DOCSLIB.ORG

THE BLACK, BRITISH ATLANTIC: BLACKNESS in VICTORIAN LITERATURE by DONGHEE OM DISSERTATION Submitted in Partial Fulfillment of Th

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE BLACK, BRITISH ATLANTIC: BLACKNESS in VICTORIAN LITERATURE by DONGHEE OM DISSERTATION Submitted in Partial Fulfillment of Th THE BLACK, BRITISH ATLANTIC: BLACKNESS IN VICTORIAN LITERATURE BY DONGHEE OM DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Lauren M. E. Goodlad, Chair Associate Professor Julia F. Saville, Co-Chair Professor Emeritus Leon Chai Professor Robert D. Parker ! Abstract My dissertation is about transnational aspects of the Victorian era from the vantage point of what Paul Gilroy described more than two decades ago as the “black Atlantic.” Looking at various ways in which the black Atlantic was at times a British Atlantic, my dissertation aims to complicate a flow of discussion that Gilroy’s Americanist successors have interpreted largely in light of U.S. slavery and its discursive contexts. Specifically, I explore how some nineteenth- century British authors such as Jane Austen, Elizabeth Barrett Browning, Mary Seacole, and Wilkie Collins rejected popular notions of blackness as a racial marker of African slavery with its implied negative qualities. Instead, their works convey a different idea about blackness as a pliable marker of cultural agency that not only constitutes a part of English culture, but is performed by people regardless of racial affiliation. This notion of blackness as performative signifier goes beyond the slavery metaphor in Victorian literature to frame an interpretive paradigm that allows us to read blackness in broader socio-political contexts. As I show how canonical and non-canonical nineteenth-century British literature used various kinds of black performativity to undo essentialist notions of blackness, race, and identity itself, I demonstrate the integral status of blackness in Victorian literature. This in turn points to nineteenth-century English culture not as an isolated entity that imposed itself on Africans and on slave-owning colonies of the British Empire, but as participant in a larger cultural network called the black Atlantic. The black Atlantic thus invites us to revise British literature and culture by questioning the assumed homogeneity of white-centrism and even the stability of whiteness itself as foundational for English identity. ii ! In the first chapter, I look at how Jane Austen’s Mansfield Park (1814) and Persuasion (1818) engage blackness without featuring a single black or mixed-race character. Reading this absence as literary strategy, I argue that the two novels reject the popular view of blackness as too restrictively applied to oppression and marginalization, and associate it instead with women’s autonomy and social participation in an era of heightened debate over slavery following the 1807 Slave Trade Act. Here blackness comes to represent an ethically viable form of women’s autonomy that doesn’t necessarily unsettle the established social order even as it challenges the mercantile logic of sexual hierarchy represented by the corrupt marriage market. In fact, by validating women’s autonomy in the context of middle-class ethics, Austen suggests that such autonomy is a prerequisite of social stability. Chapter two explores how Elizabeth Barrett Browning’s three antislavery poems—“The Runaway Slave at Pilgrim’s Point” (1847/1848), “Hiram Powers’ Greek Slave” (1850), and “A Curse for a Nation” (1855/1866)—extend beyond the issue of American slavery to address British racism. Representing blackness as a signifier of artistic creativity, the poems aesthetically challenge essentialist notions of black inferiority in a mid-Victorian society troubled by post-abolition economic decline and colonial unrest in the British West Indies. EBB’s antislavery poems thus work to liberate blackness from the chains of racial essentialism and draw on black performativity to expand the language of the poet’s social criticism. Chapter three investigates Mary Seacole’s performative identity in her travel narrative, Wonderful Adventures of Mrs. Seacole in Many Lands (1857). Knowing her Victorian readers will be predisposed to read her mixed-race body as a marker of otherness, Seacole plays with their belief in ways that de-essentialize race: first, she disrupts whiteness as a racial signifier ontologically grounded in skin color by portraying her