Arts and Culture

Book Review: “Black is the Body: Stories From My Grandmother’s Time, My Mother’s Time, and Mine”

Published

5 years ago

April 1, 2019

Your mother dealt with things you can’t imagine.

It was a different time when she was your age, with societal issues you’d never tolerate and rules you wouldn’t abide. Same with your grandma: scrapbooks, history books and museums are the only places you’ll see what she lived. So what will your children know? As in “Black is the Body” by Emily Bernard, what’s your story?

In 1994, while sitting in a quiet coffee shop and wresting with a college paper she was writing, Emily Bernard was stabbed “in the gut” by a white man with a hunting knife. That’s her story to tell and she’s recited it often in the last two-decades-plus, though it’s told differently by others who were there. It’s a story that kicks off her book, but she insists that it does not define her.

Nor does racism. Bernard is proud of her Black body.

She’s also proud of her experiences, the successes she’s had, the people she’s known, and the stories she carries inside her. These become tales that recall her mother’s unhappiness before she died, that lent Bernard’s grandmother the strength to stand up to misogynistic rules, and that shape Bernard’s stories to come.

Like any good story, though, there are catches to the telling.

Take, for instance, the way we deal with “the n-word.” And how Black women can sometimes hate their hair. And how we let “the absurd and illogical nature of American racial identity” tell us who we are or should be.

No, Bernard lets family do that.

Her husband is white, a fact that some in her mother’s family hated – although they ultimately bonded with him through food, as though it were a new language. Her grandmother disliked the Civil Rights Movement. Her mother died too young. Bernard’s adopted twin daughters were born in Ethiopia and she calls them brown girls who are “’growing up in a house with a white person who loves them.”’ They, too, will have experiences their mother won’t have, and stories to tell.

“Black is the Body” is one of those books that’ll make you wish you had a Time Travel machine. Devour this book, set the machine for 20 years into the future, and see what author Emily Bernard’s daughters would write in a sequel…

This memoir has a lot of launching points for that, in tales that quietly demand that you pay attention and in anecdotes that highlight racial issues while also minimizing them. Readers are likewise invited to examine a variety of ideas with a certain amount of wonder and curiosity, and to follow Bernard to see both sides. That open, often-placid viewpoint provides a gentle way of leading readers to think about human differences and similarities, which resonates throughout and makes this memoir one to keep on your shelf.

Indeed, “Black is the Body” is a book you’ll want to read again because it’s engaging and just plain enjoyable. It offers thoughts you’ll want to turn over in your own head.

This is a book to tell about.

“Black is the Body: Stories From My Grandmother’s Time, My Mother’s Time, and Mine” by Emily Bernard, c.2019, Knopf, $25.95 / $34.95 Canada, 223 pages

Terri Schlichenmeyer, The Bookworm Sez

Posts by Terri Schlichenmeyer, The Bookworm Sez

Arts and Culture

Kedrick Armstrong: New Music Director for the Oakland Symphony

The Oakland Symphony Announced Kedrick Armstrong as its Next Music Director. In addition to conducting the orchestra’s public concerts, Armstrong will also actively participate in the Oakland Symphony’s many education and community engagement programs, designed to inspire a love of music in people of all ages.

Published

2 weeks ago

April 20, 2024

Oakland Post

Kedrick Armstrong is the new music director for the Oakland Symphony. Photo credit Scott Chernis.

By Post Staff

The Oakland Symphony Announced Kedrick Armstrong as its Next Music Director.
In addition to conducting the orchestra’s public concerts, Armstrong will also actively participate in the Oakland Symphony’s many education and community engagement programs, designed to inspire a love of music in people of all ages.

Armstrong is the successor to previous music director and Conductor Michael Morgan, who passed away in 2021 after a 30-year tenure at the Symphony.

Armstrong will open the Oakland Symphony 2024-2025 season on October 18.

Armstrong, who is 29 and hails from Georgetown, South Carolina, is currently the creative partner and principal conductor of the Knox-Galesburg Symphony.

The Chicago Tribune has praised Armstrong for his ability to “simply let the score speak for itself.” He enjoys a wide range of repertoire, spanning early music to premiering new works, using his joy and curiosity for all music to cultivate understanding and collaboration within diverse communities.
“I am deeply honored and grateful for the opportunity to serve as the new music director of the Oakland Symphony,” Armstrong said. “As a Black conductor, I find it humbling to stand on the shoulders of both Michael Morgan and Calvin Simmons,” the most recent and the first African American music directors of the Symphony, respectively.

Armstrong led three programs at the Symphony between 2022 and early 2024, which showcased his broad knowledge of the classical repertoire and enthusiasm for spotlighting diverse voices.
On his Oakland Symphony subscription debut on Feb. 16, Armstrong led the world premiere of “Here I Stand: Paul Robeson,” an oratorio by Carlos Simon on a libretto by Dan Harder, commissioned by the Oakland Symphony.

