The Black Queer Experience is Not 'Our' Experience: Breeze Harper's New Social Fictio

It is official. I have signed a contract with Sense Publishers to publish the book Scars for 2014. Sense Publishers is the perfect press for Scars.  They embody exactly what I would like my novel to achieve. Below is a description of this publisher’s social fiction series of which Scars will be included:

“The Social Fictions series emerges out of the arts-based research movement. The series includes full-length fiction books that are informed by social research but written in a literary/artistic form (novels, plays, and short story collections). Believing there is much to learn through fiction, the series only includes works written entirely in the literary medium adapted. Each book includes an academic introduction that explains the research and teaching that informs the book as well as how the book can be used in college courses. The books are underscored with social science or other scholarly perspectives and intended to be relevant to the lives of college students—to tap into important issues in the unique ways that artistic or literary forms can.” -Patricia Leavy, PhD
Scars_cover

The painting above will be used in the design of the cover. It was created by Sarah Dorsey after she read the novel.

Below is the full Preface for Scars. However, before you read the preface, I wanted to share this next tidbit withyou. The title of this blog piece, “The Black Queer Experience is Not ‘Our’ Experience”, was inspired by an email I received a few days ago from a Black identified Christian woman who had found out about Scars. Via a long email, she ultimately let me know that the premise of Scars alienated regular Black girls like her and that it was not ‘our’ story; ‘our’ being Black people’s story or authentic way of being. Even though she has not read the book, I found it incredibly interesting and as well as heartbreaking that she sent me an email that basically let me know she was disappointed in this new project. She sincerely thinks that the book’s main character (a Black teen lesbian) is too ‘controversial’ and ‘edgy.’ Hence, ‘regular’ Black girls like her (heterosexual) were being marginalized and she felt that I should be using my prominent voice to write about more pressing and important issues affecting the Black community. So, essentially, this book hasn’t even been published yet and I’m already receiving these types of messages. Anyway, I wanted to share that tidbit with you because I am constantly amazed by how “Blackness” and authenticity amongst Black folk is a complex and controversial issue; how we are monitored when we fall outside of being a ‘regular’ Black person (which I assume means hetero-normative and Christian identified). It is worrisome and disturbing to think that there are many Black folk who honestly feel that the queer experience is not part of our history; that we’re not part of the authentic community of Blackness in the USA. Even though this is her opinion, and the email she sent me was written respectfully and politely, it still hurt very deeply to read that. However, this is why I continue to write and do the work that I do. I feel like silence just creates more suffering and pain, so my writing becomes a platform to discuss these issues that are taboo for so many, including not just homosexuality, but also how white supremacy in the USA affects the emotional and physical health of everyone– not just people color. I welcome you read the preface to ScarsI am also hoping that if the preface strikes a chord with you would you have interest in inviting me to come and speak and create interactive discussion from Scars. Please email me at breezeharper (at) gmail (dot ) com to discuss my honorarium fees and travel requirements. Also, I am open to be interviewed for radio, tv, blogs, and other forms of media.

Preface for Scars

Scars is a novel about whiteness, racism, and breaking past the normative boundaries of heterosexuality, as experienced through eighteen year old Savannah Penelope Sales. Savannah is a Black girl, born and raised in a white, working class, and rural New England town. She is in denial of her lesbian sexuality, harbors internalized racism about her body, and is ashamed of being poor. She lives with her ailing mother whose Emphysema is a symptom of a mysterious past of suffering and sacrifice that Savannah is not privy to. When Savannah takes her first trip to a major metropolitan city for two days, she never imagines how it will affect her return back home to her mother… or her capacity to not only love herself, but also those who she thought were her enemies.  Scars is about the journey of friends and family who love Savannah and try to help her heal, all while they too battle their own wounds and scars of being part of multiple systems of oppression and power. Ultimately, Scars makes visible the psychological trauma and scarring that legacies of colonialism have caused to both the descendants of the colonized and the colonizer… and the potential for healing and reconciliation for everyone willing to embark on the journey.

As a work of social fiction born out of years of critical race, Black feminist, and critical whiteness studies scholarship, Scars engages the reader to think about USA culture through the lens of race, whiteness, working-class sensibilities, sexual orientation, and how rural geography influences identity consciousness. What makes this novel unique its emphasis on Black and lesbian teen experience of whiteness and racism within rural geographies. Often, interrogations of whiteness and socio-economic class are left out of fictional literature within popular LGBTQ literature. My intention with Scars is to fill this gap by creating emotionally intense dialogues among four primary characters: Savannah Penelope Sales, Davis Allen, Esperanza Perez, and Erick Roberts.

Davis Allen is one of Savannah’s best friends. A straight white male who grew up on a rural dairy farm in Savannah’s home town, Davis and Savannah have been close friends since they were toddlers. Davis is the only white friend Savannah has ever chosen to develop a close relationship with. When Davis and Savannah interact with each other, the intimacies of their conversations reveal an interesting dynamic: Davis’s perception of reality manifests from what Savannah has marked as “a privileged point of entry”: white, male, lower-middle class, and straight. Davis can never experience Savannah’s embodied experience as a Black lesbian. Growing up in a country that has institutionally legitimized whiteness and heterosexuality as ‘normal’, Davis’s white and straight identity limits him to superficially interpreting Savannah’s verbal hostility as nothing more than stereotypical “angry Black female” banter.

The second theme developed in Scars is the irreconcilable differences that Erick Roberts and Savannah endure in their rocky new platonic relationship. Erick and Savannah both identify as same gender loving, however, that is where similarities between them end. Their frequent antagonistic verbal intercourses deconstruct the common myth that being gay or lesbian means they will instantly connect emotionally to each other as comrades in the same battle against heterosexism. The exhaustive energy it takes for both to maintain their volatile relationship has it’s roots in Erick’s oblivion to the fusion of his upper-middle class status and his white male privilege when attempting to advise Savannah about being and coming out as a [Black, poor, and rural] lesbian.

The third and more subtle theme developed in Scars centers on how Savannah’s perception of oppression is positioned with