successful performance of the idealized iii ! English mother in the Crimea. Seacole then represents her physical “blackness” as a marker of life-saving hybrid medicine, a cultural signifier that revises racist notions of identity. In the process, she exposes Englishness as an unstable marker of identity that can be performed by people of different races. Chapter four considers how Wilkie Collins problematizes binaristic notions of race in Armadale (1866), Miss or Mrs? (1873), and The Guilty River (1886). Collins’s radical reevaluations of racial others vis-à-vis Englishness and Britishness come at a time when a series of colonial uprisings like the Indian “Mutiny” and the Morant Bay rebellion exacerbated the growing acceptance of permanent racial hierarchies (as opposed to the older notion of eventual human universality). Armadale emphasizes blackness as a marker of sympathy—the essential element of English morality seldom seen in the author’s time. Affirming blackness as the moral essence of Englishness, Miss or Mrs? and The Guilty River reflect Collins’s growing frustration with the way a kind of binaristic thinking he challenged in Armadale continued to thrive in English society. These texts ultimately call for understanding English identity as an ongoing expression of inter-racial, inter-cultural reciprocity. iv Many thanks to Lauren Goodlad, Julia Saville, Leon Chai, and Robert Parker, for teaching me how to read and write. v Table of Contents Introduction: The Blackness of Victorian Literature…….…………………………………..…...1 Chapter 1: “The Natural Sequel of an Unnatural Beginning”: Performing Blackness in Mansfield Park and Persuasion…...…….…...……………………………………..12 Chapter 2: Aestheticizing Blackness in Elizabeth Barrett Browning’s Abolitionist Poetry.……54 Chapter 3: From the Black Sea to the Black Atlantic: Blackness and Performativity in The Wonderful Adventures of Mrs. Seacole in Many Lands………………………...82 Chapter 4: “The fire that lights those big black eyes of his is not an easy fire”: (Ir)rationalizing Blackness in Armadale, Miss or Mrs?, and The Guilty River…...104 Conclusion……………………………………………………………………………………...135 Notes……………………………………………………………………………………………139 Bibliography……………………………………………………………………………………159 vi Introduction: The Blackness of Victorian Literature In 2008, a mass of rare and largely disregarded illustrations and photographs of Korea that had appeared in British weeklies from 1858 to 1911 was assembled and published in a book titled Korea Illustrated by British Weeklies 1858-1911. Notable in many of these images is the fact that British travellers in Korea often drew the Korean and Chinese populace they encountered as Africans. Such depictions may well illustrate an English notion of racial identity that regarded racial otherness as equivalent to blackness. Indeed, as Jennifer DeVere Brody observes in Impossible Purities: Blackness, Femininity, and Victorian Culture, the myth of a pure and white English identity (ironically extracted from a people of hybrid racial and cultural origin) required a foil—an equally fictitious image of a primitive, morally corrupt “black” other against which it could define itself. Yet in a culture that associates racial and ethnic purity with national sovereignty, cultural signifiers that function as reminders of its hybridity inevitably generate certain anxieties. Engaging this issue, Timothy L. Carens draws on Sigmund Freud’s use of the terms heimlich and unheimlich: heimlich = both the familiar and “what is concealed and kept out of sight,” and unheimlich = both the strange and what “ought to have remained secret and hidden but has come to light” (2). In this context, blackness could signify the hitherto repressed uncanny object that provoked discomfort in Victorian England’s imperial imagination. As I shall argue, however, some nineteenth-century British authors such as Jane Austen, Elizabeth Barrett Browning, Mary Seacole, and Wilkie Collins did not share their contemporaries’ notion of race and particularly blackness. And while these authors discerned the repressed hue of blackness within the cultural landscape of English society, they did not necessarily regard blackness as “unheimlich.” In their varying degrees, they convey instead a 1 different idea about blackness as a pliable marker of cultural agency that not only constitutes a part of English culture, but is also performed by people regardless of their racial affiliation. Such a notion of blackness