rankine earned a BA at Williams College and an MFA at Columbia University. An Amazon Best Book of September 2020: Like her award-winning Citizen, Claudia Rankine’s Just Us is comprised of short vignettes, photos, excerpts from textbooks, tweets, historical documents, poems, and her own experiences as a Black woman, which serve to unravel the reality of the racism that runs rampant in our country. hide caption. And, in a slightly different vein, her writing sometimes feels confined by the narrow range of terms in which she seeks more resonance than she’s able to generate. Format: 352 pp., hardcover; Size: 6.52” x 9.16”; Price: $30; Publisher: Graywolf; Recurring Chapter Title: “Liminal Spaces”; Some of the Items That Appear Alongside the Main Text: graphs, fact checks, pictures of Tweets, pictures of historical events, screen grabs, a picture of Emily Dickinson, an excerpt from a speech by Audre Lorde, quotations from news reports, pictures of blond hair and blond women, a picture of a PowerPoint slide from a diversity workshop, a picture of a page from Nelson Mandela’s calendar; Number of Erasures: two; Number of Those Erasures That Refashion an Earlier Part of the Text: one; Paper: thick and glossy; Representative Passage: “To converse is to risk the unraveling of the said and the unsaid.”. Certainly he knows the right terminology to use, even when these agreed upon terms prevent us from stumbling into moments of real recognition. I missed that my first time through, which seems remarkable: They’re everywhere. Poet Claudia Rankine and dog Sammy at her home, September 26, 2014. Part of that, I’m sure, is a result of Rankine’s style. Claudia Rankine’s Just Us: An American Conversation is an incredibly accessible work. Listen as she and Amanda examine the emotions underpinning white privilege, shine a light on racial inequality in its less obvious forms, and explain what it actually means when a white person, “doesn’t see color.”. But within those parameters, I think—and I think Rankine suggests this, too—we need to be present enough to diverge. But Just Us, with its lack of a destination, with its frequent approach of “what if,” sometimes lacks the charge of either of those—or of some other destination that might stand in their place. But Just Us, with its lack of a destination, with its frequent approach of “what if,” sometimes lacks the charge of either of those—or of some other destination that might stand in their place. On top of that, Rankine treats experience as a text in which each act demands interpretation and implies a legible impulse. Sign up for The Believer’s mailing list and get free essays, comics, interviews, and more, right in your inbox. What does it mean to listen—to really listen—and, sometimes, to disagree? Or, me. “Us,” like the “conversation” of its subtitle, and like the “lyric” of the first two (or, for that matter, like founding declaration of the United States) is a reminder of what mostly isn’t there. Just Us: An American Conversation by Claudia Rankine. I don’t want to minimize any of these objections. It was a humorless moment and so proved my point. A promising conversation on an airplane runs aground when the white man she’s talking with claims “I don’t see color,” which, Rankine writes, “pulled an emergency brake in my brain.” But, when corrected, he replies, “I get it. And describing how they ended up in marriage counseling after her cancer remitted, she explains: I sat in a speeding car, and because metaphors can also be realities, speedily informed my husband that, in my remaining time, though always the time remains unknown, I needed to find a partner who would make me laugh. From chatting with strangers on airplanes, to recounting moments in her classroom, … I’m not sure Just Us makes good on everything those first two books promised. On this episode of "Literary Arts: The Archive Project," poet Claudia Rankine discusses her latest collection, "Just Us," with Jericho Brown in this conversation from the 2020 Portland Book Festival. For example, in her discussion of young Black women who dye their hair blond, she writes: “Either blondness grants access to something we feel we don’t have, or it feels like a random choice.” It’s hard to imagine the women would recognize themselves here; for many, surely, it’s a camping of whiteness, claiming control over race and turning it into a form of play. Finally, the story cracks open, once again with a letter: “And then she did something I didn’t expect but that explains why we are friends. An Amazon Best Book of September 2020: Like her award-winning Citizen, Claudia Rankine’s Just Us is comprised of short vignettes, photos, excerpts from textbooks, tweets, historical documents, poems, and her own experiences as a Black woman, which serve to unravel the reality of the racism that runs rampant in our country. But even amid my initial misreading and resistance, Just Us compelled me. After a year that offered many moments of reflection—from the coronavirus pandemic, to