Category Archives: Politics

Assassin’s Creed is the Story of Modern Racism

18 Monday Oct 2021

Posted by in 1, culture, Eclectic, Movies, Politics, Pop Culture, race, Religion

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Assassin’s Creed movie poster (cropped with lower resolution, per fair use laws), October 18, 2021. (https://www.deviantart.com/harzi17/art/Assassin-s-Creed-Movie-Poster-625133669)

Where does modern-day racism come from? There’s a recent movie that inadvertently attempts to answer this question, Assassin’s Creed (2016). The film did not do particularly well in theaters, making only $54.6 million in the US, and just under $241 million worldwide. Perhaps the rise of Donald Trump as president made its themes hit too close to home for too many moviegoers. But somehow, the movie’s director Justin Kurzel and its writers unknowingly shot a one-hour-and-fifty-minute crash-course in racism since 1492.

The Knights Templar versus the Assassin’s Brotherhood, a fight between shared bloodlines, Roman Catholicism, and Islam, that is what the game Assassin’s Creed is about. The movie, though, is about much more. It centers the technological science-fiction wonder known as the Animus, a machine that can tap into one’s DNA and find memories passed down generations ago. The Templars use the Animus to find the Apple, the mythical codex that would theoretically allow them to eliminate free will and the ability of people like the members of The Brotherhood to resist their reign. Except that real life has already surpassed art. In 2013, scientists had already discovered that mice and humans can both store memories in a few lines of code within DNA strands across generations. The scientific term for this is transgenerational epigenetic inheritance. 

There is no real-life version of the Animus yet. But it would figure that the Templars would use such a thing for their dystopian ends. The work of the Abstergo Foundation Rehabilitation Center, a subsidiary of The Templars’ corporation Abstergo Industries, fakes lead character Callum Lynch’s (Michael Fassbender) death and kidnaps him, then uses him to go back to 1492 Andalucia to find the Apple. Once Callum goes through this neurological and psychological “regression” to 1492, he embodies his assassin ancestor Aguilar de Nerha. Aguilar was the last ancient known to have possessed the Apple. 

The year 1492 is important, and not just because of Christopher Columbus. It’s the year Spain unified under the joint rule of Queen Isabella I of Castile and King Ferdinand II of Aragon and Castile, as their forces drove the last Moor ruler out of Granada. That victory ended more than 750 years of Arab Muslim and Moorish rule on the Iberian Peninsula, the Reconquista, as Spanish historians have called it. Later that year, Isabella and Ferdinand expelled all remaining Jews who refused to convert to Catholicism. Spanish Muslims faced persecution from 1492 on, and eventually faced Inquisición and expulsion, too. Between 1609 and 1614, Spain forced as many as 300,000 Muslims of Arab, Moorish, and Spanish descent out of the country.

There are at least three sources from which modern-day racism springs. All are in the mix in Assassin’s Creed. The Arab world and the Trans-Saharan Trade, which included enslaved Africans in exchange for goods and knowledge, some of whom ended up in Arabesque Spain. The Iberian world of what would become Spain and Portugal, with a combination of anti-Arab and anti-Moor nationalism, racism, and Islamophobia on regular display. And, the English, the founders of Jamestown, British plantation slavery in North America and the Caribbean, and heavy contributors to the Transatlantic Slave Trade. The Templars’ headquarters, by the way, are in London. 

Alan Rikkin (Jeremy Irons), the CEO of Abstergo and the embodiment of modern racism, not-so-secretly plans to use the Apple to end free will. In a conversation with Ellen Kaye (Charlotte Rampling) the chairwomen of Abstergo’s board of directors, Alan Rikkin discusses the final demise of human freedom. “The threat remains while free will exists. For centuries we’ve tried, with religion, with politics, and now consumerism, to eliminate dissent. Isn’t it time we gave science a try?” 

Notice how father Rikkin does not mention “systemic racism” or “capitalism,” both central in The Templars’ quest to control people over the past 500 years. This oppression disproportionately impacts the Global South, the Black, the Brown, the Indigenous, and non-Christian Europeans. It is reasonable to conclude that these religious beliefs and their thinly veiled racist beliefs are essentially the same.

One cannot help but notice these racism-based intersections. Especially when nearly every character of color in the film is part of The Brotherhood, and nearly every white character part of The Templars. The late Michael K. Williams plays the only African character in Assassin’s Creed, and he immediately brings to light the oppressive mix of religious bigotry and racism. “They call me Moussa. But my name is Baptiste. I’m dead 200 years now. Voodoo poisoner. I’m harmless,” Moussa says while stretching out his words with hand gestures, in introducing himself to Cal. Moussa confirms he and Cal and the other Assassins are prisoners, that the Templars stripped him of his past even as he reclaimed his ancestor’s name, and signaled that they will need to fight their oppressors (any of this sound familiar historically)? 

Another example comes from Dr. Sofia Rikkin (Marion Cotillard), Alan Rikkin’s daughter and the head of the Animus project. “You are living proof of the connection between violence and genetics,” Sofia says to Cal when discussing the murder that led to his faked death and capture. That’s as eugenics as eugenics can get, the story of modern racism, slavery, colonization, and exploitation of people in a nutshell. This is how the social construct of racism becomes biological determinism, somehow superseding the truth that we are all related genetically.