as performative anticipates E. Patrick Johnson’s theory of black performativity. Denying the notion of blackness as an irreducible racial feature that has taken hold of both racists and black activists alike, Johnson argues that blackness is an intangible signifier of cultural and sociopolitical performance deriving from, but not necessarily rooted in, the experience of black people. To Johnson, blackness is a phenomenon manifested in different ways through performance by both black and nonblack people. Like Brody, Johnson too dismisses any attempt to authenticate blackness (as well as identity itself) precariously based on the fiction of negative comparison (1-16). This notion of blackness as a performative signifier extends the scope of blackness beyond the slavery
Load more

Recommended publications
  • The Brecht Forum 2/29/12 7:46 AM
    Audre Lorde | The Brecht Forum 2/29/12 7:46 AM Home NY Marxist School Programs The Virtual Brecht Economy Watch Support Us Who We Are Search this site: March 26th, 2012 7:30 PM FILM SCREENING/DISCUSSION Co-sponsored by the Rosa Luxemburg Foundation and The Audre Lorde Project Search Audre Lorde The Berlin Years 1984-1992 Tina Campt, Ika Hugel Marshall, Dagmar Schultz DIRECTIONS The Brecht Forum and The Rosa Luxemburg Foundation are proud to sponsor the NY premiere of Audre Lorde: The Berlin Years 1984- RENTAL INFO 1992. We will be joined by director Dagmar Schultz, poet Ika Hugel Marshall and Afro-German scholar, Professor Tina Campt (Barnard College). About the Film: AUDRE LORDE – THE BERLIN YEARS 1984 TO 1992 explores a little-known chapter of the writerʼs prolific life, a period in which she helped ignite the Afro-German Movement and made lasting contributions to the German political and cultural scene before and after the fall of the Berlin Wall and the German reunification. Lorde mentored and encouraged Black German women to write and publish as a way of asserting their identities, rights and culture in a society that isolated and silenced them, while challenging white German women to acknowledge their white privilege. As Lorde wrote in her book Our Dead Behind Us: Poems, “It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those differences.” ;Film director Dagmar Schultz is a writer, director and activist. She is the editor of the groundbreaking text Showing Our Colors: Afro- German Women Speak Out.
    [Show full text]
  • Preakness Stakes .Fifty-Three Fillies Have Competed in the Preakness with Start in 1873: Rfive Crossing the Line First The
    THE PREAKNESS Table of Contents (Preakness Section) History . .P-3 All-Time Starters . P-31. Owners . P-41 Trainers . P-45 Jockeys . P-55 Preakness Charts . P-63. Triple Crown . P-91. PREAKNESS HISTORY PREAKNESS FACTS & FIGURES RIDING & SADDLING: WOMEN & THE MIDDLE JEWEL: wo people have ridden and sad- dled Preakness winners . Louis J . RIDERS: Schaefer won the 1929 Preakness Patricia Cooksey 1985 Tajawa 6th T Andrea Seefeldt 1994 Looming 7th aboard Dr . Freeland and in 1939, ten years later saddled Challedon to victory . Rosie Napravnik 2013 Mylute 3rd John Longden duplicated the feat, win- TRAINERS: ning the 1943 Preakness astride Count Judy Johnson 1968 Sir Beau 7th Fleet and saddling Majestic Prince, the Judith Zouck 1980 Samoyed 6th victor in 1969 . Nancy Heil 1990 Fighting Notion 5th Shelly Riley 1992 Casual Lies 3rd AFRICAN-AMERICAN Dean Gaudet 1992 Speakerphone 14th RIDERS: Penny Lewis 1993 Hegar 9th Cynthia Reese 1996 In Contention 6th even African-American riders have Jean Rofe 1998 Silver’s Prospect 10th had Preakness mounts, including Jennifer Pederson 2001 Griffinite 5th two who visited the winners’ circle . S 2003 New York Hero 6th George “Spider” Anderson won the 1889 Preakness aboard Buddhist .Willie Simms 2004 Song of the Sword 9th had two mounts, including a victory in Nancy Alberts 2002 Magic Weisner 2nd the 1898 Preakness with Sly Fox “Pike”. Lisa Lewis 2003 Kissin Saint 10th Barnes was second with Philosophy in Kristin Mulhall 2004 Imperialism 5th 1890, while the third and fourth place Linda Albert 2004 Water Cannon 10th finishers in the 1896 Preakness were Kathy Ritvo 2011 Mucho Macho Man 6th ridden by African-Americans (Alonzo Clayton—3rd with Intermission & Tony Note: Penny Lewis is the mother of Lisa Lewis Hamilton—4th on Cassette) .The final two to ride in the middle jewel are Wayne Barnett (Sparrowvon, 8th in 1985) and MARYLAND MY Kevin Krigger (Goldencents, 5th in 2013) .
