When Donald Trump attacked Kamala Harris’ biracial identity earlier this summer, writer Danzy Senna wasn’t surprised.

“She was Indian all the way, and then all of a sudden she made a turn and she went- she became a Black person,” Trump said, falsely characterizing the way Harris has spoken about her biracial background.

This is nothing new, Senna explains: “He’s articulating the relationship of America to mixed race people and the hostility, the suspicion and the kind of bewilderment with which we’ve been faced with, historically.”

Senna’s mother, who is white, is from a prominent Boston family. Her father, who is Black, grew up in an orphanage in a small Alabama town. Senna has explored her own racial identity in both fiction and in the memoir, Where Did You Sleep Last Night? She notes that when she was born in 1970, “there was no ‘mixed-race’ category.”

“You were either going to identify as white … or you were going to identify as Black,” she says. “And there was no doubt in my mind or my family’s mind that I was going to identify as Black. … My father … really wanted to impress upon us our Black identity.”

Senna’s new novel, Colored Television, tells the story of a writer named Jane who’s devastated when the book she’s been working on for 10 years — a novel about how the meaning of being biracial has changed over generations — is rejected by her publisher. Without publication, Jane won’t get tenure at the university where she teaches, which means not having enough money to get by. The only solution she sees is to pitch an idea for a TV series.

“Some of my impulse to be a writer comes from that feeling that I want to write myself into existence,” Senna says. “I want to write the worlds that I’ve lived in, and the people I’ve been in the world with, into existence because I never see them.”

Colored Television

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Interview highlights

On her parents getting married in 1968, one year after the Supreme Court’s landmark Loving v. Virginia decision

They were part of a whole wave of the first marriages to come out of this huge political change. Their marriage was filled with all this symbolism and hope for the future and the sort of integration of American society and the kind of movement beyond these incredibly strict laws of segregation. …

What it meant was also that I grew up with … other mixed people around me who were also born out of the exact same moment in the exact same political movement. And so I’ve never been able to kind of separate the politics of the moment in which I was born from the personal, like those things are so intertwined for me, and the history is so clear.

On whether her parents saw their marriage as a political statement

I don’t think that you could be a white woman of a certain class — my mother’s a blond, blue-eyed, white woman who grew up the daughter of a Harvard professor in Cambridge and has this lineage that goes back to the earliest Americans, and also the slave-trading Americans — I don’t think you could be her and marry a Black man without that seeming like an incredibly potent political gesture at that time. And then there was the class issue of my father being first from an orphanage and then from a very poor family in the South and then the housing projects in Boston. … For him to marry someone of my mother’s background was a huge class leap and … crossing all sorts of lines.

I think people … Black and white people get married nowadays and it’s so common and can be sort of seen as “We just fell in love,” but at that time you were really breaking all of those laws, even those that had already been dismantled were still in place in people’s minds. I remember my mother went to the courthouse to get some paperwork for the marriage and in Boston, where interracial couples hadn’t been illegal at that time … [and] the woman said to her, “Wait, I have to go in the back and see if this is legal that you two are getting married.” And there were constant experiences that we had in the world that really brought home to all of us that we were a radical statement in the culture as a family. Just merely existing as a family was a radical statement at that time.

On how publishers reacted to her writing about biracial people

When I first started publishing was in the ‘90s with my first novel [Caucasia], and there really wasn’t anything like that. And that was a novel about a young girl of mixed race and racial passing. I had, like, eight rejections from agents when I first sent it out. And they would say, “This is too specific. … I don’t recognize this family, and I don’t understand this character’s identity, and they’re strange to me.” And finally, I found an agent who really loved it and sold it.

When I published that book, it was met with a lot of acclaim. And I had this really great experience in terms of my first novel. But one of the things I kept hearing from publishers was. “Don’t do this again. Don’t keep writing about mixed-ness,” like, “It’s time to graduate on to something new and just leave that behind.” And, it was almost as if they thought that mixed-ness was a plot and not a world and not a people, not a geography. …

And I find that so interesting, because I never hear people say that to white authors who write about, say, a particular world of white people. And I actually don’t hear it as much about Black authors who write about Blackness or Black worlds or race. But when I write about my people, it’s considered somehow … a “very special episode” that I shouldn’t do again. I think part of the reason that I find that so telling is that it’s that idea that you’re a predicament. You’re not a world. I think of it as: This is the world I write from. This is the geography and the culture that I write from, and it’s interracial America, it’s mulatto America.

