II. Sociology (Negroid)

This is my order, redacted. Me in a page, outlines obscured.

Adoption Order redacted 24Dec13
I have written before about being inside white culture, and outside black, as a young transracial adoptee. About feelings of isolation leading to a suicidally depressed period. About seeing myself identified on generalized adoption records as “Negroid.”

I’ve written about the joy I feel now many years later, reflecting back on earlier struggles with some wisdom of experience (albeit self-proclaimed), and gratitude.

I don’t know if I feel like I’ve ever actually entered black culture, if I belong to it, after twenty-seven years in the city, but to know it was here and to know something of what it might be in relation to me is enough. I will always feel parenthetical, which is a kind of belonging. And more recently, the identity revision of personal genomics is yet another kind: now I can say with some conviction that I have island roots.

My early childhood is sometimes stored more in memories of moods and sensations than anything else. My mother says at Christmas I would get depressed, and wonder aloud why my biological mother had not sent me anything, not even a card or letter. It was a time of closed adoptions so such a thing was highly unlikely. There are a few square-frame, long-faced holiday photos which survive, along with photos of adopted nuclear contentment.

It was somehow anticlimactic when, after forty years of generally not expecting anything, a letter arrived. From her. Last week. It added a geographical connection with Ethiopia to these narratives. It spoke to how there is always a return.

After all that time, this year I was suddenly adoptee, full circle. And suddenly something of an immigrant in all but birth. The letter wasn’t the first one, but it arrived around the time of my second daughter’s first birthday and near Christmas. I don’t connect with the holiday the way I did in my youth but the significance, coincidental, wasn’t lost.

Over a decade ago, I received non-identifying information including an oral history from my birth mother. Not just a narrative but a story. Five years ago, new legislation allowed me to obtain the long form birth certificate containing my biological parents names. Or one, at least. Two years ago a search angel, herself an adoptee, found my profile in an adoption group on social media and offered to help. My life had been so busy I missed her email for over a year. Within days of putting that one name forward, a person came back.

Being a parent, to at last be in the presence of beings whose biological continuity I shared, is somewhat magical. Add to that a new sense of fulfillment through the potential to extend our shared line further back in time, locate ourselves elsewhere on the map.

Thanks to my wife Nehal El-Hadi for helping me put this post together.

By elmahboob

Bruce A. Russell aka Ibrahim El Mahboob (b. Kingston, ON, 1968) is a composer and self-taught pianist living and working in Toronto (Tkarón:to, the traditional territory of many nations including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat). He studied at York University with James Tenney and Phillip Werren. He has composed music for the Madawaska String Quartet, Modern Times Stage Company, McMaster Dancers and choreographers Pam Johnson and Tracy Renee Stafford. Interest in his work increased in 2020, with performances by Arraymusic, Prism Percussion, Second Note Duo, San Juan Symphony and Idaho Falls Symphony. He was host of Radio Music Gallery, and has written for Musicworks and I Care if You Listen. His interests are in 20th and 21st century concert music especially postminimalism, and music of the African diaspora including notated and non-notated forms. He is a parent of three and is employed in the financial sector.

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