protests for racial justice, to the long election season—acclaimed poet Claudia Rankine's latest book offers a framework to process it all. “It’s the most workable definition I’ve found to date.” Most confounding for Rankine, and so most charged, are situations in which others refuse to engage. “Fantasies cost lives,” Claudia Rankine writes in her new book, “Just Us,” a collection of essays and poems (and accompanying data graphs, photos, … Claudia Rankine Claudia Rankine is the author of Citizen: An American Lyric and four previous books, including Don’t Let Me Be Lonely: An American Lyric.Her work has appeared recently in the Guardian, The New York Times Book Review, The New York Times Magazine, and the Washington Post.She is a chancellor of the Academy of American Poets, the winner of the 2014 Jackson Poetry … CHAPTER 1 When you are alone and too tired even to turn on any of your devices, you let yourself linger in a past stacked among your pillows. But there are other kinds of precarity, too, and many of them are a function of the world that produces first-class cabins, fancy dinner parties, and Ivy-League schools. It’s by far the longest of the three, but it also feels smaller in scope and less agile in its reach. Just Us invites and rewards attention. And while she’s retained the variety of Citizen—its magpie materials and techniques—they less often feel like a product of necessity this time around, gathered up in an urgency they therefore reflect, and more like a pastiche. I wanted her to own her action and not cower. Excerpt from Citizen, An American Lyric, a book-length prose poem by Claudia Rankine The new therapist specializes in trauma counseling. If anything, the dreams are deferred, as Langston Hughes told hide caption. Sometimes the moon is missing and beyond the windows the low, gray ceiling seems approachable. “If you’re looking for justice, that’s just what you’ll find—just us.”—Richard Pryor Rankine continues the conversation about racism and white privilege that she began with her book, Citizen: An American Lyric (National Book Award Finalist for Poetry in 2014). Ricardo DeAratanha/Los Angeles Times via Getty Images It’s one of several letters from friends and acquaintances that unlock an impasse in Just Us, which seems fitting. There’s a quality of vigilance that spills into the relationships and conversations she describes. From chatting with strangers on airplanes, to recounting moments in her classroom, … Who names? Pronouns matter immensely in Rankine’s An American… trilogy, which Just Us concludes. Claudie Rankine on 'Just Us: An American Conversation' : It's Been a Minute with Sam Sanders After a year that offered many moments of reflection—from the coronavirus pandemic, to … Rankine responds, “Am I being silenced?,” and then into the ensuing silence she writes, “I wanted this white woman to look me in the eye and say, Yes. They do what important art often does: they create new ways of moving—ways that feel, in this case, for me, like compensation for the fluency I forfeit along the way. In Just Us, Claudia Rankine provides a blueprint for how we talk about and experience race in America. But to talk about elite racism without delving into class, including, for example, the poverty of white people (not to mention people of color) in Appalachia, risks reprising the dynamic that formed whiteness—a cordoning off of African Americans from poor whites, whose suffering is different in nature and causes, but whose lost potential for common cause is a source of our inability to systematically address poverty and racism. Through photographs, illustrations and side-by-side page notes, we can consider the weight of … At times, in Just Us, Rankine articulates an ambition that seems simple yet remains out of reach. The work of antiracism is partly an effort to interrupt that fluency, to show people the ground on which they walk and convince them to walk differently, self-consciously, there. It slows things down—it slowed me down—making time for contemplation that an actual conversation (as opposed to this working via converse pages) might not allow. Reading page seventy-three, you return to seventy-two for additional notes, then move on to page seventy-five, which directs you back to the images on page seventy-four. But neither do I feel like I can claim my response as separable from the imaginary conversation I’ve been having for years with the trilogy that Just Us concludes. Her house has a side gate that leads to a back entrance she uses for patients. The first volume, Don’t Let Me Be Lonely: An American Lyric, was a book of “I,” while the second, Citizen (also An American Lyric), concentrated on “you.” As the title suggests, this third book imagines a synthesis, but it’s mostly thwarted. Just Us is an invitation to discover what it takes to stay in the room together, even and especially in breaching the silence, guilt, and violence that follow direct addresses of whiteness. 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