This article was first published in DNA online on Thursday 23 January 2014.
“The front room was a contradictory space, where the efficacy of the display was sometimes more important than the authenticity of the objects, such as artificial flowers, plastic pineapple ice buckets, floral patterned carpet and wallpaper that never matched, and pictures of the scantily clad “Tina” next to The Last Supper. The dressing and maintenance of the front room reveals a form of “impression management,” as in the flexible presentation of self that brings up issues of “good grooming” among people of African descent. It was very much my mother’s room, and as a second-generation, black British person from an aspirant working-class family of Vincentian parentage, I have ambivalent memories of it. I must confess that growing up I was embarrassed about the front room’s aesthetics, as it seemed in “bad taste,” or had no taste at all; in other words, it was “kitsch”—a pejorative social code for working-class culture.”