Tools To Sabotage The Master’s Tools: From Classification to Kinship

America has never been so divided.

So goes an increasingly common saying in the era now known as “Post-2016.” Any Internet search reveals a cascade of articles that reinforce the notion.1 Yet I wonder how true this supposed truism really is. Moreover, true or not, perhaps the more important question is: How useful is this assumption as a political tool? Perhaps, rather than trying to locate the point of peak division, we can work to better understand the tools used to entrench and maintain the rifts that run between us—a genealogy of division, so to speak—and locate the tools that we might use to refill those trenches.

Genealogy—the tracing of familial lineage along bloodlines—is a multifunctional tool a bit like a Swiss Army Knife. With it, one can reinforce the classificatory walls and borders between people and the planet or one can break those same barriers down. This text is an exploration of the historical abuses and disruptive potential of genealogy as a tool—not a tool to dismantle the Master’s house, which Audre Lorde makes clear is an impossibility,2 but rather a tool to sabotage the Master’s tools so that we may reach beyond them for our own.

Taxonomic Genealogy, or, A Brief Genealogy of Division

Derived etymologically from the Greek word genealogia, genealogy is literally the “making of a pedigree;”3 in other words, it is a tool to record the “purity of breed of an individual or strain.” 4 Genealogy unifies through fragmentation; it fuses some humans together by focusing on their belonging as a family unit that is distinct and separate from everyone and everything else. This mode of doing genealogy, which is umbilically connected to Linnaean taxonomy, I’ll call taxonomic genealogy.

The “New World” provided the experimental grounds in which the newly patented category of “race” could go through a thorough and rigorous 400-year long trial period. Upon the newly cleared sacrificial slab they called a tabula rasa/vacuum domicilium/terra nullius, colonial powers severed the intricately intertwined cosmological relations among Earth’s peoples, places, and species. The Indigenous peoples of the New World and the enslaved Africans kidnapped to these lands were re-encoded with a symbolic order designed to reimagine, and thereby reinforce, European economic class structures.

The cultural and legal construct of race designed in the 17th century Virginia Colony enabled the fusion of the English working class and landed gentry into a new identity of “White” solidarity and the relegation of “Black” and “Red” people to new, permanent underclasses maintained and policed through taxonomic genealogy.5 Scientific “objectivity” was weaponized as a precision tool to fortify the already-codified atrocities of racial slavery and genocide.

The classification of biological life into distinct categories was initiated by Swedish botanist Carolus Linnaeus. In 1735, Linnaeus published the first edition of Systema Naturae, which introduced binomial nomenclature, a rank-based system of scientific classification that orders living things by genus and species. In the 10th edition, published in 1759, Linnaeus subdivided Homo sapiens one degree further, into four varieties. They were:

Americanus: reddish, choleric, and erect; hair—black, straight, thick; wide nostrils, scanty beard; obstinate, merry, free; paints himself with fine red lines; regulated by customs.

Asiaticus: sallow, melancholy, stiff; black hair, dark eyes; severe, haughty, avaricious; covered with loose garments; ruled by opinions.

Africanus: black, phlegmatic, relaxed; hair—black, frizzled; skin—silky; nose—flat; lips—tumid; women without shame, they lactate profusely; crafty, indolent, negligent; anoints himself with grease; governed by caprice.

Europeanus: white, sanguine, muscular; hair—long, flowing; eyes—blue; gentle, acute, inventive; covers himself with close vestments; governed by laws.6

This belief that one can sort existence into simple compartments according to clearly definable rules that are hinged on a conflation of external and internal being renders classification a blunt and childish tool. Such a device becomes deadly serious if taken too literally—which, of course, it was.

Linnaeus’ descriptions of the four human sub-groups “indiscriminately mixed physical features with supposed traits of character, disposition, and behavior, features we would see today as specifically external and cultural.”7 Sight does not beget knowledge. The “observer effect” in quantum theory reveals that phenomena change under observation. The flesh is a mirrored, rather than transparent, surface, reflecting the conditioned biases of the observer. Under a hostile gaze, my self ripples laughingly and slips away into my impenetrable depths. Such realms of the world are unchartable on Cartesian maps.

Today, the segregative principle espoused through Linnaeus’s taxonomic system remains the guiding cosmology of “Western civilization”; the blunt knife of classification shapes our outlook onto Earth’s diversity and humanity’s place within it. We easily conceive of the infinitely divisible (into species and races and classes and myriad microcosms of identities) but quickly lose sight of the infinitely unified (our common biosphere, common ancestors, common dreams, and the spark of life we all hold in common). But still, we can’t simply look with wide-eyed naivete away from America’s foundational faultlines to behold the “blue marble” holism of Gaia.8 We need tools that enable us to conceive of the entanglements of existence without flattening it into two-dimensional lines.

