What is *Self-Portrait in Black and White* about?

*Self-Portrait in Black and White* explores Thomas Chatterton Williams' journey to rethink racial identity after fathering children who defy traditional racial categories. The memoir challenges fixed notions of race, arguing for a fluid understanding of identity beyond societal labels. It intertwines personal narrative with cultural criticism, examining how race shapes self-conception and collective belonging.

Who should read *Self-Portrait in Black and White*?

This book is essential for readers interested in race, identity politics, and memoir. It appeals to those grappling with multicultural heritage, parents navigating mixed-race family dynamics, and anyone questioning rigid racial frameworks. Academics and cultural critics will also find its nuanced arguments valuable for discussions on modern identity.

Is *Self-Portrait in Black and White* worth reading?

Yes. Kirkus Reviews called it an "insightful, indispensable memoir" with "resonant" prose that rewards rereading. Williams' provocative yet thoughtful analysis challenges readers to reconsider race as a social construct, making it a standout in contemporary discourse on identity.

How does *Self-Portrait in Black and White* challenge racial categorization?

Williams rejects the "one-drop rule" and fixed racial labels, arguing they inadequately capture human complexity. He shares how his daughter’s blond hair and blue eyes forced him to confront the arbitrariness of racial boundaries, advocating for identity rooted in individual experience rather than external assumptions.

What role does fatherhood play in *Self-Portrait in Black and White*?

Fatherhood catalyzes Williams' racial reckoning. His children’s appearance—distinct from societal expectations of Blackness—prompts him to unlearn ingrained racial ideologies. This paternal lens frames his critique of identity politics and vision for a post-racial future.

How does Thomas Chatterton Williams’ background influence the book?

Born to a Black father and white mother, Williams grew up identifying as Black. His upbringing in a biracial household, education in philosophy, and marriage to a Frenchwoman inform his transnational perspective on race, blending personal history with academic rigor.

What is the “fluidity of racial borders” discussed in the book?

Williams posits that racial boundaries are mutable and subjective. He highlights examples like Adrian Piper and Kmele Foster to argue that self-identification can transcend physical traits, advocating for a society where identity isn’t constrained by historical racial frameworks.

How does *Self-Portrait in Black and White* compare to other works on race?

Unlike sociological treatises, Williams combines memoir and cultural criticism, offering a uniquely personal take on race. Its focus on familial legacy distinguishes it from Ta-Nehisi Coates’ *Between the World and Me* or Isabel Wilkerson’s *Caste*.

Self-Portrait in Black and White

Unlearning Race

Thomas Chatterton Williams

4.03(1654 Reviews)

Overview of Self-Portrait in Black and White

In "Self-Portrait in Black and White," Williams challenges racial categorization through his own journey as a mixed-race father whose blonde daughter defies traditional identity boxes. A thought-provoking New York Times editor's exploration that asks: What if transcending racism requires abandoning race itself?

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Chapter 1

The Racial Paradox: Unraveling Identity in a Hyphenated World

When Thomas Chatterton Williams' daughter Marlow was born in a Parisian maternity ward in 2013, the first thing he noticed were her startlingly blue eyes-eyes he knew would never turn brown. Along with overwhelming love came something like fear. "What have you done?" demanded a voice from deep within. For a man who had spent his entire life believing in the American dictum that a single "drop of black blood" makes a person black, the sight of his blonde-haired, blue-eyed daughter rendered his "one-drop" stance suddenly ridiculous. This moment would become the catalyst for a profound intellectual journey, challenging everything Williams thought he knew about race, identity, and the stories we tell ourselves about who we are. Self-Portrait in Black and White isn't just a memoir-it's a philosophical reckoning with one of America's most persistent and damaging myths. The book has been praised by thinkers across the political spectrum, from Ta-Nehisi Coates to Andrew Sullivan, for its nuanced approach to questions most of us are afraid to ask. As racial tensions continue to dominate American discourse, Williams offers something rare: a path forward that challenges both right and left orthodoxies about race.

