The following text is excerpted from Renegade Dreams: Living Through Injury in Gangland Chicago (University of Chicago Press, 2014). Written by Laurence Ralph while a Member (2012–13) in the School of Social Science, the book combines African American studies, the scholarship on disability, and the field of critical medical anthropology to show how injury plays a central, though underexamined, role in the daily lives of poor urban blacks. Ralph is Assistant Professor in the departments of African and African American Studies and Anthropology at Harvard University.
Anyone hoping to find quick references to Chicago’s notorious gangs and infamous neighborhoods in this ethnography will be disappointed—as will anyone skimming the pages to find glossy snapshots of gang members. What is real about this ethnography—what hasn’t been altered or rendered anonymous—are the events that I describe and the voices of my collaborators. Their voices bring to life the activities that take place on Chicago’s street corners. Their voices bring dimension to people’s identities and life struggles. Their voices paint a portrait of the variegated desires that stem from imagining life anew.
It’s fitting in this regard that the painting that begins this book—Kehinde Wiley’s work The Chancellor Seguier on Horseback (2005)—accurately captures the spirit of what it means to have a renegade dream. Wiley, a critically acclaimed portrait painter, is renowned for his heroic portraits that capture the status of young urban blacks in contemporary culture through reference to Old Master paintings. Adapted from a seventeenth-century Charles Le Brun painting Chancellor Séguier at the Entry of Louis XIV into Paris in 1660, Wiley’s rendition blurs the boundaries between traditional and contemporary modes of representation by restaging the figures, and thus creating a fusion of period styles. Dressed in modern army fatigues and sweatpants, bandannas and baseball caps, T-shirts with airbrushed rappers and Air Force One sneakers, the figures in Wiley’s composition are beautifully anachronistic. Yet the genius in Wiley’s work is that it leads us to question: Why can’t urban African Americans assume the delicate harmony and militant posture reminiscent of a Renaissance master? This book seeks to similarly restage urban blacks within societal institutions and fields of power from which they are often presumed to be excluded. Despite the statistical odds against their dreams coming to fruition in such a context, I foreground the resilience it takes for black Chicagoans to keep dreaming anyway.READ MORE>