Unsettling Genealogies

And yet, despite the abuses of taxonomic genealogy, genealogy can also serve as a bridge: a radical tool that enables a shift from a classificatory approach to human relations to one grounded in a sense of Kinship. Genealogy becomes radical when it gets to the root (the etymological origin of the word radical), which is to say, when genealogy unsettles its own segregative and classificatory function, dissolving the boundaries of ethnicity and class.

Classification is divisive. It is used to fragment, cut, segregate.

Kinship is adhesive. It is used to fuse, sew, integrate.

Used as a detonative device, genealogy blasts black holes through classificatory walls, opening portals onto the rolling expanse of Kinship.

Radical Genealogy opens onto Kinship when it functions as:

a legal tool,
a political tool,
a reparative tool.

Legal

We can’t show white people everything. If you tell everybody, it is like selling your country. You have no law there behind. You can give a little bit, but not too much. Kartiya can take away the stories, the pirlurr (one’s spirit), the power for your country and leave you with nothing.9

So spoke Australian Aboriginal artist Tommy May, referring to the severing force of genealogy. Since 1992, when Australia’s highest court “overturned” terra nullius (legally, if not historically or geospatially) in Mabo v. Queensland (No. 2), Aboriginal communities must use genealogy as a tool to claim rights over their ancestral lands from the Australian state. To prove legal title, communities must submit evidence of the following:

– their culture, law, and traditional law; – where they come from and who they are; and – where they walked on the land.

In 1993, May’s community, along with three others from the Great Sandy Desert, united to make such a claim. Yet how, they asked themselves, could they possibly communicate their lineage with the land—their other-than-human kin—through the vulgar language of taxonomic genealogy? How much of themselves could be disclosed without segregating and sacrificing the dignity of their more-than-human communities?

They landed on a radical symbolic gesture: a collective painting. The painting was a non-Cartesian map performed as a visual dialogue about ancestral belonging, anchored by watering holes held in common between the four neighboring communities, with one member from each community tracing the land that they and their ancestors have walked, painted together, in tandem, on one canvas representing 83,886 square kilometers of Earth. It was a legal intervention to serve as evidence of collective land stewardship while shielding the sacred interiority of these relations from the scalpel of genealogy. In a decision that would seem to explode outward onto a parallel universe, this painting was accepted as proof of title: “The law says to all the people in Australia that this is your land and that it has always been your land.”10

We need tools that enable us to conceive of the entanglements of existence without flattening it into two-dimensional lines.

The Ngurrara Canvas.
Painted by Ngurrara artists and claimants, coordinated by Mangkaja Arts Resource Agency, May 1997.
10 metres x 8 metres. Photo: Mangkaja Arts Resource Agency

Political

I would have loved to have been part of an identity group. I wish I could have been able to say that I belong to ‘my community’: But there is no community to which I truly belong. Here is my proof:11

So begins Ariella Azoulay’s introduction to Potential History: Unlearning Imperialism. Here, Azoulay draws attention to the disruption of heritage by the construction of national identities. What Azoulay calls “potential history” is a glue that can repair that which has been severed by imperialist drives to conquer lands and peoples and collect and classify cultures. Potential history hinges on refusal of purist categories, such as Azoulay’s rejection of her politically-assigned national identity as an Israeli in favor of the forbidden complexity of her heritage as a Palestinian Jew. Potential history unsettles the imperial identity of nationhood and reforges bonds of shared community across racial and religious borders.

Reparative

For the past few years, my mother has been deeply engaged in genealogical research into our family’s ancestry. We are Black “Creoles” hailing from New Orleans, Louisiana; our ancestors are enslaved West Africans, slave-owning mulatto Haitians, Indigenous Atakapa, Cajun French exiles, colonial Spanish, and Irish (a people welcomed to the club of Whiteness rather late in the game). Heritage is a complicated gumbo of theft, oppression, resistance, and refusal; we embody the contradictions of taxonomic genealogy.

While my mother is phenotypically brown and politically, culturally, and legally Black (and was segregated as such while growing up in the Jim Crow South), she learned through a DNA test provided by Ancestry.com that her genes are 52% European. Much of my mother’s genealogical research is a cautious navigation of the social anxieties and racial protectionism of those newly discovered branches of the extended family whose lives have been defined by and fortified through their phenotypical and legal Whiteness. For many of those relations, she asks too many questions; her insurgent inquiries and additions to the official record destabilize fragile social structures and unsettle racial classification, revealing Linnaean purity as an absurdity and phenotype as flourish.

