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Whatever Happened to Interracial Love?

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Kathleen Collins

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“Sometimes we also find a tendency to view everything that's indigenous as good and anything "European"-such as Spain-as evil. That view overlooks such historical realities as the Aztec empire's oppressive domination of other indigenous societies and its class system, which privileged priests and the military. That view also forgets Spain was not a typically European nation after 600 years of rule by the Moors, an Arab/Berber people from Africa.”

ClassAfricaSpainMoorsAztecEuropeanAztecsBerber
Book:De Colores Means All of Us: Latina Views for a Multi-Colored Century
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“Harsh things are said too, no doubt, against all the great classes of the community; but these things so evidently come from a hostile class, and are so manifestly dictated by the passions and prepossessions of a hostile class, and not by right reason, that they make no serious impression on those at whom they are launched, but slide easily off their minds. For instance, when the Reform League orators inveigh against our cruel and bloated aristocracy, these invectives so evidently show the passions and point of view of the Populace, that they do not sink into the minds of those at whom they are addressed, or awaken any thought or self−examination in them. Again, when our aristocratical baronet describes the Philistines and the Populace as influenced with a kind of hideous mania for emasculating the aristocracy, that reproach so clearly comes from the wrath and excited imagination of the Barbarians, that it does not much set the Philistines and the Populace thinking. Or when Mr. Lowe calls the Populace drunken and venal, he so evidently calls them this in an agony of apprehension for his Philistine or middle−class Parliament, which has done so many great and heroic works, and is now threatened with mixture and debasement, that the Populace do not lay his words seriously to heart.”

PoliticsClassBarbariansPopulismPhilistinesPhilistinismPopulace
Author:Matthew Arnold
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“Almost everyone, as almost always at such concerts, was white. It is something I can't help noticing; I notice it each time, and try to see past it. Part of that is a quick, complex series of negotiations: chiding myself for even seeing it, lamenting the reminders of how divided our life still remains, being annoyed that these thoughts can be counted on to pass through my mind at some point in the evening. Most of the people around me yesterday were middle-aged or old. I am used to it, but it never ceases to surprise me how easy it is to leave the hybridity of the city, and enter into all-white spaces, the homogeneity of which, as far as I can tell, causes no discomfort to the whites in them. The only thing odd, to some of them, is seeing me, young and black, in my seat or at the concession stand. At times, standing in line for the bathroom during intermission, I get looks that make me feel like Ota Benga, the Mbuti man who was put on display in the Monkey House at the Bronx Zoo in 1906. I weary of such thoughts, but I am habituated to them. But Mahler's music is not white, or black, not old or young, and whether it is even specifically human, rather than in accord with more universal vibrations, is open to question.”

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Book:Open City
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