transracial adoption

Born a member of the Confederated Salish Kootenai Tribes on the Flathead Indian Reservation in Montana, Vicki Charmain Rowan was adopted at two by a white couple who renamed her Susan. Already, at two, it was as if she were a child divided. Harness has spent most of her life straddling two worlds, never having a secure footing in either, learning early that “It hurts to be an Indian” in the world in which she lives. Her extraordinary memoir, Bitterroot: A Salish Memoir of Transracial Adoption, is evidence that one can pluck a living thing from the soil in which it grew and plant it elsewhere, and though it may survive, surviving isn’t the same as thriving. Her account is a reckoning of a bitter isolation and a harsh record of a tenacious search for a sense of belonging. It’s a story streaked with a particular kind of loneliness, the kind that takes hold not in solitude but among people in whom the author can’t see herself reflected. Raised by a mentally ill mother and an alcoholic father, Harness sees herself as different from those around her, and she’s acutely aware that she’s perceived by them to be different, not only by the townspeople, but even by her father, whose lexicon is laced with ethnic slurs and who speaks derisively about Indians, describing them as gold diggers, deadbeats, “goddam-crazy-drunken-war-whoops.” She’s aware she’s not the cute little blond-haired blue-eyed girl her father says he always wanted. And at the same time that she feels hatred toward him, she’s aware of a self-loathing coiling inside herself. She encounters few people who looked like her growing up, and she’s reminded at every turn that she doesn’t fit in. She lives in a kind of a gap between cultures where a question took root early: what did it mean to be Indian if she wasn’t raised in an Indian family? “The Indians don’t want me; the whites don’t accept me. They push me into each other’s court, always away from them. I am isolated; I am in-between,” she writes.

matthew charles is a poet, podcast host, and educator. We talk to him about the experience of being a transracial adoptee (TRA), his emergence as a poet and activist, and the importance of self-expression. In your bio, you use the phrase “racially marooned.” Can you talk about what that choice of words means to you and how it describes the experience of being a transracial adoptee? The popular term I’ve heard other transracial adoptees use is “racially isolated” but I coined “racially marooned” because I feel it more viscerally evokes a sense of void in regard to lack of racial mirrors. I have a poem I wrote called “Closed Transracial Adoption is | God’s Gift” where I write, “i’m the first landmass that drifted from Pangea / you don’t understand how alone i feel.” You’ve written that as a child you experienced life as if a veil covered your eyes. What did you mean by that and what happened to cause the veil to drop? As a transracial adoptee whose body was raised racially marooned, I was acculturated into whiteness, made to believe that there were my kin, and my allegiances. Yet I was also rejected daily by whiteness through micro and macro aggressions. Realizing that even though my body was literally purchased by whiteness I had no purchase in whiteness was an apocalypse, of sorts. It freed me to practice Sankofa—a Ghanaian symbol that means, “to retrieve.” I had to retrieve the Black essence of who I am in order to reorient myself in the world—not as a(n adopted) child of whiteness but as a doubly displaced African. Hip-Hop was formative for you as an adolescent and you were a performer. What happened that caused you to shift to poetry? I’d always practiced writing Haikus to sharpen my ability to say a lot with not many words, so in some senses I was already interdisciplinary. However, at 17 when I was recording music in Saint Louis I lost my voice. I’d end up not able to speak for three years. This vocal disability still affects me to this day. It was in that purgatory that I more consciously altered my craft to poetry because I was afraid I’d never be able to perform or tour again. When you began to express yourself—first in Hip-Hop and later in poetry—did you immediately take transracial adoption as your subject, or did that happen later? No, I didn’t use rap to talk about myself. I used rap to project a false image. One of the reasons I shifted to poetry was because how I engaged with the genre of Rap felt constricting. I’d felt like I couldn’t be vulnerable. Themes of adoption began appearing in my work as early as 2018 but I didn’t set out to create a body of work with adoption as the central theme until my newest and as of yet unpublished book of poetry, meet me in the clearing. Did you ever study formally or was Hip-Hop all the education you needed? I taught myself all of the forms of Creativity that I practice—poetry, rap, essay, memoir. Is poetry as much a means of survival as an artistic expression? I wouldn’t be alive today if I didn’t have my art practice. As i write in “To Pimp An Adopted Butterfly,” art is one of my most enduring and longstanding relationships, and it has helped me know myself, and in the process of knowing myself it has saved my life countless times. Similarly, are poetry and activism synonymous for you? Do you see your artistry as a form of activism? While I don’t see them as synonymous, my artistry often is laced with activist intent. But the first goal in my creative process is to create something meaningful to me. In art and in activism, who are your influences? Who are the most important voices among transracial adoptees—poets or otherwise? Who do you listen to? Who do you admire? When it comes to art I like Lucille Clifton, Hafiz, Jay Electronica, and Joy Oladukun. But I’m not sure who the most important voices are for TRAs. Voices I’ve been most impacted by are Dr. Daniel ElAwar, Rebecca Carroll, and Hannah Jackson Matthews.

