Critical race theory (CRT) first emerged as a counterlegal scholarship to the positivistand liberal legal discourse of civil rights. This scholarly tradition argues against the slow pace of racial reform in the United States. Critical race theory begins with the notion that racism is normal in American society. It departs from mainstream legal scholarship by sometimes employing storytelling. It critiques liberalism and argues that Whites have been the primary beneficiaries of civil rights legislation.Since schooling in the USA purports to prepare citizens, CRT looks at how citizenship and race might interact. Critical race theory's usefulness in understanding education inequity is in its infancy. It requires a critique of some of the civil rights era's most cherished legal victories and educationalreform movements, such as multiculturalism. The paper concludes with words of caution about the use of CRT in education without a more thorough analysis of the legal literature upon which it is based.

Just what is critical race theory and what's it doing in a nice field like education?

Intersectionality has become the primary analytic tool that feminist and anti-racist scholars deploy for theorizing identity and oppression. This paper exposes and critically interrogates the assumptions underpinning intersectionality by focusing on four tensions within intersectionality scholarship: the lack of a defined intersectional methodology; the use of black women as quintessential intersectional subjects; the vague definition of intersectionality; and the empirical validity of intersectionality. Ultimately, my project does not seek to undermine intersectionality; instead, I encourage both feminist and anti-racist scholars to grapple with intersectionality’s theoretical, political, and methodological murkiness to construct a more complex way of theorizing identity and oppression.

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Re-Thinking Intersectionality:

In this open letter, Eve Tuck calls on communities, researchers, and educators to reconsider the long-term impact of "damage-centered" research—research that intends to document peoples' pain and brokenness to hold those in power accountable for their oppression. This kind of research operates with a flawed theory of change: it is often used to leverage reparations or resources for marginalized communities yet simultaneously reinforces and reinscribes a one-dimensional notion of these people as depleted, ruined, and hopeless. Tuck urges communities to institute a moratorium on damage-centered research to reformulate the ways research is framed and conducted and to reimagine how findings might be used by, for, and with communities.

/pdf/suspending-damage-a-letter-to-communities-4bvfzfxapg.pdf

Suspending Damage: A Letter to Communities.

The term intersectionality references the critical insight that race, class, gender, sexuality, ethnicity, nation, ability, and age operate not as unitary, mutually exclusive entities, but rather as reciprocally constructing phenomena. Despite this general consensus, definitions of what counts as intersectionality are far from clear. In this article, I analyze intersectionality as a knowledge project whose raison d'etre lies in its attentiveness to power relations and social inequalities. I examine three interdependent sets of concerns: (a) intersectionality as a field of study that is situated within the power relations that it studies; (b) intersectionality as an analytical strategy that provides new angles of vision on social phenomena; and (c) intersectionality as critical praxis that informs social justice projects.

https://www.annualreviews.org/doi/pdf/10.1146/annurev-soc-073014-112142

Intersectionality's Definitional Dilemmas

Toward a Theory of Teacher Community

Pulitzer Prize-winning novelist Toni Morrison provides a personal inquiry into the significance of African-American literary imagination. Her goal, she states at the outset, is to "put forth an argument for extending the study of American literature". Author of "Beloved", "The Bluest Eye", "Song of Solomon", and other vivid portrayals of black American experience, Morrison ponders the effect that living in a historically racialized society has had on American writing in the 19th and 20th centuries. She argues that race has become a metaphor, a way of referring to forces, events, and forms of social decay, economic division, and human panic. Her argument is that the central characteristics of American literature - individualism, masculinity, the insistence upon innocence coupled to an obsession with figurations of death and hell - are responses to a dark and abiding Africanist presence.

Playing in the Dark: Whiteness and the Literary Imagination

Pulitzer Prize-winning novelist Toni Morrison provides a personal inquiry into the significance of African-American literary imagination. Her goal, she states at the outset, is to \"put forth an argument for extending the study of American literature\". Author of \"Beloved\", \"The Bluest Eye\", \"Song of Solomon\", and other vivid portrayals of black American experience, Morrison ponders the effect that living in a historically racialized society has had on American writing in the 19th and 20th centuries. She argues that race has become a metaphor, a way of referring to forces, events, and forms of social decay, economic division, and human panic. Her argument is that the central characteristics of American literature - individualism, masculinity, the insistence upon innocence coupled to an obsession with figurations of death and hell - are responses to a dark and abiding Africanist presence.

Playing in the Dark: Whiteness and the Literary Imagination.

Race-Ing Justice, En-Gendering Power : Essays on Anita Hill, Clarence Thomas and the Construction of Social Reality

Playing in the Dark

Without apology Nobel Prize author Toni Morrison describes herself as an African-American woman writer. These collected interviews reveal her to be much more. She has shared space in her creative life for her career in publishing, in teaching, and in being a single parent. Writing, however, is one thing she "refuses to live without." These interviews beginning in 1974 reveal an artist whose creativity is intimately linked with her African-American experience and is fueled by cultural and societal concerns. For twenty years she has created unforgettable characters in her acclaimed novels - The Bluest Eye, Sula, Song of Solomon, Tar Baby, Beloved, and Jazz. Morrison tells her interviewers that her goal as a writer is to present African-American life not as sociology but in the full range of its depth, magic, and humanity. "I want my work to capture the vast imagination of black people, " she says. "That is, I want my books to reflect the imaginative combination of the real world, the very practical, shrewd, day-to-day functioning that black people do, while at the same time they encompass some great supernatural element." Though the scope and the magnitude of her art have brought her international acclaim, even some of her most ardent admirers have viewed her fiction mainly with a focus on class, race, and gender. In these interviews, however, she addresses the artist's concern with moral vision and with a resistance to critical attitudes that categorize black writing largely as sociology. From these interviews comes a greater understanding of Toni Morrison's purpose and the theme of love that streams through her fiction.

Toni Morrison

Papers

Playing in the Dark: Whiteness and the Literary Imagination

Playing in the Dark: Whiteness and the Literary Imagination.

Race-Ing Justice, En-Gendering Power : Essays on Anita Hill, Clarence Thomas and the Construction of Social Reality

Playing in the Dark

Conversations with Toni Morrison