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Summary

Summary

This intensely personal and engaging memoir is the coming-of-age story of a white boy growing up in a neighborhood of predominantly African American and Latino housing projects on New York's Lower East Side. Vividly evoking the details of city life from a child's point of view--the streets, buses, and playgrounds--Honky poignantly illuminates the usual vulnerabilities of childhood complicated by unusual circumstances. As he narrates these sharply etched and often funny memories, Conley shows how race and class shaped his life and the lives of his schoolmates and neighbors. A brilliant case study for illuminating the larger issues of inequality in American society, Honky brings us to a deeper understanding of the privilege of whiteness, the social construction of race, the power of education, and the challenges of inner-city life.

Conley's father, a struggling artist, and his mother, an aspiring writer, joined Manhattan's bohemian subculture in the late 1960s, living on food stamps and raising their family in a housing project. We come to know his mother: her quirky tastes, her robust style, and the bargains she strikes with Dalton--not to ride on the backs of buses, and to always carry money in his shoe as protection against muggers. We also get to know his father, his face buried in racing forms, and his sister, who in grade school has a burning desire for cornrows. From the hilarious story of three-year-old Dalton kidnapping a black infant so he could have a baby sister to the deeply disturbing shooting of a close childhood friend, this memoir touches us with movingly rendered portraits of people and the unfolding of their lives.

Conley's story provides a sophisticated example of the crucial role culture plays in defining race and class. Both of Conley's parents retained the "cultural capital" of the white middle class, and they passed this on to their son in the form of tastes, educational expectations, and a general sense of privilege. It is these advantages that ultimately provide Conley with his ticket to higher education and beyond. A tremendously good read, Honky addresses issues both timely and timeless that pertain to us all.


Author Notes

Dalton Conley is Director of the Center for Advanced Social Science Research and Professor of Sociology and Public Policy at NYU; he is also Research Associate at the National Bureau of Economic Research and Adjunct Professor of Community Medicine at Mt. Sinai School of Medicine. He is author of Being Black, Living in the Red: Race, Wealth, and Social Policy in America (California, 1999).


Reviews 4

Publisher's Weekly Review

"I've studied whiteness the way I would a foreign language," declares Conley at the outset of his affecting, challenging memoir, laced with the retrospective wisdom of the sociologist (at New York University) he has become. As the child of bohemian, white parents, he grew up in an otherwise black and Hispanic housing project on New York's Lower East Side. At elementary school in the 1970s, he found himself placed in the "Chinese class," after his stint in the black classÄwhere he was the only student not to receive corporal punishmentÄleft him uncomfortable. Despite the family's lack of funds, they had cultural capital in the form of social connections, and were able to transfer young Dalton to a better school, where he began to feel some snobbery toward kids in his own neighborhood. Yet the friend who accepted Dalton most was a black youth from the neighborhood, Jerome, who was tragically disabled in a random act of violence that helped spur Conley's parents to leave the Lower East Side for subsidized housing for artists. Part of the memoir concerns the universality of povertyÄbut a thoughtful examination of the privileges of race and class also emerges. Despite the book's title, the author cites only one major episode in which he was threatened and called "honky." Conley acknowledges that he doesn't know how to account for such successes as gaining admission into the selective Bronx High School of Science: race? parental protectiveness? his own aspirations? It is "the privilege of the middle and upper classes," he observes, to construct narratives of their own success "rather than having the media and society do it for us." (Oct.) (c) Copyright PWxyz, LLC. All rights reserved


Choice Review

Conley's memoir presents a unique view into the childhood of a white male raised in public housing on the lower East Side of Manhattan in the 1970s. His discourse addresses both the material conditions of poverty and his growing understanding of the complexities of race and class. The tale begins with an outline of his lineage and family history and recounts his earliest memory, at the age of three, of "kidnaping" a black infant so that he could have a longed-for baby sister. His descriptions of life in public housing are compelling and exciting, and his retrospective look at his own childhood is at times sociologically analytical. This work is not a study, however, and should be read as a narrative of personal experiences. Conley offers a convincing example of how white cultural capital simultaneously enables and constrains him--in his friendships, in his schooling, and in his developing perspective on race and class. This book offers a close look at the inner workings of white privilege from a novel position, that of white welfare recipients immersed in a world of color and language differences. All general and undergraduate collections. D. Van Ausdale; Syracuse University


Booklist Review

Conley, a sociology professor, brings to his analysis of race a unique experience in the social and racial maze of New York City. Conley grew up in a Manhattan housing project that was predominantly black and Hispanic. Yet his minority white status offered a perspective and insight into the analysis of American race and class conflict. Conley found himself placed with Asian students on a higher academic track in elementary school, later migrated downtown to the Village with rich white students in junior high school, and was finally placed in one of the more selective public high schools. Throughout his personal journey, he learns that class and race are interwoven in a complex social fabric making it somewhat difficult to determine which is the dominant factor. While Conley appears to maintain close personal friendships with minorities, his whiteness still provides him with opportunities not available to his black and Hispanic neighbors. Conley's perspective on his youth is likely reconstructive and colored by preferences. Yet his book offers a clarity and simplicity that is insightful and raises concerns of a more universal significance. --Vernon Ford