On why she uses the term “mulatto”

I use the word mulatto a lot in my work, and I have sort of rejected the more politically correct term of “biracial” or “multiracial,” mainly because it’s meaningless and vague, and it could describe any two or three mixes that one could be. But mulatto — as problematic as the word is, and it comes out of slavery and the sort of pseudoscientific ideas of race, as problematic as it is — it’s the only word that really describes this very specific experience of being Black and white and being that mixture in America, which is, singular, and I think an important distinction from the other mixes.

On how writing for television compares to writing novels

I wrote a pilot for a show that was based on my work. I wrote an original pilot for a limited series that is still out there being shopped around. … What I felt writing scripts is, I really like it. It’s very interesting and sort of technical-feeling compared to writing novels. And I will continue to do it because it’s a nice break between books, and it kind of can pay … to get a new stove in your kitchen, like there’s actual financial benefits to doing it. But I think my soul is in the page and in writing novels. Being in control of the entire universe that I’m writing is really what feeds me on a much deeper level. And so I will never kind of fully abandon the written word. It just feeds me in a whole other way, but unfortunately doesn’t literally feed me or my children.

Sam Briger and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

Louis Vuitton Art Silk Squares

A tradition since 1987, Louis Vuitton’s Art Silk Squares project invites select artists from around the world to design their own Louis Vuitton silk square. This year, L.A.-based pixel-art collective eBoy created a square that explores the theme of the iconic LV Monogram Flower motif. Titled “Maze of Precious,” the silk square depicts a digital Louis Vuitton labyrinth in hues of bright pink and butter yellow, perfect to wear or to frame. Available now. louisvuitton.com

(NorBlack NorWhite)

NorBlack NorWhite Pop-Up

“My running joke is that we’re saging up Fairfax!” says Mriga Kapadiya, who along with friend Amrit Kumar founded NorBlack NorWhite, the India-based contemporary fashion label with an avid following. Popping up in L.A. for the very first time, the NorBlack NorWhite shop also features a curation of carefully selected goods and plays host to community events like a screening of singer Raveena Aurora’s short film, “Where the Butterflies Went,” on Sept.15. A charm bar on Sept. 21 with collectives Maari and Sari Sari invites guests to make their own bracelets and necklaces, and author Safia Elhillo will be joining Zara Chowdhary in a live reading of her memoir “The Lucky Ones” on Sept. 30. 424 1/2 N Fairfax Ave., Los Angeles. norblacknorwhite.com

(Aliza Nisenbaum at Regen Projects)

Aliza Nisenbaum at Regen Projects

“Altanera, Preciosa y Orgullosa” marks Mexico City-born artist Aliza Nisenbaum’s first exhibition in Los Angeles. The show will feature a new body of work depicting dance troupes, studios and teachers local to Southern California. Not to be missed, Amelia Muñoz Dancers will activate Nisenbaum’s presentation with a special public dance lesson at 5 p.m. Sept. 21. On view Sept. 12–Oct. 26. 6750 Santa Monica Blvd., Los Angeles.

Charlie Beads Pop-up

You’ve probably seen Charlie Beads’ signature bloomers everywhere, and now is your chance to snag some in person. Charlie Beads and fellow indie brand Cleo are hosting “The L.A. September Issue,” a special four-day pop-up at new space Yarrow Yarrow featuring a host of other L.A.-based independent designers and makers. Shop Charlie’s upcycled bloomers and Cleo’s collection of Day & Night handbags with rotating new designers each day, including Lotte.99, Their, Meredith Kahn, Little Shop and more. Sept. 19-22. 2520 James M. Wood Blvd., Los Angeles. charliebeads.com

Patricia Domínguez, “Matrix Vegetal” 2021-22. Commissioned by Screen City Biennial and Cecilia Brunson Projects. Installation at Macalline, Art Center, Beijing.