    [Show full text]
  • Alternatives to Canadian White Civility Daniel Coleman
    Document generated on 09/24/2021 5:27 a.m. International Journal of Canadian Studies Revue internationale d’études canadiennes From Contented Civility to Contending Civilities: Alternatives to Canadian White Civility Daniel Coleman Borders, Migrations and Managing Diversity: New Mappings Frontières, migrations et gestion de la diversité : nouvelles cartographies Number 38, 2008 URI: https://id.erudit.org/iderudit/040815ar DOI: https://doi.org/10.7202/040815ar See table of contents Publisher(s) Conseil international d'études canadiennes ISSN 1180-3991 (print) 1923-5291 (digital) Explore this journal Cite this article Coleman, D. (2008). From Contented Civility to Contending Civilities: Alternatives to Canadian White Civility. International Journal of Canadian Studies / Revue internationale d’études canadiennes, (38), 221–242. https://doi.org/10.7202/040815ar Tous droits réservés © Conseil international d'études canadiennes, 2008 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Daniel Coleman From Contented Civility to Contending Civilities: Alternatives to Canadian White Civility The Author Meets Critics
    [Show full text]
  • Manhood and War Making: the Literary Response to the Radicalization of Masculinity for the Purposes of Wwi Propaganda
    MANHOOD AND WAR MAKING: THE LITERARY RESPONSE TO THE RADICALIZATION OF MASCULINITY FOR THE PURPOSES OF WWI PROPAGANDA A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for University Honors by Samuel J. Hersh May, 2018 Thesis written by Samuel J. Hersh Approved by ________________________________________________________________, Advisor ______________________________________________, Chair, Department of English Accepted by ___________________________________________________, Dean, Honors College ii TABLE OF CONTENTS LIST OF FIGURES…..…………………………………………………………………...v ACKNOWLEDGMENTS..………………………………………………………………vi CHAPTER I. INTRODUCTION…………….………………………………………………1 II. THE FALL OF VICTORIAN MASCULINITY……………………………...8 III. MASCULINITY’S EVOLUTION 1895-1914………………………………20 The New Century’s Masculinity…………………………………………......21 The Propaganda of the Great War Begins...…………………………...…….37 The Creation of a Hypermasculine Propaganda…………………………......46 From Propaganda to Disillusionment………………………………………..54 IV. LIFE AND DEATH IN JOHNNY GOT HIS GUN………….……………...57 The Male Body as Victim and Product of Masculinist Propaganda…………61 Joe’s Rising Will to Power and Revolution..………………………………...67 The Failed Revolution and Body as Living Text..…………………………...74 V. GENDER IN ALL QUIET ON THE WESTERN FRONT……………..…...78 The Antiwar Canon and Past Criticism……………………………………...82 Creating and Killing the Hypermasculine Identity……...…………………...89 Gender, Recreated Home Life, and Death…………………………………...93 VI. PUBLIC REBELLION IN WILFRED OWEN’S WAR POETRY………...100 The Poetic Expression of British Pre-war Ideals………...……………...….104 iii Owen’s Poetry, Pity, and Past Criticisms………..……...………………….110 Dismantling the Noble War Myth……………….…………………………118 VII. CODA………………………………………………………………………123 WORKS CITED iv LIST OF FIGURES Figure 1. Daddy, what did YOU do in the Great War?………………………………….....48 Figure 2. Women of Britain say—GO!……………………………………………………..48 Figure 3. Step Into Your Place.………………...…………………………………………..49 Figure 4.
