Bettina Judd

Bettina Judd is an African-American interdisciplinary writer, scholar, artist, and performer.

Early life and education

Judd was born in Baltimore and raised in Southern California.[1] She received her bachelor's degree in Comparative Women’s Studies and English from Spelman College in 2005, her master's degree in Women's Studies from University of Maryland in 2007, and her PhD in Women's Studies in 2014, also from the University of Maryland.[2] Her dissertation, Feelin Feminism: Black Women's Art as Feminist Thought , is an analysis of how various oppressions that affect black women are felt, and makes the assertion that Black Women's creative process and output is a site of feminist and womanist thought.[3] She has named her early poetic influences as: her grandmother (a poet and a mathematician for the Department of Defense), her mother, and Maya Angelou.[4] She has listed her favorite feminist poets as Khadijah Queen, Ashaki Jackson, Anastacia Tolbert, and Natasha Marin.[5]

Artistic and Scholarly Career

As a poet, Judd has been a Cave Canem fellow in 2007, 2008, and 2011.[6] Her poems and other writings have been published in literary magazines, journals and anthologies including but not limited to as Torch, Meridians[7], and Mythium, the latter which nominated her contribution for a Pushcart Prize.[1][4][5] Judd has received fellowships from the Five Colleges, The Vermont Studio Center, and The University of Maryland.[1][4][5] As a singer, she has performed for audiences around the United States and the World.[1][4][5] She is currently a Visiting Assistant Professor of Gender, Sexuality and Women's Studies at the College of William and Mary.[1][5]

In 2013, Judd's manuscript for Patient., her first book of poems, won the 2013 Black Lawrence Press Hudson Prize.[8] Patient. was published by Black Lawrence Press in 2014. Broadly, the collection is a poetic analysis of scientific racism and the evidence 19th century medical experimentation on black women that built the modern day practice of gynecology.[4][5] Throughout the text Judd draws on her own experience with the medical industry, and the ways that she has personally experienced the dehumanization that she speaks of throughout her writing. Furthermore, she also uses her writing to draw attention to the stories of black women whose lives have been stolen through this scientific racism, such as Henrietta Lacks.

The collection alternates between the point of view and voice of a modern-day speaker, a black female researcher who finds herself confronting racist and sexist microaggressions in the face of a gynecological emergency, and the "ghost" voices of Anarcha Wescott, Joice Heth, Lucy Zimmerman, and Betsey Harris, the real life black female subjects of experimentation by J. Marion Sims, typically regarded as the father of modern-day gynecology.[4][5][9] The collection also inhabits the voices of other historical black women who were subjected to experimentation and exploitation such as Saartjie Baartman and Henrietta Lacks.[10] The collection was partially inspired by Judd's own experiences at a teaching hospital.[9]

Judd has said of the themes and speakers of Patient.: "I do want to humanize these women. I wanted to tell their stories, or at the very least, allow for an audience to hear that they exist so that the next question could be: 'Well, what is their story?'....Who gets to survive and tell the stories of Black women?....A few of the women I write about are enslaved. They were meant to disappear behind the legacies of the white men who owned them. That fact, the very fact of erasure is something to be examined. So I write in “their” voices, but they sound very much like the sympathetic present day Black woman researcher who is researching them. This sympathetic researcher is understanding her story through their story. That is a tragedy, but it is a way to them, and it is a way toward her healing."[4]

On February 16, 2016, Judd, along with historian Vanessa Gamble, were guests on an edition of NPR's Hidden Brain Podcast titled "Remembering Anarcha, Lucy, and Betsey: The Mothers of Modern Gynecology"[11] where she read poems from Patient. and discussed its subject matter.

gollark: yes.
gollark: It would just be some ridiculous arbitrary identifier representing a bunch of something or other.
gollark: If they're NOT connected at all, why even HAVE gender?
gollark: What do you mean too much?
gollark: But seriously, if we just use SCP-[REDACTED] to erase everyone's knowledge of gender, we could fix\* so many\*\* problems!

References
  1. "About". Bettina Judd | Author of Patient. Retrieved 2016-03-05.
  2. "Bettina Judd — Department of Women's Studies at Univ. of Maryland". wmst.umd.edu. Retrieved 2016-03-05.
  3. A., Judd, Bettina. "Feelin Feminism: Black Women's Art as Feminist Thought". drum.lib.umd.edu. Retrieved 2016-03-05.
  4. Ziyad, Hari. "Gynecology Was Built On The Backs of Black Women, Anyway - An Interview With Bettina Judd". RaceBaitR. Retrieved 2016-03-05.
  5. Crawford, Marisa. "ALL THE FEMINIST POETS: Bettina Judd". WEIRD SISTER. Retrieved 2016-03-05.
  6. "Cave Canem | Fellows". www.cavecanempoets.org. Archived from the original on 2016-04-04. Retrieved 2016-03-05.
  7. Judd, Bettina (2013-01-01). "The Researcher Discovers Anarcha, Betsey, Lucy". Meridians: feminism, race, transnationalism. 11 (2): 238–239. ISSN 1547-8424.
  8. "BLP » 2013 Hudson Prize Winner!". www.blacklawrence.com. Retrieved 2016-03-05.
  9. charlotteash. "Review: Patient. by Bettina Judd". Zouxzoux. Retrieved 2016-03-05.
  10. "REVIEW: Two Haunted Houses: A Review of Bettina Judd's "Patient." and Esther Lee's "Spit"". SOUTHERN HUMANITIES REVIEW. Retrieved 2016-03-05.
  11. Staff, N. P. R. "Remembering Anarcha, Lucy, and Betsey: The Mothers of Modern Gynecology". NPR.org. Retrieved 2016-03-05.
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