Rebecca Carroll, author, cultural critical, and podcast host, was adopted at birth by a white couple and raised in a predominantly white community in rural New Hampshire, where, as the only black resident, she’d see no one who looked like her until she was six years old. Her father was a high-school art teacher and her biological mother, Tess, had been one of his students. When Tess became pregnant by her older boyfriend who lived in Boston, the teacher and his wife adopted her daughter. Growing up in this white family in this white community, she had no touchstone for what it meant to be black, no mirror of her own blackness to reflect and illuminate who she was. And worse, no one cared. Her only point of reference as a child was Easy Reader from The Electric Company, whom she fantasized was her father. When she first encountered a black person in real life—her ballet teacher—she wondered, “Did she know Easy Reader from The Electric Company? Did she go home at night to live inside the TV with him and the words and letters he carried around with him in the pockets of his jacket?” As she grew older, Carroll was aware of being seen by this teacher in a way her parents did not, yet she was also aware of the differences. “I felt small pangs of fragile awareness regarding who I might be, what my skin color might mean. There were days when I wanted to be, or believed I was, black just like Mrs. Rowland, but it also seemed as though I would have to give something up in order for that to remain true.” She was increasingly aware that unlike her teacher, she moved through the world with the “benefits afforded by white stewardship.” As a transracial adoptee, Carroll had to hurdle barrier after barrier merely to become authentically who she was always meant to be. And considering that the most formidable obstacle to her ability to truly recognize and finally claim her identity as a black woman was her family—both her adoptive parents and her white birthmother—it was an extraordinarily lonely struggle carried out by a force of one. How, isolated in an overwhelmingly white world, could she know what it meant to be black? While Carroll’s adoptive parents were largely oblivious to her need to understand, absorb, and assert her racial identity, her birthmother, Tess, aggressively denied her daughter’s racial and cultural heritage. When they began a relationship, 11-year-old Carroll was curious about and soon enamored of her mother, but learned there was a cost to the relationship. She carried that burden for a long time, making excuses and ignoring her intuition as her birthmother did everything possible to torpedo her growing attempt to construct an understanding of herself as a black woman—gaslighting her, subjecting her to blatantly racist comments, and effectively dispossessing her of the right to her own blackness. She straddled two worlds, ill-fitting in one and made to feel like an imposter in the other.

