Claudia Rankine
Claudia Rankine
Claudia Rankineis a poet, essayist, playwright and the editor of several anthologies. She is the author of five volumes of poetry, two plays and various essays. Rankine is a Chancellor of the Academy of American Poets and the Aerol Arnold Chair of English at the University of Southern California...
NationalityAmerican
ProfessionPoet
CountryUnited States of America
writing thinking mirrors
I think music, like writing, can be a mirror. Can turn back onto the listener, the viewer, the reader, an experience that they know but they don't know.
animal thinking people
People expect black women to be angry, irrationally so, without reason. They think we are animals and we go around like the Wild Things.
moving thinking people
So you're just moving along and suddenly you get this moment that breaks your ability to continue, and yet you continue. I wanted those kinds of moments. And initially people would say, "I don't think I have any." Their initial reaction was to render invisible those moments weaved into a kind of everydayness.
men thinking guy
For instance, if you're a black guy and you got pulled over, and you didn't know that any other black men were being pulled over, you would constantly in the back of your head be thinking, "What did I do?" rather than, "I didn't do anything, these are just the conditions I live under."
thinking people term
I think having a term for a condition that is prevalent is useful, because then people understand it as something not particular to them. It allows you not to ask the question, "What's wrong with me?" and begin to ask the question, "What's wrong with this place that I'm in?"
thinking yale black
I was at Yale and I said to the poet Elizabeth Alexander, "I'm interested in the ways in which black health seems precarious in the United States." She introduced me to the term "John Henryism." And then I went back and researched it and understood that, woah, this thing I am thinking about is actually a condition that's named.
book heart thinking
I was really interested in the fact that blacks have high blood pressure, heart disease, and diabetes at a higher percentage than the rest of the population. That didn't stay very aggressively in the book, but that's how it started. I began to document these moments as support for this other thing I was thinking about, and then the moments themselves began to take over.
hurt thinking desire
I think words are the thing that either triumphs for you, in your desire to communicate something, or fails. I love language because when it succeeds, for me, it doesn't just tell me something. It enacts something. It creates something. And it goes both ways. Sometimes it's violent. Sometimes it hurts you. And sometimes it saves you.
thinking two availability
How our availability, our showing up, our presence, leaves us open to that violence. I think it's a question of language, as it arrives from one body to another. It becomes the thing in between the two bodies.
thinking body why-not
One of the things that I think about is: How do you make moments that float, transparent? Moments that could just float away. How do you make a body accountable for its language, its positioning? Why not make a body accountable for its language?
thinking firsts found
I also found it funny to think about blackness as the second person. That was just sort of funny. Not the first person, but the second person, the other person.
communication thinking way
Each of these failures for me is a failure of communication, via a mode of communication that can be violent or meant to behave violently. Butler provides a way of thinking about how language becomes an instrument of violence. And why we feel it as such.
optimistic past thinking
I don't think people want to look at problems. They want a continuous narrative, an optimistic narrative. A narrative that says there's a present and a future - and what was in the past no longer exists.
thinking white black
I think of the described dynamics as a fluid negotiation. I don't think these specific interactions can happen to the black or brown body without the white body. And there are ways in which, if you say, "Oh, this happened to me," then the white body can say, "Well, it happened to her and it has nothing to do with me." But if it says "you," that you is an apparent part of the encounter.