A Tool to Sabotage The Master’s Tools

Classification is a uni-dimensional system that corrals the entanglement of humanity into single congregation points. Taxonomic genealogy moves into two dimensions, charting lines of descent between these points. Radical genealogy twists away from itself, unsettling the very classificatory tools—and their precepts, codes, and goals—that seek to restrain it, reaching, as a collective painting, a forbidden heritage, an explosive revelation, toward Kinship.

Radical genealogy cannot dismantle the master’s house. But it can be used to sabotage the master’s tools—the classificatory walls that hold us back from Kinship. Kinship is the tool that can dismantle the master’s house.

Kinship is not, however, a tool innovated by humans and thus it cannot be wielded by us. Kinship, along with Magic, Shelter, and Food, are the Earth’s tools. It is therefore, by extension, also our tool, if we can only re-member.

Kinship is a tool to carry us below the skin and the surface, into nests of roots entangled in mycelial networks of relations where 99% of human genes are shared (and where half of human genes are shared with flies and fruit), where messages and nutrients, prosperity and protection, are transmitted between existents. Webs of kinship connect us with our more-than-human ancestors.

Kinship is the tool that will re-integrate the world.

Notes

Notes
1 See, e.g.: https://duckduckgo.com/?q=america+is+more+divided+than+ever&t=ffab&ia=web
2 Lorde, Audre. “The Master’s Tools Will Never Dismantle the Master’s House.” 1984. Sister Outsider: Essays and Speeches. Ed. Berkeley, CA: Crossing Press. 110-114. 2007. Print.
3 Wikipedia, “genealogy,” https://en.wikipedia.org/wiki/Genealogy#cite_note-2
4 Merriam-Webster, “pedigree,” https://www.merriam-webster.com/dictionary/pedigree
5 For more on this, see, e.g. “In Motherhood and the Invention of Race,” in which Steve Martinot outlines the genealogy of racial codification in the 17th century Virginia Colony. Last accessed: 31 Aug 2020. Available at: https://www.ocf.berkeley.edu/~marto/mother.htm.
6 Audrey Smedley and Brian Smedley, Race in North America: Origin and Evolution of a Worldview (Boulder, CO: Westview Press, 2018).
7 Smedley and Smedley, 218.
8 The “blue marble” is a metaphor for the Earth as seen from space, popularized by a photograph from the 1972 Apollo mission. This image inspired sweeping visions of a humanity uniting to protect and share in our precious and possibly singular planet, including James Lovelock’s “Gaia hypothesis,” which envisions Earth as an integral being. This vision has been widely critiqued for espousing a romanticism that invisiblizes the many socially-prescribed and -maintained borders and inequities that have driven ecological, as well as humanitarian, violence. See, e.g., Ursula Heise, “From the Blue Planet to Google Earth: Environmentalism, Ecocriticism, and the Imagination of the Global” in Sense of Place and Sense of Planet: The Environmental Imagination of the Global (Oxford: Oxford University Press, 2008), 17-67.
9 Artist Tommy May, quoted in: Adrian Lahoud, “Ngurrara II: The World as a Green Archipelago,” in Rights of Future Generations: Conditions (Sharjah: Sharjah Architecture Triennial, 2019), 19.
10 Lahoud, 21.
11 Ariella Aïsha Azoulay, Potential History: Unlearning Imperialism (New York: Verso, 2019).
Imani Jacqueline Brown is an artist, activist, and researcher from New Orleans, LA, US. Her work investigates the continuum of Extractivism, which spans from settler-colonial genocide and slavery to contemporary gentrification, fossil fuel production, and police and corporate impunity.

Garden Magic: The transformative power of birdsong silence

Editor’s Note: This essay was written during a summer of design thinking and iterating for Toolshed’s garden in Hudson, New York. That period of design and community response to it within Hudson will be covered in another essay.

What is the sound of silence?

At first, the phrase “sound of silence” seems like such a fanciful contradiction that it couldn’t be true beyond the poeticism of a Simon & Garfunkel ballad. Yet something changed—switched on, perhaps—in those of us caught in the mixed blessing/curse of lockdown during the first wave of 2020’s COVID-19 pandemic. Somehow, amid death and chaos and fear and uncertainty, unable to leave our homes for months on end save for a harried trip to the grocery store, one small and fortunate segment of humanity awakened to forgotten dimensions of the world, transformed as if by Magic.