Chapter 2

Between Two Worlds: Growing Up Mixed in America

Thomas Chatterton Williams was raised in a book-filled New Jersey home by parents who valued individuality over tribal belonging. His father, a red-brown man with freckles whose grandfather was born in slavery's final year, had leapfrogged generations through education to provide a middle-class upbringing. His mother, unambiguously white with Northern European roots, was considered by his father to be merely "light-skinned" with "black consciousness." Though they lived on the white side of their segregated town as silent protest against redlining, Williams never questioned that theirs was a black household. Outside their home, however, the world perceived stark differences between his mother and himself. In his earliest memory, a white woman at ShopRite assumed his mother had "adopted those kids from the ghetto." Throughout the '80s and '90s, their family drew confused stares wherever they went. Williams didn't know anyone who defined themselves as "biracial" until college in 1999. The contradictions of his upbringing became more apparent with time. His father's rage over racial injustice was something Williams learned to empathize with deeply. One day when his father picked him up from school, their conversation turned to sports. Williams casually dismissed boxing's importance, triggering his father's immediate reaction: "You don't care about boxing? Who told you that?" His face tightened as he made a three-point turn in their old Benz, gesturing at Williams' white classmates. "Who told you not to like boxing?" When Williams insisted no one had, his father exploded: "I'll be damned if they make you white!" This moment revealed a fundamental tension: the possibility that Williams could be "made into" something he knew he wasn't. Unlike the black boys from redlined neighborhoods who fought skillfully, boxing was something he'd only seen his father do. His basement was equipped with professional gear-heavy bags, speed bags, gloves-evidence of how fundamental boxing was to his father's identity as a man. By eighth grade, Williams had learned to harness his "otherness" and found himself making conscious choices about his racial identity. When his father presented him with a crucial choice between attending an elite white school with strong academics or a less prestigious but racially diverse school nearby, Williams chose the latter without hesitation, making his first meaningful assertion of racial identity. He wanted to erase ambiguity and join the tribe his parents' lifestyle had kept him separate from.

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Chapter 3

Performing Blackness: The Search for Authenticity

Throughout adolescence, Williams consciously performed his blackness with convert-like zeal. Without extended black family connections, he absorbed black masculinity from basketball courts and BET. Looking back, the artificiality is jarring-his father's genes gave him kinky hair and tinted skin, but not prescribed behaviors. Everything he understood about being a "nigga" came from the contrived world around him. Blackness wasn't just about appearance-it was how you spoke, dressed, and presented yourself to the world. In the politically apathetic 1990s, his generation favored style over substance: the angle of a hat brim, rhythm and athleticism, studied nonchalance. Yet at its core, this identity was defined by what it lacked. Williams and his peers often used racial language when really discussing class, manners, and taste-like when his brother's Italian friend called his bookish father "whiter" than his own uneducated dad, or when a tough black boy declared Williams' family "rich" despite their modest home. At fifteen, Williams fell for Stacey, a fourteen-year-old who embodied his ideal of blackness. Despite coming from a materially comfortable home, she seemed alienated from her own worth and lacked emotional nurturing from her divorced, distracted parents. Their relationship revealed painful truths about racial identity. Many of his black male classmates openly preferred white or "Spanish" girls, some believing they were "simpler conquests" or carried less emotional baggage. Others revealed an internalized belief that lighter-skinned women were inherently better, a colonial mentality Williams despised. At Georgetown University, Williams displayed Stacey's photos like badges of racial authenticity, feeling superior to middle-class black students. But when he returned from freshman year, changed by university life, their relationship collapsed. Stacey mocked his evolving tastes ("them white niggas got you buggin'"), became pregnant by a drug dealer, and moved to the projects. Though heartbroken, Williams maintained his conviction that he was inherently a black man who could only be complete with a black woman. This conviction would soon be challenged through a series of relationships that forced him to confront the complexities of race, culture, and nationality. In his second year at Georgetown, he met Betrys, daughter of an Italian mother and Nigerian father. She embodied a cosmopolitan pan-African consciousness he hadn't previously encountered. What distinguished Betrys was her extraordinarily specific self-conception-she wasn't simply "mixed" but "tripled"-fully Italian, wholly Nigerian, and entirely American.