    [Show full text]
  • Around Paul Gilroy, the Black Atlantic: Modernity and Double Consciousness
    Around The Black Atlantic 1 Around Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness Syllabus / Handbook created by Dr Vanessa Mongey in 2018 Overview This course is constructed around the study of a single seminal secondary text and will students to explore the themes, evidence, approach, argument, literary merit and methodology of said text within the broader context of the historiography that came before and after. By taking the “Atlantic as one single, complex unit of analysis,” Paul Gilroy’s The Black Atlantic will make us travel through the triangle of Africa, Britain and America. This book charts the existence of a counterculture to modernity among black intellectuals, activists, writers, speakers, poets, and artists between approximately the 1850s and the 1980s. The Black Atlantic is outside of national belonging, using examples ranging from slave narratives and novels to jazz and hip-hop. Around The Black Atlantic 2 Gilroy’s ‘Black Atlantic’ delineates a distinctively modern, cultural, and political space that is not specifically African, American, Caribbean, or British, but is, rather, a mix of all of these. This book triggered debates and raised questions of the place of Africa in our historical imagination, transnational history, pan-Africanism, and the relationships of past to present. We will address some combination of: historiography, methodology, theoretical approach(es), concepts (conceived or developed in the book in question), connections/relevance/usefulness to history, and opportunities for comparison with other examples from different periods of world regions, or with other historical works. The students are encouraged to draw comparative or related examples from all the modules they have studied to date, as well as from other sources of information (the media, literature, etc).
    [Show full text]
  • 1930S Greats Horses/Jockeys
    1930s Greats Horses/Jockeys Year Horse Gender Age Year Jockeys Rating Year Jockeys Rating 1933 Cavalcade Colt 2 1933 Arcaro, E. 1 1939 Adams, J. 2 1933 Bazaar Filly 2 1933 Bellizzi, D. 1 1939 Arcaro, E. 2 1933 Mata Hari Filly 2 1933 Coucci, S. 1 1939 Dupuy, H. 1 1933 Brokers Tip Colt 3 1933 Fisher, H. 0 1939 Fallon, L. 0 1933 Head Play Colt 3 1933 Gilbert, J. 2 1939 James, B. 3 1933 War Glory Colt 3 1933 Horvath, K. 0 1939 Longden, J. 3 1933 Barn Swallow Filly 3 1933 Humphries, L. 1 1939 Meade, D. 3 1933 Gallant Sir Colt 4 1933 Jones, R. 2 1939 Neves, R. 1 1933 Equipoise Horse 5 1933 Longden, J. 1 1939 Peters, M. 1 1933 Tambour Mare 5 1933 Meade, D. 1 1939 Richards, H. 1 1934 Balladier Colt 2 1933 Mills, H. 1 1939 Robertson, A. 1 1934 Chance Sun Colt 2 1933 Pollard, J. 1 1939 Ryan, P. 1 1934 Nellie Flag Filly 2 1933 Porter, E. 2 1939 Seabo, G. 1 1934 Cavalcade Colt 3 1933 Robertson, A. 1 1939 Smith, F. A. 2 1934 Discovery Colt 3 1933 Saunders, W. 1 1939 Smith, G. 1 1934 Bazaar Filly 3 1933 Simmons, H. 1 1939 Stout, J. 1 1934 Mata Hari Filly 3 1933 Smith, J. 1 1939 Taylor, W. L. 1 1934 Advising Anna Filly 4 1933 Westrope, J. 4 1939 Wall, N. 1 1934 Faireno Horse 5 1933 Woolf, G. 1 1939 Westrope, J. 1 1934 Equipoise Horse 6 1933 Workman, R.