Without the incessant droning, honking, and clanging of airplanes, commuter cars, and construction, other sounds rose to the fore of our consciousness. We realized that, just as space isn’t really the absence of substance,1 silence isn’t really the absence of sound. Silence can actually be quite loud, and absolutely full of birds.

Birdsong changed us. We heard the birds through our open windows, in our backyards and gardens, and from our balconies and stoops. Around the world, scientists mapped the dawn chorus. In London, lockdown birdsong inspired wartime epics filmed at home. In France, the call of the birds led voters to effect a Green Party surge. Alongside healthcare and other essential workers, birds emerged as the widely-sung heroes of lockdown. And, as lockdown regulations eased, many humans followed the birds, like so many multiracial Alices and Snow Whites, into wonderlands of public parks and gardens.

Alongside healthcare and other essential workers, birds emerged as the widely-sung heroes of lockdown.

Because we were restricted from nonessential travel, the local gained new prominence, and with it new majesty. Public parks and gardens, which so many of us had taken for granted or omitted from our overscheduled lives, unexpectedly became like second homes. Whether large or small, humble or extravagant, they provided entertainment, fitness and social space, and a more existential salvo to soothe our spiking anxiety. For many, they offered an unremembered freedom, in spite of our confinement. Some dug hands into soil to cultivate food or flowers; others stretched out on green earth and relaxed their gazes to the sky. We shared patches of sunlight and tree-leaf shadow with other-than-human critters and watched worlds open with the optimism of life’s unfolding. We realized that we need this sun, we need this bit of Earth. We always have. How, we started to ask ourselves, had we forgotten?

It wasn’t as though we hadn’t already been told that green space is therapeutic or that birdsong produces a “natural high.” It was just that other things—overtime work and hyper-production, late-capitalist over-development and frenzied consumption—had largely taken priority. Once we were denied these things, denied even the humble pleasure of human contact, we realized that our human-centric existence is deeply impoverished, regardless of its material luxury. So why are our cities not grand mosaics of parks and gardens? Why is all the world not a garden?

Originally from New Orleans, I moved to London two years ago for graduate school and was immediately enchanted by the city’s embrace of nature. London is a city with eight million trees, approximately one for each resident. Apparently, 47% of London is green space. In Deptford, the largely working-class, majority-immigrant neighborhood where I live, I was pleased to see folks of all ages and ethnicities enjoying local parks which, while nowhere near as lush as elite spaces like Hyde Park, are nevertheless abundant and accessible.

Why is all the world not a garden?

But I spent my late teens and early twenties in New York City, the “concrete jungle.” It was there, living in a majority-Black, working-class neighborhood in North Bed-Stuy, on a block without a single tree, without even the humblest community garden or pocket park, that I started to wonder what happens to a human being confined to a world of grey. Billionaire Mike Bloomberg, then mayor of New York, promised to plant one million trees across the city’s five boroughs. Residents could submit an application to the city, requesting a “free tree.” I applied in 2012 by answering such baffling questions as: “why do you want a tree?” Deprivation takes many forms; we should add access to more-than-human nature to the long list of basic human rights we need to fight for in the US.

Even when it exists, all green space is not created equal. The need for green isn’t simply to do with the color. The medicine of nature, the Magic of gardens, stems from biodiversity—from vitality, abundance, and interspecies interdependency. An over-tended park has little medicine left to give. An American lawn is a poisonous field. And for many of us, the Magic of public parks and gardens is tempered by the curse of anti-Black racism.

There is increasing awareness that economic disparity, racial violence, and ecological degradation are intersectional issues. They stem from the same value system that sees the world as raw material for the extraction of resources, labor, and profit. What Naomi Klein calls Extractivism2 drains Magic out of the world. According to the United Nations, we are living through an unprecedented global decline in biodiversity. The pressures of human development increase the frequency of animal-human viral transmission and thus the possibility of pandemics like COVID-19. To some humans, the birds of lockdown seemed to rejoice at the sudden halt in our frenetic movement; their heightened presence, along with the return of other wild species, was yet another indication that the world would be better off without humans.

Yet the birds have always rejoiced for life, whether we could hear them or not. Others, recognizing this, heard lockdown birdsong slightly differently, as a message: that we share our cities with nonhuman species and that when we do so generously, human life is not merely sustained, but enhanced and enchanted.

London garden the author has been visiting.
London garden the author has been visiting.

As I lay in a public English garden writing this article beneath a walnut tree and asked myself, why is all the world not a garden, I did so somewhat polemically, yet not unseriously. Western history continues to maintain the colonial-era myth of the “state of nature,” which says that, until the advent of colonialism a few centuries ago, all the world beyond Eurasia was undeveloped wilderness and all of its humanity were wandering hunter-gatherers who could barely scrape together enough to subsist. Gratefully for us all, this myth is gradually being revealed as a dangerous lie. Humans have terraformed and cultivated the Earth for tens of thousands of years—just not according to extractive logics of enclosure and exclusion.

