I once heard the great political philosopher and activist Angela Davis argue that Americans are so obsessed with race as an identifying feature that when we meet racially ambiguous people, we are anxious until we know on which side of the color line they fall. Upon hearing this, I was relieved by the articulation of something I had suspected was at the heart of my experience. It was like experiencing great art, that rush of adrenaline that comes with recognizing what we’ve known all along presented as fantastically new.
It seems that Spock and his mixed-species brethren and sistren haven’t served as multiracial muses only to me and fellow NOCClaire. Even during the last year of its original television run, just a year after the landmark Loving v. Virginia Supreme Court case legalized all interracial marriage across the United States, Vulcan/human hybrid Spock spoke so much to a biracial black/white teenager in Los Angeles that she wrote to him, via a teen magazine, for advice, so moving that actor Leonard Nimoy wrote her back with a message of self-acceptance.
With Star Trek Week on The Nerds of Color coming to an end after an amazing week of posts both celebratory, critical, and somewhere in between, I wanted to introduce you to two artists of multiracial heritage who use Spock as a way to explore mixed-race identity in their work.
It was probably not a coincidence that my adolescent Trekkiehood (and no, I’m not uptight over the whole -ie vs. -er thing) coincided with the beginnings of the interrogation and articulation of the politics of multiracial identity that has preoccupied my academic and extracurricular life since then (and I’m 39 now).
I’d already spent a good number of my childhood Saturday afternoons watching Classic Trek reruns on Channel 13 when Star Trek: The Next Generation started airing at the same time that I started junior high. I don’t think I was quite sure why, exactly, I was so into it, but I was. My friends and I would spend science class talking about the previous night’s episode or passing around the latest NextGen comic book. I filled my bookshelf with TOS and TNG novels from Pocket Books, plus all the oversized manuals and behind-the-scenes-looks and field guides filled with art and graphic design. I hung a framed poster from Star Trek IV: The Voyage Home (a.k.a. The One With The Whales) over my bed and taped a pair of those shades they give you after the eye doctor dilates your eyes to slide into your glasses over Spock’s eyes.
I wore an original series command uniform made by my mom of soft gold velour to school on Halloween at least once if not twice (and somehow avoided getting beaten up). I received TNG action figures as gifts and pinned them to my cork board, keeping them mint-in-box. I went with friends from school to the monthly LA comic-con, first at the Ambassador, then at the Shrine, to browse the dealers’ room and see special guests (the “Save Max Headroom” flyer I got signed by Matt Frewer, Jeffrey Tambor, and George Coe hung on my bedroom wall for a long time after that show’s demise). We graduated to Creation cons devoted to our beloved Trek, and took the bus to the Westin Bonaventure downtown or got my dad to drop us off at the LAX Hilton, where I won a mug in a Pocket Books trivia contest and we saw a surprise preview screening of “The Best of Both Worlds, Part I” introduced by The Great Bird of the Galaxy himself in what was to be one of his last con appearances. I was a teenaged Trekkie, and I was not ashamed.