Do dolls negatively effect young girls perceptions of self-image and self-esteem? Specifically, in Toni Morrison’s novel, The Bluest Eye, how are dolls exposing these detrimental effects it causes among young African-American girls?
Claudia Rankine begins her novel, Citizen: An American Lyric, utilizing the unique form of second person narrative, which is not only a very distinct way to commence her novel, but it also a quite difficult narrative to follow through with. Second person narrative employs the use of the word “You” which brings into the essence a sense of personalism, that makes the reader almost feel as if this novel is a note for just them. Not only is Rankines writing unique in that sense, but she also deploys images through the novel juxtaposed next to certain chapters. Within the first couple of pages a picture of a normal street is placed, that looks like a normal middle class neighborhood followed behind white colored houses, with a street sign labeled as Jim Crow in the front and center of this photo. Many readers might see this and think nothing of the sort, just a simple normal neighborhood. However under an analytical scope it becomes quite clear that the name of this street sign serves a deeper purpose that can be compared to one that depicted in the Invisible Man, during the scene where optic white paint is introduced. The author mentions that this paint is so vivid and opaque, you could paint a piece of coal black, and you would be unable to know if it was even coal unless you would break it in half. This can be used as an analogy for contemporary America, where the upbringing of the mistreatment of People of color is usually white washed by America’s use of deep systemic nationalism and white washing. The picture depicted appears to be as normal and mundane as ever, which almost causes the reader to forget that the street sign itself is there to serve as a reminder to the vicious Jim Crow laws that were once set in place, and ruined the lives for millions of people of color living in America at the time. The subtle placement of this picture is a current reminder that we continue to forget of the hardships they have went through as it is buried deep into our society, hoping that the masses one day forget.
Rankine writes in a half prose, half free form format, where she explores the delicate topic of racism and prejudice that’s widespread and pretty common in the so-called post racial America. She explores the long-term patterns of racism and its historical context. In a way that makes it different but not “new” in a way whereby she seems not to be trying too hard instead using a new form in a way that is easily decipherable. She outlines the inconsistency between aggressions and microaggressions, invisibility and hypervisibility, these factors that blacks continue to face which therefore continuously categories them as the “other” regardless. Rankine shines light on the fact that racism persisted and still persists, she addresses this same topic that several other writers have explored but in a slightly different way that makes one curious. The use of the second person “you” in the novel is noteworthy as she uses that to allow the reader to feel a personal connection and I’ll believe to ultimately understand the psychological toll of black citizenship in a country that’s built upon historical exploitation of blacks.
Rankine makes it clear that this unfairness is relentless and takes places even in organizations that are meant to present hope in the face of racial ignorance e.g. places of higher education. This book is a carefully put together documentation of modern history of everyday violence’s that is easily overlooked as its against black Americans, instances of racism such as Trayvon Martin’s death etc. She forces the reader to learn the names of these victims and if the reader is unaware be forced to look it up and understand the depth of the racial violence. These societal issues are very relatable and Rankine certainly proves that there isn’t just one way to channel or express the trauma. The causal uses of some of the phrases disclose the cruel and hopeless ways blacks are treated in USA. For instance, the stop and frisk policing is typically used in a way that’s misleading. “And you are not the guy and still you fit the description because there is only one guy who is always the guy fitting the description” (105) This is scary, imagine the fear and panic people face just to explain they aren’t the one they are looking for and that same panic is what gets them killed.
The message in this novel is profound and tragic as it shows what’s happening in the society but in reality, this is the nightmare some people face daily.
Sandra Batres
Blog #6
Black Anger and Black Bodies
Claudia Rankine’s second section of her book Citizen: An American Lyric explores anger and how it has been a demoralizing trope of Black Americans. This section explores a concept Rankine addresses in the first section, the duality between the “historical self” and the “self self”. Not only does the “historical-self” carry the history of a person’s family and race— segregation, slavery and oppression but the “historical self” also understands depictions of bodies—racist representations that become burdens, often stifling the “self self” from being authentic in public, authentic to the degree that others can openly be. In fear of becoming a racially charged caricature, the “self self” is kept hidden. Any display exemplifying anger, even if toward an obvious injustice will become an element of scrutiny, opening an acceptable racial window from which to view and judge their bodies as well as their personalities. When considering American sports, there is something to be said about the scrutiny of black bodies and their expectation on the field, on the court and before the eyes of their American audience.