Armstrong was selected unanimously by the Oakland Symphony’s board of directors and musicians after an extensive two-year search. “The search committee was overwhelmed by Kedrick’s scholarship and curiosity about all kinds of music, from classical and jazz to gospel and hip-hop,” said. Dr. Mieko Hatano, executive director of the Oakland Symphony. “We are thrilled to have him join us at the Oakland Symphony.”

Oakland Post

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Arts and Culture

Faces Around the Bay Dr. Carl Blake, Pianist

Born in Liberty, Missouri, Carl Blake, a virtuoso and respected pianist, made his most recent migration to the East Bay in 1999. One might have seen him performing recently at Noontime Concerts in San Francisco, or at the Piedmont Center for the Arts in Oakland. He is Director of Music at The Church for the Fellowship of All Peoples in San Francisco. He was also co-organizer and collaborative pianist at Herbst Theater for The Majesty of the Spirituals concert in 2022 and has held several church positions in the Bay Area.

Published

2 weeks ago

April 17, 2024

Oakland Post

Dr. Carl Blake

By Barbara Fluhrer

Born in Liberty, Missouri, Carl Blake, a virtuoso and respected pianist, made his most recent migration to the East Bay in 1999.

One might have seen him performing recently at Noontime Concerts in San Francisco, or at the Piedmont Center for the Arts in Oakland. He is Director of Music at The Church for the Fellowship of All Peoples in San Francisco. He was also co-organizer and collaborative pianist at Herbst Theater for The Majesty of the Spirituals concert in 2022 and has held several church positions in the Bay Area.

Blake obtained a Bachelor of Music from Boston University and continued post-baccalaureate studies in Jamaica before earning a Master of Arts in Music at San Jose State University. He was the recipient of two Fulbright residencies in Honduras and completed a third residency at the University of St. Petersburg in Russia. He has a Doctor of Musical Arts from Cornell University.

At age 19, Blake, then an undergraduate piano major at Boston University, was “discovered” by Impresario Dr. W. Hazaiah Williams, who is the Founder and Director of Today’s Artists/Four Seasons Arts.

Williams honored Blake by awarding him the first Marian Anderson Young Artist Award. Anderson personally presented the award at the Masonic Auditorium in S.F. Subsequently, Blake was presented by Dr. Williams in his San Francisco debut at The Herbst Theatre. Williams subsidized a year of study abroad for Blake at the Paris Conservatory of Music. Additionally, Williams sponsored Blake’s New York Weill Hall debut, where he has performed twice since. Blake performed several times at the Yachats Music Festival in Oregon.

Blake continues to perform nationally and abroad. His hobbies are reading, baking and travel. He says, “I’m still pumping ivories, as Belgian pianist Jeanne Stark described the disciplined practice of concert piano.”

Oakland Post

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Arts and Culture

Oakland Jazz Great Offers Master Class as City Declares “John Handy Day”

World-renowned jazz master saxophonist John Handy, a McClymond’s High School graduate, was presented with a Mayor of Oakland Proclamation declaring Feb. 12, as John Handy Day in the city. Handy is most notably known as the featured saxophonist for Charles Mingus on “Goodbye Pork Pie Hat” from the album “Mingus Ah Um” (1959) and on “Hard Work” from his own album “Hard Work” (1976).

Published

2 months ago

February 24, 2024

Oakland Post

(L-R) Del Handy, John Handy, Roger Glenn, and Joe Warner celebrate John Handy Day at Geoffrey’s Inner Circle, Oakland. Photo by Lady Bianca.

By Conway Jones

World-renowned jazz master saxophonist John Handy, a McClymond’s High School graduate, was presented with a Mayor of Oakland Proclamation declaring Feb. 12, as John Handy Day in the city.

Handy is most notably known as the featured saxophonist for Charles Mingus on “Goodbye Pork Pie Hat” from the album “Mingus Ah Um” (1959) and on “Hard Work” from his own album “Hard Work” (1976).

“John Handy is a jazz icon and an inspiration to musicians everywhere,” said Ayo Brame, a 16-year-old Oakland tenor saxophone player who is enrolled at the Oakland School for the Arts.

In celebration of this day, the reception in downtown Oakland at Geoffrey’s Inner Circle was a gathering of artists, young and old, coming together in his honor and celebrating his 91st birthday.

Handy presented a Saxophone Colossus free masterclass for musicians. This class afforded a rare opportunity to learn about the saxophone from an aficionado. The class was free and open to all – saxophonists, vocalists, aficionados, students, and casual listeners.

“As a longtime friend for over 60 years, and fellow musician who has had numerous opportunities to share the stage with John, it has always been a pleasure performing with him and hearing his creative interpretations of the music and his gift of ease inspiring the next generation of jazz musicians,” said Roger Glenn, a multi-instrumentalist.