Marcus Bell

In Whiteness Interrupted Marcus Bell presents a revealing portrait of white teachers in majority-black schools in which he examines the limitations of understandings of how white racial identity is formed. Through in-depth interviews with dozens of white teachers from a racially segregated, urban school district in Upstate New York, Bell outlines how whiteness is constructed based on localized interactions and takes a different form in predominantly black spaces. He finds that in response to racial stress in a difficult teaching environment, white teachers conceptualized whiteness as a stigmatized category predicated on white victimization. When discussing race outside majority-black spaces, Bell's subjects characterized American society as postracial, in which race seldom affects outcomes. Conversely, in discussing their experiences within predominantly black spaces, they rejected the idea of white privilege, often angrily, and instead focused on what they saw as the racial privilege of blackness. Throughout, Bell underscores the significance of white victimization narratives in black spaces and their repercussions as the United States becomes a majority-minority society.

In Whiteness Interrupted Marcus Bell presents a revealing portrait of white teachers in majority-black schools in which he examines the limitations of understandings of how white racial identity is formed. Through in-depth interviews with dozens of white teachers from a racially segregated, urban school district in Upstate New York, Bell outlines how whiteness is constructed based on localized interactions and takes a different form in predominantly black spaces. He finds that in response to racial stress in a difficult teaching environment, white teachers conceptualized whiteness as a stigmatized category predicated on white victimization. When discussing race outside majority-black spaces, Bell's subjects characterized American society as postracial, in which race seldom affects outcomes. Conversely, in discussing their experiences within predominantly black spaces, they rejected the idea of white privilege, often angrily, and instead focused on what they saw as the racial privilege of blackness. Throughout, Bell underscores the significance of white victimization narratives in black spaces and their repercussions as the United States becomes a majority-minority society.

Associated with key 1960s avant garde figures such as Ginsberg, Burroughs, Rauschenberg, and Johns, John Giorno was an early pioneer of multimedia poetry through Giorno Poetry Systems, which also distributed a who's who of the American underground from Patti Smith to Sonic Youth. Giorno's use of transgressive material and in-your-face, amplified delivery was also a key influence on punk/new wave pioneers such as Suicide, Throbbing Gristle, and Black Flag. Not just a poet but a sexual, spiritual, and political radical, Giorno helped pioneer the open celebration of queer sexuality in poetry in the 1960s. Subduing Demons in America offers the best of Giorno's revolutionary poetry, from his striking Pop Art--influenced poems of the 1960s to the psychedelic, echo-laden, multitracked cut-ups of the 1970s with their explosive configurations of queer sex, spiritual practice, and the bohemian Good Life. Also here are the pared-down punk/hip-hop performance poems that Giorno performed in the 1980s.