By ISHMAEL REED
Now that Henry Louis Gates’ Jr. has gotten a tiny taste of what “the underclass” undergo each day, do you think that he will go easier on them? Lighten up on the tough love lectures? Even during his encounter with the police, he was given some slack. If a black man in an inner city neighborhood had hesitated to identify himself, or given the police some lip, the police would have called SWAT. When Oscar Grant, an apprentice butcher, talked back to a BART policeman in Oakland , he was shot!
Given the position that Gates has pronounced since the late eighties, if I had been the arresting officer and post-race spokesperson Gates accused me of racism, I would have given him a sample of his own medicine. I would have replied that “race is a social construct”--the line that he and his friends have been pushing over the last couple of decades.
After this experience, will Gates stop attributing the problems of those inner city dwellers to the behavior of “thirty five-year-old grandmothers living in the projects?” (Gates says that when he became a tough lover he was following the example of his mentor Nobel Laureate Wole Soyinka as though his and Soyinka’s situations were the same. As a result of Soyinka’s criticisms of a Nigerian dictator, he was jailed and his life constantly threatened.)
Prior to the late eighties, Gates’ tough love exhortations were aimed at racism in the halls of academe, but then he signed on to downtown feminist reasoning that racism was a black male problem. Karen Durbin, who hired him to write for The Village Voice, takes credit for inventing him as a “public intellectual.” He was then assigned by Rebecca Penny Sinkler, former editor of The New York Times Book Review, to do a snuff job on black male writers. In an extraordinary review, he seemed to conclude that black women writers were good, not because of their merit, but because black male writers were bad. This was a response to an article by Mel Watkins, a former book review editor, who on his way out warned of a growing trend that was exciting the publisher’s cash registers. Books that I would describe as high Harlequin romances, melodramas in which saintly women were besieged by cruel black male oppressors, the kind of image of the brothers promoted by confederate novelists Thomas Nelson Page and Thomas Dixon.
No comments:
Post a Comment