Chapter 4

Race Beyond America: The Fluidity of Identity

Living in France revealed how race operates differently outside America. In kebab shops, Algerians addressed Williams in Arabic, confused by his inability to speak "my language." When he explained he was Black American, one man protested, "But you are not black. Michael Jordan is black!" Similarly, white Americans abroad often failed to recognize racial gradations. During a study-abroad trip to Paris, a white American tourist made racist jokes in Williams' presence, later apologizing by saying he'd assumed Williams was "Mediterranean." This failure to be seen as he would be at home was precisely what attracted many Black American expatriates to France. Unlike African and Caribbean blacks, they were understood first as American, not as black. This revealed race as something fluid and imposed rather than intrinsic-"an afterimage," in Paul Gilroy's words, conditioned not just by who we are but crucially by where we are. Outside America, Williams was coming to the startling realization that our identities are fundamentally malleable. In 2008, at twenty-six and still in graduate school at NYU, Williams received a life-changing advance for his first book. This sudden freedom coincided with the end of his relationship with Betrys and created an opportunity for reinvention. He spent autumn in Paris, borrowing a friend's studio in the eighteenth arrondissement. Paris offered liberation from American racial categorization. Unlike in Brooklyn where writers nervously compared agents and bylines, Paris treated him as simply a writer. This "existential tabula rasa" permanently affected him, as every cultural encounter became potentially transformative without the weight of racial expectation. His expanding sense of self coincided with Obama's presidential campaign, which initially filled him with unprecedented idealism. Like many in his circle, he genuinely believed Obama represented not just political change but racial enlightenment. However, while canvassing in Baltimore's impoverished neighborhoods, Williams realized that despite his mixed-race identity, he shared little with the residents of these Baltimore streets. Race overlapped with class and social capital in ways that made him, effectively, a "gringo" on those porch steps, despite his African ancestry.

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Chapter 5

Love Across Boundaries: Marriage and Family

Williams met his future wife Valentine in a bar near Place de la Bataille de Stalingrad in Paris when he was twenty-eight. She arrived with a mutual friend, and something in her bearing-her insouciant pout and mane of yellow curls flowing over an old fur coat-triggered a powerful response in him. Their connection deepened as they discovered shared values-a need to travel and belief in the power of words and ideas, both leading them to sacrifice comfort to earn their living through reading and writing. The morning after his spontaneous rooftop proposal, alongside exhilaration came terror. Having chosen a white woman felt anything but trivial. Williams thought of Eldridge Cleaver condemning James Baldwin for the "racial death-wish" that motivates blacks to commingle with whites. Was he exhibiting the same "self-hatred" Cleaver described? He remembered his father's aunt's injunction to "never bring home a girl darker than you"-a rule he'd always promised himself he'd disobey. When they announced their engagement to Williams' parents, their reactions surprised him. His mother's tears revealed her intuition that this union would place an ocean between them-not because of race but because two freelance writers would naturally gravitate to more affordable living conditions in France. His father's unqualified happiness revealed his blues-like stoicism about race-holding two conflicting ideas simultaneously: race isn't real, yet race had harmed him severely. He saw in their union a kind of freedom he'd always valued above all else. Eight years into marriage, Williams still occasionally hears Cleaver's question: why do successful Black men so disproportionately marry outside their race? The statistics are stark-nearly seven of ten Black women were unwed in 2010 when he married, facing what scholars call a "marriage crisis." Williams is continually struck by how frequently successful, even race-conscious Black men partner with non-Black women. This reality hit home when he met the esteemed Black writer Ishmael Reed in Paris. When Valentine asked if she should accompany him, Williams hesitated, irrationally worried about disappointing this pro-Black literary figure. Yet when he arrived at the dinner, he found Reed's wife was white, as was the saxophonist host's wife, and another Black expat writer's wife.