As a transracial adoptee raised by a white family in a small racist town in Oregon, I’ve always known that being Black meant being different. My Black body was both a cocoon and a womb, working overtime to birth and metamorphosize my self. I used to long for my father. The one whose seed impregnated the woman I was told I looked like—the woman whose picture I’d never seen. Looking like a ghost can be a kind of curse. As a child, I fantasized that my Black body was a descendant of African royalty. That one day, a man with skin like the soil would knock on the door of my adopters’ home and tell them he’d come for me. He’d tell them flowers grow best in the soil and most eagerly when they are watered. He’d tell my adopters that he was my soil and he wanted to be my water, too. Being a Black boy without a Black father is a common experience, but it hits different when the Black child is a transracial adoptee and lives in a town with almost no other Black people. Adoption scholars call this phenomenon “a lack of racial mirrors.” How was I to imagine who I was? Who I could be? Who I might desire to be—without a robust intimacy with Black people? My three most enduring and long-standing relationships with Black people are myself, my twin (with whom I was adopted), and Hip-Hop. I discovered Hip-Hop at 12. Before that, I’d heard friends rave about Eminem, but I was so disconnected that when Eminem was at the height of his career between ’05 and ‘10 and I heard people talking about him, I thought they meant the M&M’s from the candy commercials were putting out albums. I couldn’t fathom why anybody would be interested in music made by animated candy. I mean, really! Eventually I’d discover that Eminem was, in fact, a real human. I never connected with his music but it inspired me to probe Hip-Hop. As a West Coast kid, that meant I discovered folks like Snoop Dogg, NWA, and Tupac. Coming into contact with their music was the first time I was experiencing Blackness or Black cultural productions. Even though I couldn’t relate to their stories of gangbanging, drug dealing, partying, and hood life, the kinds of pressure the music placed on me was immediate and life altering. These gangsta rappers became my stand-ins for the Black father I longed for.

The return flight was most memorable. A six-month-old boy slept in my lap for 18 hours, never crying once. He was not my baby and legally no longer belonged to the woman who gave birth to him. On many papers signed by governments and agencies on opposite sides of the world, he belonged to a family in the United States. I was 19, and my thoughts and memories reeled back and forth through time. I reflected upon the experiences and challenges I had encountered as an Asian adoptee in America, and I wondered about the known and unknown possibilities his future would hold. As I thought about his journey to the other side of the world, I silently cried. Did anyone notice? No one said a word. My tears fell on and off through the course of the long night. We were flying together in limbo, he and I leaving one home on the way to another, though I felt neither place was truly ours to claim. Was this only my story? Would it be his too? In the summer of 1987, after I completed my first year of college, my adoptive parents generously sent me on the Holt Motherland tour. Holt international was an Evangelical Christian adoption agency founded by Harry Holt and his wife Bertha in 1953. Harry Holt is credited with creating the logistic and legal pathway for the intercountry adoption of Korean children to families in the United States. The Motherland tour was an effort by the Holt organization to create an opportunity for adult Korean adoptees to learn about their Korean heritage and visit their “homeland.” I did not ask to go on the tour, but when it was offered, I readily accepted. Growing up in the 1970s and 80s, I did not have much access to Korean culture. My parents were not the kind who celebrated or shared the beauty and culture of the country I and my two adopted siblings had come from. I recall meeting Bertha Holt on two occasions for large gatherings when I was very young. The evangelical church community my adoptive parents belonged to recruited new members throughout the Long Island, New York suburbs. Their church members adopted roughly 100 Korean children. I have a picture in my mind of us all posed in a hall with Bertha wearing a hanbok. Somewhere on Long Island, in a box of my now-deceased parents’ photos, it may be hidden. Unlike most Korean adoptees dispersed into the white American population, I was raised among many other Korean adoptees and their families. When my parents’ church devolved into a conservative, Sephardic, Kabbalistic, messianic cult, I was in first grade. I was told we do not pray to Jesus anymore. I and two of my brothers were put in its private religious school until sixth grade, where half of the children in my class were Korean adoptees. Yet we never talked about being adopted. My best friend was a Korean adoptee, as was her sister. I and my adopted siblings talked quietly, privately, about many things, but never about our lives before adoption or our families on the other side of the world. We, according to my adoptive mother, were God’s will in her life, her mission. Thus, I was named Amy Doreen—beloved gift of “God.” Amy is a common name among Korean adoptees. When I was a child, I imagined it made me special. As a teenager, I held on to the name of “love,” hoping if I embodied it, it would come to me. As I grew up, I came to find the name silly and ill-fitting. Amys were pretty, sweet, and bubbly, cherished—they were something that was not me. Inside, and occasionally outside, I was mean, cutting with words, hungry, lonely, awkward, uncomfortable in my skin, angry, and always afraid. I cursed myself, as I was cursed at, and felt cursed. Being “God’s gift” was always a chain.