Library Journal Review

Conley (sociology, New York Univ.; Being Black, Living in the Red: Race, Wealth, and Social Policy in America) has written a compelling memoir of growing up as a white child in the 1960s in a Manhattan housing project inhabited by African Americans and Latinos. His mother, a writer, and father, an artist, could not afford a middle-class home and refused to borrow from their relatively affluent families. Consequently, Conley's childhood "was like a social science experiment," focusing on the intersections of race and class in late 20th-century America, while his youth provided indelible lessons in the "invisible contours of inequality." The story of the author's best friend, an African American, who was paralyzed in a random shooting, is especially moving. Beautifully written and filled with telling anecdotes, this book is highly recommended.DAnthony O. Edmonds, Ball State Univ., Muncie, IN (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Excerpts

Excerpts

As my mother tells it, the week before I kidnapped the black baby I broke free from her in the supermarket, ran to the back of the last aisle, and grabbed the manager's microphone. "I want a baby sister," I announced, my almost-three-year-old voice reverberating off ceiling-high stacks of canned Goya beans. "I want a baby sister," I repeated, evidently intrigued by the fact that my own voice seemed to be coming from everywhere. Soon my mother's shopping cart was rattling across the floor of the refrigerated back row where all the meats were kept. I can envision the two long braids on either side of her head flapping maniacally, as if they were wings trying to lift her and the cart off the ground. She was, in fact, pregnant. She had explained to me what this meant a week earlier, and I had become fixated on it, asking each day how much longer it would be. My parents tolerated this first of my many obsessions, happy that at least I was not resentful and jealous, though they wondered why I so much wanted the baby to be a girl and not another something like myself. "How old will I be when the baby's born?" I asked one day. The next morning I continued my questioning: "When I'm five, how old will the baby be?" Soon after that I started to worry about its sex: "When will we know it's a sister and not a brother?" Skin color never entered my line of questioning. My parents did their best to engage my curiosity, each in their own way. While my father, Steve, used colored pens to handicap the Racing Form, he gave me some markers and told me to draw a picture of the baby. I rushed through this endeavor using only the black marker and produced something that looked like his sweat-smeared copy of the Form after a long day at the racetrack. Steve, a painter, had just gotten into a black-and-white phase himself and was touched by my colorless effort; he pinned it up on the wall above the dining room table, where it hung for years. In contrast to my father, with his visual orientation, my mother, a writer, took a verbal approach. She instructed me to think of an adjective for each letter of the alphabet to describe how I would like my younger sibling to be. We only got through "a-door-bell," my word for adorable, and then to brown before I got exasperated and insisted that she tell me what the baby would be like--as if she knew and was holding out on me. Finally, I could stand the wait no longer. About a week after the supermarket incident, I swiped a baby myself. While playing in our housing project's courtyard, I found an unattended stroller. In it was a toddler just a few months younger than me, with cornrows braided so tightly on her little head that they pulled the skin on her face tautly upward. I remember that she was smiling up at me, and I must have taken this as permission. I reached up to grab the handles of the carriage, pushed it across the shards of broken green and brown malt liquor bottles that littered the concrete, and proudly delivered it to my mother, who was sitting on a bench with a neighbor. "I found my baby sister," I declared, jamming the stroller into her shin for emphasis. "No you haven't," my mother replied, putting her hand over her open mouth. She turned to her neighbor on the splintered green bench. "Do you know where her mother is?" The child's parents--leaders of the neighborhood black separatist organization--lived in our building, on our very floor. By now the baby was crying, and I was jumping up and down with excitement, laughing with delight at my success. But my laughter soon dissolved into tears, for my mother immediately seized the plastic handles of the stroller and returned it from where it came. She made a beeline across the concrete, over the black rubber tiles of the kiddie area and under the jungle gym, all the way to the other side of the playground, where a woman was pacing frantically back and forth, her Muslim head scarf flowing out behind her like a proud national flag. When my mother finally reached the woman she apologized repeatedly, explaining that she could certainly empathize with the experience, since I escaped from her sight several times a week. The woman said nothing, her silent glare through narrowed eyes a powerful statement in itself, while the baby and I went on screaming and crying a cacophonous chorus. After the kidnapping, the separatist mother did not speak to us for a month, as if we had confirmed her worst suspicions about white people. Then, just as the springtime buds were starting to blossom, she talked to my mother in the elevator. "April is the cruelest month," she said, as if T. S. Eliot were code for something. Whenever my mother would tell this part of the story, her voice would soften and trail off. Only later did I figure out that she remembered it so vividly out of a sense of liberal, racial guilt--guilt over her surprise at hearing a black separatist recite English poetry. "Yes, it is" my mother responded, wracking her brain as she tried to remember which poet had said that. She thought maybe it was Ezra Pound, the Nazi sympathizer, and that the woman was making a veiled expression of anti-Semitism. Then she quoted the poem back to the