Interestingly, Rankine starts the second section of her book with a famous black male YouTuber who advises the use of anger to one’s own advantage. Although Rankine seems to understand the idea of profiting from a “marketable black anger,” she criticizes the notion stating that this type of anger as an act in exposing expectations of blackness doesn’t speak of the anger that occurs through daily experience. Furthermore, it might not accomplish much, I would argue that it reinforces the stereotype, selling a caricature of one’s own race undermines real and justified anger. For example a display of anger doesn’t work in American sports, a fact especially true for black athletes. Being the “angry black man” or “angry black woman” outside of a Tyler Perry movie is unacceptable especially while participating in something as sacred and tied to national identity, unity and patriotism as is American sports. The idea of Colin Kaepernick’s peaceful yet angry resistance toward systematic injustice, racism and oppression took the form of kneeling while the national anthem played—a politicizing of sports that didn’t sit well with the NFL and white sports fans. Why such a protest in a game that is supposed to unite Americans? Why did he have to ruin it for everyone and make it about race? This display angered white America because an athlete dared to be angry, dared to protest, dared to take a stand (by taking a knee) to racial injustice. In that moment he ceased to be a black body crashing into other bodies in a field. His world didn’t revolve around the entertainment of Americans but was highly conscious of an obligation to the “historical self” as well as the “self self”. This sudden and unwarranted visibility of blackness, his call of injustice and discrimination was far too much for white sports fans to handle – “where the discrimination?” they asked, as they turned their back, turned off screens and boycotted the team until that angry un-American black man is removed from the field. Despite what Hennessy Youngman advises about anger, Kaepernick had everything to lose with the outrage he caused. Regardless of the support he received from black people, liberals and other politically conscious people, the NFL is still conservatively white owned and run – a metaphor for the greater American power dynamics.
The focus of the second section of Rankine’s book is on what people want to see and what they don’t want to see from black bodies. Serena Williams for example, on the same boat as Kaepernick but at the mercy of a different hatred, is an example of a black body considered too powerful for the sport of tennis. Her body and expressions of frustration open to public scrutiny and ridicule. Through her example of Serena Williams’ display of anger, hers more obvious and “aggressive,” Rankine shows the repercussions of such anger from a body that has never been accepted. While Kaepernick’s body is in essence told to “shut up and play,” Serena’s body is mocked and hated because of its power. Black bodies in sports are highly visible when it comes to what they represent, Kaepernick through football is profitable if you have a stake in the game and Williams is threatening in an elite white sport. Their voices and expressions of frustration are what people don’t want to see or hear. When they step outside of the realm of what is expected of them in terms of sportsmanship and what is considered patriotic, the judges can freely take out their stereotypical lens and label them as the typical aggressive black bodies making a “thing” out of nothing.
Claudia Rankine’s Citizen: An American Lyric thrusts readers into a second-person perspective in which one feels the discomfort that comes from being a victim of microaggression. In Part II of Citizen, she begins by discussing the stereotypical and dangerous idea that “blacks are angry” and introduces Serena Williams as a notable example. By explicating various situations in which Williams was victim to microaggressions as well as using photos to reveal contrasts between the black and white, Rankine shows readers that even the most successful of African-Americans must work tirelessly for their citizenship.
Rankine states, “For Serena, the daily diminishment is a low flame, a constant drip. Every look, every comment, every bad call blossoms out of history, through her, onto you” (32). Rankine paints a picture that one can easily connect to W.E.B. Du Bois’ idea of double-consciousness, a struggle that William’s likely faces as a prominent athlete in a media saturated with racist ideals of beauty and image. On page 33, Rankine includes a photo from Nick Cave’s “Soundsuits” which appears to be a black figure shrouded by multi-colored flowers. The photo, although discreet in its meaning, seems to have been included to convey mixed feelings of double-consciousness felt by Williams. It depicts a crouching black figure, faceless and forced into a set of predetermined characteristics. And as previously stated, “every bad call blossoms out of history…”, signaling the flowers blossoming out of the figures body. However, these flowers aren’t dull or dim, they’re vibrant and beautiful, and seem to symbolize the fact that although Williams is constantly bombarded by indignities, she is “not running out of breath” (33).
The photo of William’s fellow tennis player Caroline Wozniacki on page 36, shows readers the ways in which microaggressions may be shrouded by white playfulness. In Cynthia M. Frisby’s journal article, “A Content Analysis of Serena Williams and Angelique Kerber’s Racial and Sexist Microaggressions” she quotes Williams, “I don’t think she meant anything racist by it,” but added, “If people feel [that it seems racist], she should take reason and do something different next time” (266). Wozniacki, who stuffed her top and skirt to poke fun at her friend, is seen as a smiling joker by all and even Serena. However, despite what Wozniacki’s intentions may have been, the act itself is what showcases her white privilege. Rankine states, “Wozniacki…finally gives the people what they have wanted all along…while leaving Serena’s “angry nigger exterior” behind” (36). It may seem like fun and games, but Wozniacki’s joke doesn’t merely poke fun at William’s body, but the black body. The photo and instance show the ways in which microaggressions tend to be publicized and convey dangerous messages. All the while, Wozniacki is able to remain a “smiling blond goodness” as she gives in to the overwhelming stigmas that surround William’s body.
Rankine shows readers that even the extremely successful Serena Williams is victim to being laughingly labeled a “gangster” and being thrown violently against a white background. Through her lyrical writing and use of photography, she is able to paint readers a vivid image of what it means to be labeled, and what it means to be a victim of microaggression.