Chapter 6

The Philosophical Disaster of Race

The problem of racial difference isn't merely economic, political, or cultural-it's a philosophical and imaginative disaster. We still struggle to conceive of genuine cross-racial bonds. Looking at old family photos of his mother's white family, Williams feels conflicting emotions: anger, pity, and the cold unreality of familial connection. His Bible-thumping grandfather, whose angular features Williams resembles despite his darker skin, seems more stranger than kin. Only as a father himself can Williams appreciate the exorbitant price his grandfather inflicted on himself by refusing to acknowledge Williams' father. His grandmother Esther visited them for two weeks each year-enough time for Williams to love her profoundly. His grandfather always remained in California with excuses about flying or his bad back. Only in adulthood did Williams realize the profound unimaginativeness of his grandfather's worldview. When Williams' aunt posted about their ancestor Anton Spath, a German immigrant who built prosperity in Baltimore starting in the 1850s, Williams couldn't help contrasting his story with his paternal lineage. While white Americans proudly trace their immigrant forebears' rise through thrift and tenacity, Williams realizes that while Spath was amassing property as a total foreigner, his father's people-in America for generations-remained enslaved nearby. Tracing his paternal ancestry is nearly impossible. The Williams name, Welsh in origin and America's third most common surname, offers little direction. The earliest ancestor he can identify is his great-grandfather James "Pump" McLemore, born in 1865-right at the boundary between bondage and liberty. Beyond him lies an abyss of inhumanity from which few names emerge. Unlike his daughter's traceable French heritage, Williams' Black ancestry loses coherence at such a remove. Yet racial boundaries are more porous today than ever before. When Valentine and Williams told her father of their engagement, Williams' dignity wasn't at stake-unlike in his father's day, society would not reinforce any limited vision of him. Her father's warm response-leaping up to embrace him and celebrating with champagne-stands in stark contrast to his grandfather's unthinking brutality toward his father.

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Chapter 7

Speaking Truth to Power: Confronting Racial Orthodoxy

Several times a year, Williams speaks at universities about his first book, Losing My Cool. Since marrying Valentine and moving to France, especially since Marlow's birth, he finds it increasingly difficult to deliver talks that once felt inextricably linked to his core being. This is partly because he often speaks at historically black colleges where hip-hop culture-which he critiques but no longer participates in-is simply the air students breathe. But it's also because his "black" experience has veered so drastically from their own. During one session in Florida, a dark-skinned student with meticulously twisted dreadlocks asked why white people "hate us so much." Williams realized this young man, like many blacks across all demographics, had probably never intimately known or loved a white person-or been known or loved by one. Williams told him that while racists certainly exist, most white people don't actively hate black people; rather, they simply don't or cannot think seriously about black people at all. They lack the imagination or will to try. The summer of 2014 brought viral videos of black men and children dying. For Williams, the refusal to charge Officer Pantaleo in Eric Garner's killing, combined with Tamir Rice's unpunished execution, provided cause for deep reflection. His photographer friend Kris and he launched a Tumblr project collecting oral histories and portraits of black men, aiming to complicate the basic understanding of black male identity in America. Williams' twenty-year-old white cousin Hope challenged their project on Facebook: "Will you be doing one with white people?" She insisted, "Your skin no longer defines who you are unless you let it." Though they've only met a handful of times, Williams knows Hope has had a harder life than his. She likes his brother and would say she loves him, yet she lacks the mental bandwidth to consider experiences different from her own. Nothing about her life incentivizes her to do so-the greatest obstacle to mutual understanding. Williams often reflects on Ta-Nehisi Coates's Between the World and Me, where Coates describes confronting a white woman who pushed his dawdling son. His reaction was "hot with all of the moment and all of my history." Yet Coates never extends to this woman the possibility that she might be something other than racist-perhaps just a nasty individual who would have pushed any child regardless of race. If our leading public thinker on race understands white people with such inflexibility and lack of generosity, Williams argues, we'll continue talking past each other instead of reaching common truth.