    [Show full text]
  • The Black Holocaust and the Poetics of the Slave Sublime
    5 Volknation: The Black Holocaust and the Poetics of the Slave Sublime 5.1 Neo-slave Narratives, Memory Work and Affirmation of Negative Heritage As Richard Dyer has aptly remarked, while “[h]istory is a discipline of enquiry into the past; heritage is an attitude towards the legacy of the past” (“Nice Young Men” 44). Accordingly, where historians seek to generate knowledge and understanding about the national past, writers of historical novels are freer to interpret it in line with current political and ideological needs. But even though “heritage is not history” (Hewison, The Heritage Industry 10), both historians and writers are, in some measure, driven by a “heritage impulse,” which, in the words of Higson, is thus about seizing hold of the selected aspects of the past and presenting them in a way that tallies with current sensibilities and needs – it is in Lowenthal’s term, a declaration of faith in a particular way of seeing the past. Therefore, it is important to recognize that heritage is often invented or revised as it is conserved – hence the insistence on agency on the part of those who mobilize the past as heritage. (English Heritage 50) I would like to suggest, in this chapter that like historians, BWR writers were social actors re-imagining the past with a view to creating in their heritage/historical nar- ratives what Brett has called “popular” history (The Construction of Heritage 4), or what Ditchfield has called “applied” history (“Foreword” ix). I will argue here that some BWR historical and maternal romances aimed to reconstruct through the matri- lineal line “the specific origin of the people (or their race) (Volknation)” (Yuval-Davis, Gender Nation 21), and to cull from the depths of this reinvented communal past cul- tural values that could form the core for “exclusionary/homogenous visions of the ‘nation’” (ibid.).
    [Show full text]
  • 2018 Media Guide NYRA.Com 1 FIRST RUNNING the First Running of the Belmont Stakes in 1867 at Jerome Park Took Place on a Thursday
    2018 Media Guide NYRA.com 1 FIRST RUNNING The first running of the Belmont Stakes in 1867 at Jerome Park took place on a Thursday. The race was 1 5/8 miles long and the conditions included “$200 each; half forfeit, and $1,500-added. The second to receive $300, and an English racing saddle, made by Merry, of St. James TABLE OF Street, London, to be presented by Mr. Duncan.” OLDEST TRIPLE CROWN EVENT CONTENTS The Belmont Stakes, first run in 1867, is the oldest of the Triple Crown events. It predates the Preakness Stakes (first run in 1873) by six years and the Kentucky Derby (first run in 1875) by eight. Aristides, the winner of the first Kentucky Derby, ran second in the 1875 Belmont behind winner Calvin. RECORDS AND TRADITIONS . 4 Preakness-Belmont Double . 9 FOURTH OLDEST IN NORTH AMERICA Oldest Triple Crown Race and Other Historical Events. 4 Belmont Stakes Tripped Up 19 Who Tried for Triple Crown . 9 The Belmont Stakes, first run in 1867, is one of the oldest stakes races in North America. The Phoenix Stakes at Keeneland was Lowest/Highest Purses . .4 How Kentucky Derby/Preakness Winners Ran in the Belmont. .10 first run in 1831, the Queens Plate in Canada had its inaugural in 1860, and the Travers started at Saratoga in 1864. However, the Belmont, Smallest Winning Margins . 5 RUNNERS . .11 which will be run for the 150th time in 2018, is third to the Phoenix (166th running in 2018) and Queen’s Plate (159th running in 2018) in Largest Winning Margins .
