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BEYOND THE
WHITENESS OF
WHITENESS
Memoir of a White
Mother of Black Sons
JANE L AZARRE
beyond the whiteness
of whiteness
Jane Lazarre
Acknowledgments ix
Prologue xxvii
Notes 137
ack now ledgmen ts
I received much help in the writing of this book. Most of the writers
whose work has taught and inspired me are mentioned within the text,
but there are other friends and colleagues whose support has been crucial
to me in all stages of the writing.
Miriam Sivan, Ruth Charney, and the late Sara Ruddick were my earli-
est readers. I can never adequately acknowledge my appreciation for their
intelligent response, their encouragement, and their love.
Maureen Reddy’s book, Crossing the Color Line, about being the white
Irish mother of Black children was an inspiration to me, and Maureen’s
early reading, suggestions, and strong support greatly aided the course of
my own work.
During various stages of writing, I counted on trusted readers to help
me evaluate, change, or remain confident in what I had written. These
x Acknowledgments
with great generosity she has witnessed some of them become my own
stories to pass on. Her editing for accuracy of fact and rightness of tone
was invaluable.
My husband, Douglas Hughes White, listened to and read every chap-
ter, discussed every idea with me when I was uncertain or excited, and
gave the unfailing support he has given to me and my work over many
years. It is largely because of his belief in me that I had the temerity to
write this story in the first place.
More than anyone else, I want to thank my sons, Adam Lazarre-White
and Khary Lazarre-White. Through their example, their integrity in the
search for self, their companionship, and the struggles we have been
through together, I came to understand something about what is now
being called the American racial divide. Even as they pointed out that
treacherous geography, they provided the love and friendship that iden-
tify the crossing points and build the bridges we count on as we continue
our lives in this nation, which is so endangered by the racial conflict tear-
ing at its soul.
prol ogu e
anthem, “Lift Every Voice and Sing.” When he reaches the lines of the
first verse, “Sing a song full of the pain that the dark past has taught us.
Sing a song, full of the hope that the present has brought us,” I begin to
cry. I am crying because over many years of raising Black sons, living in
a Black family, and studying and teaching African American literature,
I have learned the truth now being talked and sung about, the truth of
ongoing American racism that my children have always had to and will
continue to have to struggle against. I am thinking of the thousands of
white students and faculty in this liberal, Ivy League college who would
be shocked if they heard the message being given, in 1995, to these Black
graduates — still, the same message, accepted by faculty, students, and
families as unquestionable truth. Though I have spent many years wres-
tling in myself with the “whiteness of whiteness”— that terrible and in-
excusable ignorance of racism which denies history and reality — still, I
can imagine the shock that would be felt by most white people were they
sitting in this audience as I am.
But there is no shock registered in the reactions of the hundred or so
family members who now burst into applause for the achievements of
their sons and daughters. They take their turns walking onto the stage to
receive their diplomas, their honors read aloud; they greet their teachers
in this academic department that has been an intellectual and spiritual
home to them during four often difficult years in a world where they
have had to combat daily not only the realities of racism but the poten-
tially mind-destroying insistence on its denial. Khary, back in his seat, is
embraced on both sides by his friends while his brother Adam snaps the
photos. I am crying still, not only with pride for my own son, but with
pride for them all. And I am grateful that I no longer experience shock
when listening to stories about the pervasive reality of American racism,
but only the familiarity of recognition, of truth.
It was in 1979 and 1980, while teaching Women’s Studies at the City Col-
lege of New York, when Khary was only six and Adam ten, that I began
to read widely and teach African American literature. As a writer and pas-
sionate reader of fiction and memoir, I discovered that African American
xxx Prologue
in the fight against American racism who bears her burden willingly and
gratefully. It would be presumptuous to offer a simple solution or a neat
linear record ending in perfect transcendence. It has been a long journey,
and it is still going on, an incremental journey which demands that I think
and rethink my experience, moving constantly, often accompanied by a
kind of psychic vertigo, from the present moment to the past and back into
some further extended enlightenment. I did not begin with crass racial
prejudices and move to the realization that “all people are alike,” to a state
of color blindness that many white people still believe to be the essence of
a nonracist perspective. On the contrary, in a way, I was raised by white
American radicals to believe in color blindness as an ideal and a reality and
have come to understand that although it remains an ideal, we are very far
indeed from its realization. We have racialized our society and our indi-
vidual lives to such a degree that the problem of the color line, as W. E. B.
Du Bois warned many years ago, is not only the central problem of the
twentieth century, but will be of the twenty-first as well. Like any Black
person I have ever known, I now perceive both obvious and subtle racism
in the immediate world around me every single day.
My life has been dramatically altered by being the mother of Black
sons over the course of more than twenty-five years. I record this story, I
hope, in the best tone of a mother’s voice, both reasoned and emotional,
but always full of intensity. Whether in aesthetic forms or social life, it is
the voice of privilege that wants ease, distance, linearity, perfect elegance,
one convenient layer covering all the interwoven narratives of a life. Mine
is not such a voice. Throughout the writing of this memoir I kept as my
epigraph and talisman the concept of “imaginative identification” as used
by the Nigerian writer Chinua Achebe. “Imaginative identification is the
opposite of indifference,” he tells us in an essay called “The Truth of Fic-
tion.” “It is human connectedness at its most intimate. . . . It begins as an
adventure of self-discovery and ends in wisdom and humane conscience.”
This is the story of a change in a white person’s vision through self-
discovery to conscience. It is the story of the education of an American
woman.