(MOLAA, ©Patricia Domínguez)

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Arteônica* at MOLAA

“Arteônica*” revisits the little-known Latin American computer art movement, creating a dialogue between a group of pioneering computer artists from the ‘60s and ‘70s and Latin American contemporary artists whose work responds to their legacy. Past and present art from Argentina, Brazil, Chile, Mexico and Peru is featured within a broader context of conceptual, historical and geopolitical thought in Latin America. On view Sept. 22–Feb. 23. 628 Alamitos Ave., Long Beach.

Bottega Veneta Store at the Americana

Experiencing the Bottega Veneta vision is easier than ever with its new storefront at the Americana at Brand in Glendale. In good company with Saint Laurent, Gucci, Tiffany & Co. and more, the new Bottega boutique, along with its sought-after leather pieces, offers impeccable design featuring carved wood, stunning tile work and one-of-a-kind modern seating. 889 Americana Way, Glendale. bottegaveneta.com

(Burberry Classics AW24)

Burberry Classics AW24

The latest release of Burberry Classics — a curation of wardrobe foundations reimagined with a unique Burberry slant — features iconic British rainwear, nylon parkas and reversible down-filled styles. Functional for the outdoors, jackets are cut from cotton gabardine, wool and cashmere for warmth, while the Burberry Check is reworked in earthy colorways like sand and lichen. Available now. burberry.com

(House Museum at the John Rowland Mansion)

House Museum at the John Rowland Mansion

Since 2022, the House Museum has been installing conceptual artworks in historic landmarks around Los Angeles. The nonprofit sees itself as an alternative preservation agency, drawing attention to unique and oftentimes neglected architecture and spaces in the city. Experience this distinctive initiative while you can by visiting its latest project at the John Rowland Mansion. On view Sept. 21 from noon-2 p.m. 16021 Gale Ave., City of Industry. house.museum

Glizzy-guzzling champion Joey Chestnut has done it again.

The world’s number-one-ranked eater defeated not only his archrival but his own world record when he downed a whopping 83 hot dogs in buns in 10 minutes during a much-hyped showdown on Monday.

Chestnut made headlines earlier this summer when he was banned from the Nathan’s Famous Hot Dog Eating Contest for signing an endorsement deal with Impossible Foods, a company that makes plant-based meat alternatives (including, yes, soy protein hot dogs).

It was a stunning turn of events for Chestnut, who has become synonymous with the Coney Island contest. He’s won it 16 times since 2007 — the first year he defeated then-reigning champion Takeru Kobayashi.

Chestnut vowed fans would see him eat again, and didn’t wait long to deliver. He held a competing July 4th hot dog contest at the Fort Bliss Army base in Texas, downing 57 hot dogs in five minutes to beat a team of four soldiers who collectively managed 49.

But the real drama unfolded on Monday, when Chestnut and Kobayashi faced off for the first time in 15 years in a live-streamed Netflix event called “Chestnut vs. Kobayashi: Unfinished Beef.”

The rematch was over a decade in the making

Takeru Kobayashi and champion Joey Chestnut look on at the Nathan’s Famous Fourth of July International Hot Dog Eating Contest official weigh-in ceremony in July 2009. That was the last year they competed against each other, until Monday.

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The “wiener-takes-all” competition, announced just days after Chestnut’s Coney Island suspension in June, brought together the biggest rivals in the hot-dog-eating universe.

Kobayashi, 46, rose to fame as a competitive eater in his native Japan before bringing his talents stateside in the early aughts. He is credited with popularizing the sport in the U.S. and getting competitors, viewers and sponsors to take events like Coney Island seriously.

The man nicknamed “the Godfather of Competitive Eating” won that hallowed contest six years in a row, including beating Chestnut twice.

But the underdog eventually became a household name: Chestnut beat Kobayashi three years in a row — including once in a sudden-death “eat-off” — and emerged victorious in all but one subsequent contest, at least until this summer.

Kobayashi parted ways with Major League Eating (MLE) — the governing organization now beefing with Chestnut — in 2010 over a contract dispute, but has continued racking up world records in other competitions.