    [Show full text]
  • The Triple Crown (1867-2019)
    The Triple Crown (1867-2019) Kentucky Derby Winner Preakness Stakes Winner Belmont Stakes Winner Horse of the Year Jockey Jockey Jockey Champion 3yo Trainer Trainer Trainer Year Owner Owner Owner 2019 Country House War of Will Sir Winston Bricks and Mortar Flavien Prat Tyler Gaffalione Joel Rosario Maximum Security Bill Mott Mark Casse Mark Casse Mrs. J.V. Shields Jr., E.J.M. McFadden Jr. & LNJ Foxwoods Gary Barber Tracy Farmer 2018 Justify Justify Justify Justify Mike Smith Mike Smith Mike Smith Justify Bob Baffert Bob Baffert Bob Baffert WinStar Farm LLC, China Horse Club, Starlight Racing & Head of Plains Partners LLC WinStar Farm LLC, China Horse Club, Starlight Racing & Head of Plains Partners LLC WinStar Farm LLC, China Horse Club, Starlight Racing & Head of Plains Partners LLC 2017 Always Dreaming Cloud Computing Tapwrit Gun Runner John Velazquez Javier Castellano Joel Ortiz West Coast Todd Pletcher Chad Brown Todd Pletcher MeB Racing, Brooklyn Boyz, Teresa Viola, St. Elias, Siena Farm & West Point Thoroughbreds Bridlewood Farm, Eclipse Thoroughbred Partners & Robert V. LaPenta Klaravich Stables Inc. & William H. Lawrence 2016 Nyquist Exaggerator Creator California Chrome Mario Gutierrez Kent Desormeaux Irad Ortiz Jr. Arrogate Doug O’Neill Keith Desormeaux Steve Asmussen Big Chief Racing, Head of Plains Partners, Rocker O Ranch, Keith Desormeaux Reddam Racing LLC (J. Paul Reddam) WinStar Farm LLC & Bobby Flay 2015 American Pharoah American Pharoah American Pharoah American Pharoah Victor Espinoza Victor Espinoza Victor Espinoza American Pharoah Bob Baffert Bob Baffert Bob Baffert Zayat Stables LLC (Ahmed Zayat) Zayat Stables LLC (Ahmed Zayat) Zayat Stables LLC (Ahmed Zayat) 2014 California Chrome California Chrome Tonalist California Chrome Victor Espinoza Victor Espinoza Joel Rosario California Chrome Art Sherman Art Sherman Christophe Clement Steve Coburn & Perry Martin Steve Coburn & Perry Martin Robert S.
    [Show full text]
  • The Reversal
    Chapter 6 The Reversal To return, rather than simply to re-visit or re-view, that is, to apparently turn back and return ‘fully’, to African, Caribbean or Indian roots in pur- suit of a displaced and dispersed authenticity today hardly seems feasi- ble. The impossible mission that seeks to preserve the singularity of a culture must paradoxically negate its fundamental element: its historical dynamic. Post-colonialism is perhaps the sign of an increasing awareness that it is not feasible to subtract a culture, a history, a language, an iden- tity from the wider, transforming currents of the increasingly metropoli- tan world. It is impossible to ‘go home’ again.1 In the 1990s, the Afrocentric foundations of Black identity were called into question by English-speaking scholars, themselves Black, in the name of a cri- tique of essentialism and a postmodern perspective on identity that rejected appeals to fixity, purity or authenticity in favour of an insistence on the perma- nent construction of identifications. We find a most of the arguments against Afrocentric essentialism in a 1990 text by the scholar bell hooks:2 Such a critique allows us to affirm multiple black identities, varied black experience. It also challenges colonial imperialist paradigms of black identity which represent blackness one-dimensionally in ways that rein- force and sustain white supremacy. This discourse created the idea of the “primitive” and promoted the notion of an “authentic” experience, see- ing as “natural” those expressions of black life which conformed to a pre- existing pattern or stereotype. Abandoning essentialist notions would be a serious challenge to racism.
