American Skin: Bruce Springsteen, Danielle Allen, and the Politics of Interracial Friendship

Simon Stow

doi:10.1086/691174

American Skin: Bruce Springsteen, Danielle Allen, and the Politics of Interracial Friendship

American Political Thought ◽

10.1086/691174 ◽

2017 ◽

Vol 6 (2) ◽

pp. 294-316

Author(s):

Simon Stow

Keyword(s):

Interracial Friendship

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The Effect of Interracial Friendship on Metaperceptions in Intergroup Contexts

PsycEXTRA Dataset ◽

10.1037/e506052012-132 ◽

2010 ◽

Author(s):

Jan Marie R. Alegre ◽

J. Nicole Shelton

Keyword(s):

Interracial Friendship

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Not All Diversity Interactions are Created Equal: Cross-Racial Interaction, Close Interracial Friendship, and College Student Outcomes

Research in Higher Education ◽

10.1007/s11162-015-9365-z ◽

2015 ◽

Vol 56 (6) ◽

pp. 601-621 ◽

Cited By ~ 16

Author(s):

Nicholas A. Bowman ◽

Julie J. Park

Keyword(s):

College Student ◽

Student Outcomes ◽

Interracial Friendship ◽

College Student Outcomes

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3. Interracial Friendship

Glamour in the Pacific ◽

10.1515/9780824862657-006 ◽

2017 ◽

pp. 97-128

Keyword(s):

Interracial Friendship

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“Mammy Ain’t Nobody Name”

Resistance Reimagined ◽

10.5744/florida/9780813056586.003.0005 ◽

2017 ◽

Author(s):

Regis M. Fox

Keyword(s):

Sherley Anne Williams ◽

Interracial Friendship ◽

Black Rage ◽

The Mind

Novels such as Sherley Anne Williams’ Dessa Rose, as well as the focus of “‘Mammy Ain’t Nobody Name’: Power, Privilege, and the Bodying Forth of Resistance,” provoke dialogue with Wilson, Keckly, and Cooper in important ways. Exploring Williams’s engagement with previous legacies of resistance, Chapter 4 draws attention to her disruption of a “neoliberal problematic” via her distinct problematization of the mind-body split and associated tropes of mediation such as the “as-told-to” dynamic. Like Wilson, Williams interrogates the indecipherability of black rage within both interracial and intra-racial liberal matrices of privilege and authority; like Keckly, she destabilizes the “Mammy” figure and undercuts liberal models of interracial friendship; and like Cooper, Williams cultivates an insurgent politics of sound. Becoming together with Wilson, Keckly, and Cooper in the aforementioned ways, Williams’s fiction exhibits a comparable attentiveness to situating blackness beyond conventional registers of containment, intervening into Enlightenment-era discourses of knowledge and self.

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