Chapter 8

Beyond Race: Toward a New Vocabulary

Since the 2016 election, Williams has watched a demagogue provoke racial resentment while well-meaning white friends publicly flagellate themselves for their "whiteness" as if born into original sin. John McWhorter calls this "the flawed new religion" of Anti-racism, where acknowledging White Privilege becomes a "totemic act" akin to acknowledging Christian sinfulness. Today's dominant liberal discourse-positioning whites as the nation's only genuine actors and minorities as hapless props-has proven counterproductive. As Glenn Loury warns, when race becomes an irreducible political category rather than incorporated into universal claims of justice, it becomes a weapon anyone can use. "I don't know how you live by the identity-politics sword and don't die by it," he cautions, noting that identity politics inevitably creates white identity politics too: "How are there not white interests in a world where there are these other interests?" To shift this dismal paradigm, Williams argues we need a new vocabulary that moves beyond abstract racial categorization and reflexive tribalism. Merely declaring race a construct isn't enough. As Walter Benn Michaels notes, "Treating race as a social fact amounts to nothing more than acknowledging that we were mistaken to think of it as a biological fact and then insisting that we ought to keep making the mistake." Contemporary commentators on race, by establishing identity solely in "the body," reinforce the same racist habits of thought they claim to defeat. Black Lives Matter's aims-drawing attention to criminal justice abuses-Williams overwhelmingly shares. Yet its very framing-that some lives are essentially black while others are white-is politically true in a specific sense but philosophically inadequate. Williams has reached an existential bind similar to secular Jews: generations of struggle aimed for the freedom to choose and create the self with dignity-yet this very autonomy threatens to annihilate the "racial" identity that won it. That's precisely what must occur nationally. Progress requires sloughing off these old skins we've been forced to don.

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Chapter 9

Reimagining Identity: A Future Beyond Racial Categories

When Williams interviewed white nationalist Richard Spencer, he found Spencer believes "race has a biological-physical component that is totally indispensable." Spencer claimed many white people privately sense there's something genetic about race but avoid saying so to escape being labeled racist. Harvard geneticist David Reich notes that while race may be a social construct, differences in genetic ancestry correlating to today's racial constructs exist. However, he cautions that "whatever we currently believe about the genetic nature of differences among populations is most likely wrong" and that differences among populations are many times smaller than those among individuals. If race isn't biological, why pretend it is? When Williams asked Adrian Piper whether there's even a "black sensibility," she denied it. Her point echoes Henry Louis Gates Jr.: all human culture is available to all human beings. What is "black culture" then? There are specific traditions, values, and circumstances of specific groups at specific times-but human life remains too surprising for sweeping statements to withstand scrutiny. Many "black" Americans have made enormous contributions to music and dance, but does that mean dancing well is inherently part of "black" culture? Not so fast-there are "black" people who dance poorly (like Williams himself) and "white" or "Asian" people who dance with extraordinary grace in any style. What matters isn't the activity itself but the meaning certain groups have attached to it over time. Children don't automatically loathe their bodies or organize the world racially-these impulses must be learned through contact with others. Unlearning them happens the same way, through serious self-reflection. Albert Murray saw the blues not just as music but as "equipment for living"-a stoic philosophy developed by tenacious slaves and their descendants that reconfigures existential terms. Real dignity comes from accepting and playing the hand you're dealt while understanding no one has a perfect hand. Adrian Piper's family history perfectly illustrates racial categorization's absurdity. Born in 1948 to a line of whites and light-skinned black property owners on her father's side and mixed-race Jamaican immigrants on her mother's, Piper's father received two contradictory birth certificates-first labeled "white," then "octoroon" (one-eighth black). Her paternal grandfather abandoned his family after his second, darker son was born, moving west to start a new "white" family. Her great-uncle lived as a Caucasian man, founding Piper Aircraft Corporation and becoming wealthy enough to endow a Harvard auditorium.