    [Show full text]
  • The Triple Crown (1867-2020)
    The Triple Crown (1867-2020) Kentucky Derby Winner Preakness Stakes Winner Belmont Stakes Winner Horse of the Year Jockey Jockey Jockey Champion 3yo Trainer Trainer Trainer Year Owner Owner Owner 2020 Authentic (Sept. 5, 2020) f-Swiss Skydiver (Oct. 3, 2020) Tiz the Law (June 20, 2020) Authentic John Velazquez Robby Albarado Manny Franco Authentic Bob Baffert Kenny McPeek Barclay Tagg Spendthrift Farm, MyRaceHorse Stable, Madaket Stables & Starlight Racing Peter J. Callaghan Sackatoga Stable 2019 Country House War of Will Sir Winston Bricks and Mortar Flavien Prat Tyler Gaffalione Joel Rosario Maximum Security Bill Mott Mark Casse Mark Casse Mrs. J.V. Shields Jr., E.J.M. McFadden Jr. & LNJ Foxwoods Gary Barber Tracy Farmer 2018 Justify Justify Justify Justify Mike Smith Mike Smith Mike Smith Justify Bob Baffert Bob Baffert Bob Baffert WinStar Farm LLC, China Horse Club, Starlight Racing & Head of Plains Partners LLC WinStar Farm LLC, China Horse Club, Starlight Racing & Head of Plains Partners LLC WinStar Farm LLC, China Horse Club, Starlight Racing & Head of Plains Partners LLC 2017 Always Dreaming Cloud Computing Tapwrit Gun Runner John Velazquez Javier Castellano Joel Ortiz West Coast Todd Pletcher Chad Brown Todd Pletcher MeB Racing, Brooklyn Boyz, Teresa Viola, St. Elias, Siena Farm & West Point Thoroughbreds Bridlewood Farm, Eclipse Thoroughbred Partners & Robert V. LaPenta Klaravich Stables Inc. & William H. Lawrence 2016 Nyquist Exaggerator Creator California Chrome Mario Gutierrez Kent Desormeaux Irad Ortiz Jr. Arrogate Doug
    [Show full text]
  • Dark Bay Or Brown Filly Barn 2 Hip No
    Consigned by Hayden Thoroughbreds LLC (Rebecca Hayden), Hip No. Agent Barn 900 Dark Bay or Brown Filly 2 Storm Cat Harlan............................... Country Romance Harlan's Holiday ............... Affirmed Dark Bay or Christmas in Aiken ........... Brown Filly Dowager March 31, 2007 Seattle Slew Seattle Song ..................... Incantation Wishing Willow ................ (1996) Secret Claim Our Lady's Wish ............... Northern Willow By HARLAN'S HOLIDAY (1999). Stakes winner of $3,632,664, Florida Derby [G1] (GP, $600,000), etc. Sire of 3 crops of racing age, 250 foals, 121 starters, 7 stakes winners, 87 winners of 153 races and earning $5,928,- 775, including Into Mischief (to 3, 2008, $597,080, CashCall Futurity [G1] (HOL, $403,000), etc.), Tasha's Miracle (to 3, 2008, $398,452, Sorrento S. [G3] (DMR, $90,000), etc.), Denis of Cork (3 wins, $613,252, Southwest S. [G3] (OP, $150,000), etc.), Saratoga Sinner [G3] (at 3, 2009, $116,495). 1st dam Wishing Willow, by Seattle Song. Winner at 3, $37,244, 3rd Ontario Damsel S.-R (WO, $9,199(CAN)). Dam of 5 other registered foals, 5 of racing age, 3 to race, 2 winners-- Unique Citizen (f. by Proud Citizen). Winner at 3, 2008, $64,407. Fortress Mountain (f. by Storm Boot). 6 wins at 3 and 4, 2008, $44,760, in Canada. (Total: $40,555). 2nd dam OUR LADY'S WISH, by Secret Claim. Unplaced in 2 starts. Dam of 9 foals, all winners, including-- Long Term Success (g. by Sandpit (BRZ)). 10 wins, 5 to 7, $309,035, 2nd Alysheba S. (MED, $13,000). Le Vainqueur (g.
    [Show full text]