In his book, The Biggest Estate on Earth, Bill Gammage uses primary documents from the era of Australia’s colonial conquest to reveal the brilliance of Aboriginal land management practices, which applied technologies of precision fire-management and knowledge of fire-dependent plants to turn the entire continent into a mosaic of gardens. Upon arrival, English colonizers repeatedly compared parts of Australia to “gentleman’s parks” —the exclusive domains of English noblemen, notable for their ornament, taste, and beauty—or to then-rare public green spaces like Hyde Park. And yet, despite their ostensible aesthetic similarities, Aboriginal gardens sprung from at least one fundamental point of departure from English gentleman’s parks: rather than abolish wilderness, they cultivated garden corridors through it. Aboriginal cultivation practices followed three ecological principles, rather than simply the sole pleasure principle: “Ensure that all life flourishes. Make plants and animals abundant, convenient, and predictable. Think universal, act local.”3 These ecological principles were themselves grounded in a notion of kinship beyond nuclear family and social class, and even beyond humanity.

a picturesque landscape with trees and distant mountains
Eugene von Guerard, Source of the Wannon, 1867.

The colonists could not imagine how nature could have generated such a “civilized” land, yet their racism and classism prevented them from arriving at the obvious anthropogenic explanation, which, Gammage notes, would position the Aborigines as equals of the English gentry. In dispossessing, marginalizing, and forcibly assimilating the creators of these lush grounds, the colonists had no way of maintaining them. Today, lands which for millenia provided their native people with not just sustainability, but abundance, have returned to wild bush; Australia is gravely impoverished by relentless wildfire and species extinction, even as its now-dominant settler-colonial society has accumulated “financial wealth.”

The story is repeated again and again in other corners of the world. In her book Braiding Sweetgrass, Anishinabekwe ecologist Robin Wall Kimmerer offers to her readers the “Original Instructions,” the guiding ecological philosophy of the Indigenous nations of the Great Lakes region of Turtle Island (aka “Midwestern North America”). In their origin story, Skywoman fell to Earth with a handful of seeds; in collaboration with many species of animals, she danced land into formation and sowed the seeds of a garden that spanned the Earth. And in Octavia Butler’s prophetic novel Parable of the Sower, Lauren Olamina, the young, Black protagonist, uncovers the ecophilosophy of Earthseed by studying Indigenous cultivation, working a garden plot, and making Kin amid the ashes of US American society. Earthseed lays the eco-cultural groundwork that eventually lifts a downcast humanity to new life among the stars.

Yet European cultures also have deep roots embedded in notions of ecological kinship.4 For those of us in the Northern Hemisphere, lockdown coincided with Spring, a season long associated with magic and witchcraft—which is simply to say: ritual kinship with the world in a state of emergence and transformation. What better time to reacquaint ourselves with our more-than-human Kin? Perhaps this kinship, which is sensible in the care exchanged in the collaboration between gardener and Earth, between a garden and its human and other-than-human admirers, is the key ingredient of Garden Magic.

Gardens are gifts of and lessons in the ancient wisdom of abundance. They teach us that true silence, utter stillness, would signify the death of all. They remind us that our participation in expanding the joy of existence is sheer Magic. If more of us listen to the birds and accept the garden’s lessons, if all of us transform our extractive societies, we could very well return the world to a mosaic of garden wonderlands.

Consider: Whether you’re a human being, an insect, a microbe, or a stone, this verse is true.
All that you touch
You Change.

All that you Change
Changes you.

The only lasting truth
Is Change.

God
Is Change.

Octavia E. Butler, Parable of the Sower

Notes

Notes
1 Recognizing the existence of dark energy and dark matter has made us realize that space is not empty but is in fact full of stuff we can neither see nor understand.
2 See Glossary. See also Naomi Klein, This Changes Everything: Capitalism and the Climate, Simon & Schuster, 2014.
3 Bill Gammage, The Greatest Estate on Earth, Allen & Unwin, 2011: 4.
4 See, e.g., Barbara Ehrenreich, Dancing in the Streets: The History of Collective Joy, Holt Paperbacks, 2007.
Imani Jacqueline Brown is an artist, activist, and researcher from New Orleans, LA, US. Her work investigates the continuum of Extractivism, which spans from settler-colonial genocide and slavery to contemporary gentrification, fossil fuel production, and police and corporate impunity.