Chapter 10

A New Vision: Living Beyond Racial Boxes

During a stay in Provence after his son Saul's birth, Williams' rented house welcomed a diverse gathering of family and friends-Blacks of various mixes, Jews, gentiles, Arabs, Asians, French-speakers both colonial and aristocratic, and Americans. What felt exceptional in our tribal world was how normal it all seemed. Williams may never stop noticing our differences, but he's ceased allowing them to determine our interactions. While pacing the terrace with Saul strapped to his chest, Williams read Camus, who once lived nearby. "Poverty kept me from thinking all was well under the sun and in history," Camus wrote, "but the sun taught me that history was not everything." This wisdom contrasts sharply with today's dominant voices on race, which insist that history is everything-that "the past is not dead, it's not even past." These voices rightly point to America's foundation on slavery, genocide, and land theft; to European colonialism; to capitalism's exploitation; to white supremacy's persistence. While partially true, this view that we're merely beholden to past deeds is incomplete. History has noble uses-it helps Williams understand why his father inherited less wealth than his mother-but its utility diminishes when it smothers the present's possibilities. Williams often ponders Theseus's paradox: if a ship's planks are gradually replaced until none of the original remains, is it still the same ship? The answer depends on whether you believe color is inherent or merely perceptual. What he'd tell his children is that we must always celebrate variety and confront our biases. Unlike chickens hypnotized by lines drawn in dirt, we needn't be immobilized by the past. Over dinner with Adrian Piper in Berlin, Williams realized genuine liberty is something you must take for yourself with conviction. What made him hesitate to abandon his "black" identity was a vague sense of indebtedness to past suffering-a form of guilt. People who came before him, who suffered inexplicable pain and to whom he owed his life, had been labeled "black" and found ways to triumph despite it. He pledged allegiance to that label not because it was accurate but to honor both their pain and triumph. When Williams showed Piper a photo of his three-year-old daughter Marlow-ivory-skinned with blue eyes and golden curls-he admitted worrying that she might not feel the same guilt. "Why would you want that?" Piper asked simply. "If the pain and guilt isn't there, why introduce it?" The question stunned him. No one he'd spoken to had ever rejected the premise of allegiance to pain so directly. Williams left that dinner an ex-black man-not because he'd stopped loving what he'd been taught to call "black," or because he wanted his daughter to blend into what he'd been taught to call "white," but because these categories cannot adequately capture either of them, or anyone else. More and more people like his children-people who are more than what they first seem-will populate our future. What might life look like if we all decided to lift ourselves up and walk away?

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Key Themes in Self-Portrait in Black and White

one-drop rule
racial transcendence
biracial identity
social construction of race
performing authenticity

Quotes from Self-Portrait in Black and White

I'll be damned if they make you white!
Everything he understood about being a "nigga" came from the contrived world around him.
Blackness wasn't just about appearance.
Williams displayed Stacey's photos like badges of racial authenticity.
our identities are fundamentally malleable.

Characters in Self-Portrait in Black and White

Thomas Chatterton WilliamsThe author and protagonist of the memoir
MarlowThe author's blonde-haired, blue-eyed daughter
StaceyThe author's teenage girlfriend
Thomas Chatterton Williams' fatherA scholarly man who valued black consciousness
Thomas Chatterton Williams' motherA white woman with Northern European roots

About the Author

Thomas Chatterton Williams, author of Self-Portrait in Black and White: Unlearning Race, is an acclaimed cultural critic and writer renowned for his incisive examinations of race, identity, and modern consciousness.