woman: "Winter kept us warm, covering Earth in forgetful snow . . ." The woman didn't say anything else, continuing to stare at the numbers as they descended from twenty-one; she got off the elevator at the ground floor and smiled at my mother. At this point in the telling, my mother's voice would rise with the satisfaction that she and the woman had shared a moment, a literary bond. But later that night, well after midnight, the woman, her husband, and my ersatz baby sister were dragging, wheeling, and pushing all of their belongings across the hallway to the elevator in a caravan of suitcases, each one overstuffed and bulging, as pregnant with mystery as my mother was with my imminent sibling. The woman was screaming at her husband to hurry up, so loudly that she woke up several families. Parents poked their heads out of steel doorways, blinking as they peered into the fluorescent hallway. Finally my mother asked the woman to keep it down, since we were trying to sleep. I imagine that she asked sheepishly, cowed by her chronic white guilt. "Noise?" the woman yelled back as she pushed a shopping cart full of overstuffed manila folders down the corridor. Her eyes were as wide with adrenaline as they had been narrowed with seething rage the month before. "The noise is your kid's Big Wheel going up and down, up and down the hallway all day. Don't tell me about noise." Despite her reaction, the din soon ebbed, and all that was left of the separatists was a quite literal paper trail that led back to their apartment, whose glossy, brown-painted door stood ajar. I don't need my mother's storytelling to recall the open door. An open door in that neighborhood was something strange and unusual. It usually meant something was seriously amiss--that a woman was fleeing an abusive husband, that a robbery or even a murder had taken place. For me, the open door came to have the same association with death that a hat on a bed does for many people. Insomniac that she was, my mother stayed up and waited eagerly for the sound of the newspaper dropping outside our door. She savored her morning ritual, in which she brewed dark-roast Bustello-brand Puerto Rican coffee to accompany the Daily News. That morning my mother read in the paper that the separatist group had taken credit for a bomb planted at the Statue of Liberty the day before. The bomb had been defused, but it still caused a panic among the tourists. Just as she was reading that the FBI was searching for the members of the sepa-ratist group, the racket in the hallway started up again. She peeked out, and there, as if arriving on cue, were the investigators from the FBI, identified by the large yellow letters on the backs of their nylon jackets. Within an hour they, too, had cleared out, padlocking the family's door and pasting layer upon layer of tape over it, yellow strips with black writing that formed negatives of the jackets they had worn. The tape read CRIME SCENE, DO NOT ENTER--as if we had a choice. I was fascinated with this tape and peeled it off strip by strip when I played in the hallway. My mother saved some for my room, guessing correctly that I would like it after a few years, when I understood what it meant. A couple of months later the padlock and tape came down, and a few weeks after that a Chinese family moved in. We never saw the FBI again, and the FBI never saw the separatists. In retrospect, my baby-seizing mistake was understandable. The idea that a brown-skinned baby couldn't come from two ashen parents wouldn't have entered the mind of a two-and-a-half-year-old. After all, a young child has not yet learned the determinants of skin color, much less the fact that in America families are for the most part organized by skin color. Moreover, in the projects people seemed to come in all colors, shapes, and sizes, and I was not yet aware which were the important ones that divided up the world. At that age, the fact that my parents were much bigger than me was of much greater consequence than the fact that most of the other kids my size had darker skin. I even felt culturally more similar to my darker-hued peers than to the previous generations of my own family. For one, I didn't talk like my parents, who had migrated to New York from Pennsylvania and Connecticut. I spoke like the other kids in the neighborhood. On the playground everyone pretty much spoke the same language with the same unique accent, no matter where our parents came from. While adults might speak only Spanish, or talk with a heavy drawl if they came from down South, our way of talking was like a layered cake; it had many distinctly rich flavors, but in our mouths they all got mixed up together. When we "snapped" on each other, little did we know we were using the same ironic lilt and intonation once employed in the Jewish shtetls of Central Europe. This Yiddish-like English had mixed with influences from southern Italians, Irish, and other immigrant groups to form the basic New Yorkese of the mid-twentieth century. We spoke with open vowels and dropped our rs: quarter was quartah, and water was watah. To this European stew we added the Southern tendency to cut off the endings of some words --runnin', skippin', jumpin'--a habit that came northward with many blacks during the Great Migration. We also turned our ts into ds, as in "Lemme get fiddy cents." The latest and most powerful influence was Puerto Rican. Within the Spanish-speaking world, Puerto Ricans were notorious for their lazy rs, just as New Yorkers were, so the fit was perfect. Whenever someone said mira, the Spanish term for look, it came out media. Excerpted from Honky by Dalton Conley All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Table of Contents

Prologuep. xiii
1 Black Babiesp. 3
2 Trajectoriesp. 11
3 Downward Mobilityp. 21
4 Race Lessonsp. 37
5 Fearp. 53
6 Learning Classp. 65
7 The Hawkp. 75
8 Getting Paidp. 91
9 Sesame Streetp. 103
10 Welcome to Americap. 111
11 No Soap Radiop. 121
12 Moving On Upp. 129
13 Disco Sucksp. 137
14 Addictionsp. 149
15 Symmetryp. 161
16 Firep. 173
17 Cultural Capitalp. 183
Epiloguep. 197
Author's Notep. 205

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