Tens of thousands of hot dogs later, Kobayashi, 46, announced his retirement earlier this year — but confirmed over the summer that he would only retreat after defeating Chestnut “one last time.”

Chestnut, for his part, welcomed the challenge. In a pre-recorded video that played ahead of Monday’s competition, he pointed to his previous wins against Kobayashi and declared, “In the discipline of hot dogs, I had his number.”

“I’m trying to prove I’m the best,” Chestnut added. “He might want to win really, really, really bad. I need to win.”

And Chestnut did. He scarfed down 83 hot dogs and buns in 10 minutes — besting his own world record of 76, which he set at Coney Island in 2021. Kobayashi finished with a total of 66, beating his previous best of 64.5 from 2009.

After the competition, Kobayashi officially announced his retirement, saying, “I’ve put everything on the line for this.”

But in the same video clip shared by Netflix, Chestnut said he thinks it “highly unlikely” that he won’t face off against Kobayashi again.

“He made a personal best,” Chestnut added. “Nobody wants to go out on a loss. I’m hungry for whatever’s next.”

Chestnut was forced to adjust his technique, but it paid off

From left, Joey Chestnut, Rob Riggle and Takeru Kobayashi speak onstage during LIVE Chestnut vs. Kobayashi: Unfinished Beef at the Hyper X Arena at the Luxor in Las Vegas on Monday.

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The event, hosted by actor Rob Riggle and former WWE wrestler Nikki Garcia (formerly professionally known as Nikki Bella), unfolded in Las Vegas with much fanfare.

Poolside, a pep band, with members wearing “Team Joey” and “Team Kobi” T-shirts, played DJ Khaled’s “All I Do Is Win,” while several other competitors got viewers warmed up with feats of their own.

Matt Stonie — who broke Chestnut’s Coney Island winning streak in 2015 — battled three Olympians in a chicken wing contest. He ate 53 wings in three minutes, besting the combined efforts of water polo player Max Irving and swimmers Ryan Lochte and Ryan Murphy, who put down 36.

Next up was 24-time Guinness World Record holder Leah Shutkever, who earned another spot in the books for eating over 2,000 grams (more than four pounds) of watermelon in three minutes.

Nearly an hour into the special, the men nicknamed “Jaws” and “Tsunami” finally took to the stage and set up their stations.

Crucially, one of the rules of the contest forbade competitors from dunking the hot dogs in water, a signature part of Chestnut’s technique (drinking water out of cups was allowed — though most of it ended up on contestants’ shirts). But that didn’t seem to slow him down — quite the opposite.

“When I first heard the rules about no dunking I was really worried, but then I learned how to eat them like this,” Chestnut said after his victory. “And any other hot dog contest I do I’m going to eat some of them without dunking — this was amazing.”

Chestnut and Kobayashi started the contest evenly paced, though Chestnut had a slight edge after the first minute that only continued to widen. By the halfway mark, he was leading Kobayashi 51 to 44.

And he ate his record-breaking 77th hot dog with a luxurious minute and 10 seconds still to go (at which point Kobayashi was at 63).

“He might have a pained look on his face, but he is all smiles and hot dogs on the inside,” cheered one of the commentators.

Once the score was verified — a process that included checking the men’s shoe bottoms for any crumbs they may have stepped on to sneakily try to hide leftovers — Chestnut was officially crowned the top dog.

He received a golden hot dog statuette, a $100,000 prize and a bedazzled WWE championship belt, presented by wrestler Rey Mysterio.

It was one of many nods to the fact that the WWE “Raw,” its flagship weekly program, is coming to Netflix in 2025 (the streaming service is also touting upcoming live events like a Jake Paul vs. Mike Tyson boxing event in November and several consecutive NFL Christmas games starting this year).

As a water-drenched Kobayashi looked on, Chestnut gave him credit — for his own win.

“I’ve been trying to hit 80 hot dogs for years, and without Kobayashi, I was never able to do it,” he said onstage. “He drives me. We weren’t always nice to each other, but I love the way we push each other to be our best.”