A 2022 Guggenheim Fellow and visiting professor at Bard College’s Hannah Arendt Center, Williams draws from his biracial upbringing—as the son of a Black father and white mother—to challenge rigid racial categorizations in his genre-blending memoir, which intertwines personal narrative with cultural analysis.

His debut memoir, Losing My Cool (2010), explored hip-hop’s influence on his youth and established his contrarian voice. A contributing writer for The Atlantic and former New York Times Magazine columnist, his work has appeared in The New Yorker, Harper’s, and London Review of Books, and has been anthologized in Best American Essays.

Self-Portrait in Black and White was widely covered in major media, including a New York Times adaptation, and has been translated into multiple languages. His forthcoming book, Nothing Was the Same, examines the 2020 racial reckoning and will be published by Knopf.

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254

"Feels effortless compared to reading. I’ve finished 6 books this month already."

@djmikemoore

"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."

@Pitiful

4.5K

"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."

@SofiaP

"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"

@Jaded_Falcon

201

"It is great for me to learn something from the book without reading it."

@OojasSalunke

"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."

@Leo, Law Student, UPenn

483

"Makes me feel smarter every time before going to work"

@Cashflowbubu

"Instead of endless scrolling, I just hit play on BeFreed. It saves me so much time."

@Moemenn

"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."

@Chloe, Solo founder, LA

117

"Perfect balance between learning and entertainment. Finished ‘Thinking, Fast and Slow’ on my commute this week."

@Raaaaaachelw

"Crazy how much I learned while walking the dog. BeFreed = small habits → big gains."

@Matt, YC alum

108

"Reading used to feel like a chore. Now it’s just part of my lifestyle."

@Erin, Investment Banking Associate , NYC

254

"Feels effortless compared to reading. I’ve finished 6 books this month already."

@djmikemoore

"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."

@Pitiful

4.5K

"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."

@SofiaP

"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"

@Jaded_Falcon

201

"It is great for me to learn something from the book without reading it."

@OojasSalunke

"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."

@Leo, Law Student, UPenn

483

"Makes me feel smarter every time before going to work"

@Cashflowbubu

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Chapter 10

Self-Portrait in Black and White

OverviewOverview of Self-Portrait in Black and White

One book. Many ways to hear it.

The Racial Paradox: Unraveling Identity in a Hyphenated World

Between Two Worlds: Growing Up Mixed in America

See every word as you hear it

Performing Blackness: The Search for Authenticity

Race Beyond America: The Fluidity of Identity

Get more out of Self-Portrait in Black and White

Love Across Boundaries: Marriage and Family

The Philosophical Disaster of Race

See every word as you hear it

Speaking Truth to Power: Confronting Racial Orthodoxy

Beyond Race: Toward a New Vocabulary

Get more out of Self-Portrait in Black and White

Reimagining Identity: A Future Beyond Racial Categories

A New Vision: Living Beyond Racial Boxes

You made it to the end of Self-Portrait in Black and White

Key Themes in Self-Portrait in Black and White

Quotes from Self-Portrait in Black and White

Characters in Self-Portrait in Black and White

About the Author

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BeFreed Brings Together A Global Community Of Curious Minds

BeFreed Brings Together A Global Community Of Curious Minds

One book. Many ways to hear it.

The Racial Paradox: Unraveling Identity in a Hyphenated World

Between Two Worlds: Growing Up Mixed in America

See every word as you hear it

Performing Blackness: The Search for Authenticity

Race Beyond America: The Fluidity of Identity

Get more out of Self-Portrait in Black and White

Love Across Boundaries: Marriage and Family

The Philosophical Disaster of Race

See every word as you hear it

Speaking Truth to Power: Confronting Racial Orthodoxy

Beyond Race: Toward a New Vocabulary

Get more out of Self-Portrait in Black and White

Reimagining Identity: A Future Beyond Racial Categories

A New Vision: Living Beyond Racial Boxes

You made it to the end of Self-Portrait in Black and White

Users also liked

Discover more

Overview of Self-Portrait in Black and White