A Time “Must-Read” Book of 2019 “[Williams] is so honest and fresh in his observations, so skillful at blending his own story with larger principles, that it is hard not to admire him.” —Andrew Solomon, New York Times Book Review (front page) The son of a “black” father and a “white” mother, Thomas Chatterton Williams found himself questioning long-held convictions about race upon the birth of his blond-haired, blue-eyed daughter—and came to realize that these categories cannot adequately capture either of them, or anyone else. In telling the story of his family’s multigenerational transformation from what is called black to what is assumed to be white, he reckons with the way we choose to see and define ourselves. Self-Portrait in Black and White is a beautifully written, urgent work for our time.
Describes how the author's hip-hop culture radically contrasted with his book-loving father's endless pursuit of knowledge, revealing how the father-son bond eventually overcame the genre's rebellious messages.
A pitch-perfect account of how hip-hop culture drew in the author and how his father drew him out again-with love, perseverance, and fifteen thousand books. Into Williams's childhood home-a one-story ranch house-his father crammed more books than the local library could hold. "Pappy" used some of these volumes to run an academic prep service; the rest he used in his unending pursuit of wisdom. His son's pursuits were quite different-"money, hoes, and clothes." The teenage Williams wore Medusa- faced Versace sunglasses and a hefty gold medallion, dumbed down and thugged up his speech, and did whatever else he could to fit into the intoxicating hip-hop culture that surrounded him. Like all his friends, he knew exactly where he was the day Biggie Smalls died, he could recite the lyrics to any Nas or Tupac song, and he kept his woman in line, with force if necessary. But Pappy, who grew up in the segregated South and hid in closets so he could read Aesop and Plato, had a different destiny in mind for his son. For years, Williams managed to juggle two disparate lifestyles- "keeping it real" in his friends' eyes and studying for the SATs under his father's strict tutelage. As college approached and the stakes of the thug lifestyle escalated, the revolving door between Williams's street life and home life threatened to spin out of control. Ultimately, Williams would have to decide between hip-hop and his future. Would he choose "street dreams" or a radically different dream- the one Martin Luther King spoke of or the one Pappy held out to him now? Williams is the first of his generation to measure the seductive power of hip-hop against its restrictive worldview, which ultimately leaves those who live it powerless. Losing My Cool portrays the allure and the danger of hip-hop culture like no book has before. Even more remarkably, Williams evokes the subtle salvation that literature offers and recounts with breathtaking clarity a burgeoning bond between father and son. Watch a Video
A Time “Must-Read” Book of 2019 “[Williams] is so honest and fresh in his observations, so skillful at blending his own story with larger principles, that it is hard not to admire him.” —Andrew Solomon, New York Times Book Review (front page) The son of a “black” father and a “white” mother, Thomas Chatterton Williams found himself questioning long-held convictions about race upon the birth of his blond-haired, blue-eyed daughter—and came to realize that these categories cannot adequately capture either of them, or anyone else. In telling the story of his family’s multigenerational transformation from what is called black to what is assumed to be white, he reckons with the way we choose to see and define ourselves. Self-Portrait in Black and White is a beautifully written, urgent work for our time.
A Meteor of Intelligent Substance" "Something was Missing in our Culture, and Here It Is" In a short time since its launch, Liberties - A Journal of Culture and Politics, a quarterly, has become essential reading for those engaged in the cultural and political issues and causes of our time. The writers in Liberties offer deep experience from across borders, national identities, political affiliations and artistic achievements. As the introductory essay in the inaugural edition noted, "At this journal we are betting on what used to be called the common reader, who would rather reflect than belong and asks of our intellectual life more than a choice between orthodoxies." Each issue of Liberties features original in-depth essays and compelling new poetry from some of the world's most significant writers, artists, and scholars, as well as introducing new talent, to inspire and impact the intellectual and creative lifeblood of today's culture and politics.
The whole problem of our time is the problem of love. How are we going to recover the ability to love ourselves and to love one another? We cannot be at peace with others because we are not at peace with ourselves, and we cannot be at peace with ourselves because we are not at peace with God. There is a distinction between a contrite sense of sin and a feeling of guilt. The former is a true and healthy thing, the latter tends to be false and pathological. The man who suffers from a sense of guilt does not want to feel guilty, but at the same time he does not want to be innocent. He wants to do what he thinks he must not do, without the pain of worrying about the consequences. The history of our time has been made by dictators whose characters, often transparently easy to read, have been full of repressed guilt. They have managed to enlist the support of masses of men moved by the same repressed drives as themselves. Modern dictatorships display everywhere a deliberate and calculated hatred for human nature as such. The technique of degradation used in concentration camps and in staged trials are all too familiar in our time. They have one purpose: to defile the human person.
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