There are people who would rather drink ground glass than admit how the US has its own special blend of white supremacist racism, one it has exported to the rest of the world. The whataboutisms set has zero interest in an actual answer to the question of racism’s origins. They are only interested in deflecting from their own complicity in white supremacist racism. Assassin’s Creed reveals as much as it deflects on how systemic racism has managed to thrive, through religion, capitalism, imperialism, and the elitist narcissism all of these -isms engender. Every American teacher of world history or European history should use Assassin’s Creed in this manner, providing entertainment with subliminal critical race theory hidden well enough for most white supremacists to not notice. I think.

Eric The Red

27 Monday Sep 2021

Posted by in 1, Academia, Boy @ The Window, culture, Eclectic, Pittsburgh, Politics, Pop Culture, race, University of Pittsburgh, Youth

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Bryan Cranston as Walter White (“bald” edition) in AMC’s Breaking Bad (screen shot, cropped), August 2011.

All these years with this blog and I’ve never written about the first of the people who came into my life and decided that I needed their tutelage about grad school and life in general. Because of people like him, despite their helpfulness, I always have found myself leery about people telling me that they will “mentor me” or about calling myself a mentor of any kind. It should be the type of process that happens organically, based on mutual respect and trust, and not just because one person is a generation or more older than the other person.

The first person to volunteer themselves as a mentor during my first year as a graduate school in the University of Pittsburgh’s History department was Eric, who was 42 or 43 to my 21 year-old self in September 1991. A year and a half earlier, Eric was the teaching assistant for my upper-level American Working-Class History course with Dick Oestreicher. We had exactly two interactions that semester. One was when Eric had scored my midterm exam short essays an 89. I asked him, “So, what’s the difference between an 89 and a 90 on this exam, anyway?” His mouth fell open, because he didn’t have an answer. He changed my grade to a 90 on the spot. Two was at a going-away party for my TA from my Western Civ II course my first year at Pitt, Paul Riggs. Paul was headed to Edinburgh, Scotland on fellowship to explore the height, weight, and diet differences among 18th and early 19th century European men in connection to a larger econometrics dissertation. (I still don’t quite know what Paul’s dissertation was about, beyond half-starve British and French soldiers hoping to grow to five-three before dying from bayonets or typhoid during the Napoleonic Wars.)

It just happened that when administrators assigned me a cubby hole for a desk my first year in grad-school-land, that it was in the same part of the department as Eric’s cubicle. His spot included a window that looked out from the third floor of Forbes Quadrangle (now Wesley Posvar Hall) to the open space below, as well as to Hillman Library, David Lawrence Hall, and if you tilted your head to the right, Carnegie Library of Pittsburgh and the lower floor of the Cathedral of Learning. It was a prime spot, and Eric never hesitated to let me or anyone else know that he had earned it.

Eric had, in fact, earned it. He became a grad student in the department at the same time Pitt had awarded me an academic scholarship to attend as an undergrad, in 1987. He bragged about the fact that he had gone from having “only an Associate’s Degree to ABD in just three years.” Pitt had also rewarded Eric an Andrew W. Mellon Dissertation Fellowship in 1990, making it seem he was on “cruise control” for finishing his doctorate in a couple of years.

What I’d learn about Eric over the next two years was that he was also a very active Marxist, a card-carrying member of the Community Party USA (or, maybe, if I’m remembering it wrong, the Socialist Party USA), and a trained actor who had made documentaries and written for news rags about union-busting, union-organizing, and class struggle since the mid-1970s. This would appeal to the powers that were in the department (including Oestreicher, his dissertation advisor), a place that privileged Marxist and neo-Marxist thought above all else. 

The acting and other public-facing work made Eric a stand-out pontificator, but was also where his open declaration of his “mentoring” of me irritated me a helluva lot. Many times during our two years together in the same department, Eric would interrupt me in the middle of a conversation with a peer, or when reading a book before class, or when I was prepping to TA, or otherwise just working away on a research project. It was usually with articles on a topic different from my research on multiculturalism or with an issue he wanted to debate me on. Sometimes, these interruptions and distractions I welcomed, maybe even, needed. But so many times, not so much.

Eric accused me on several occasions of having “a chip on [my] shoulder.” Maybe I did have one, mostly about the erasure of anything on American race and racism by the Marxist set in the department. Eric, though, was the proverbial pot-meet-kettle type. His chip made mine look like a speck. Looking back, Eric reminds me a bit of Bryan Cranston’s Walter White from Breaking Bad. Both he and the fictionalized White could not see how their sense of white male privilege shaped their worldview and their interactions with people. In my case, Eric assumed that I sometimes asked him a question or sought his advice as a sign that I needed mentoring, when in my mind, I was just asking a question or seeking an opinion from whomever was around at 9 pm on a Thursday night. 

But nothing piqued Eric’s interest in me more than his attempts to make me into a Marxist. “Racism is a byproduct of dialectic materialism” or “capitalism,” Eric would sometimes say (or at least, as much as I can remember him saying). This line of whitemansplaining I had heard in less sophisticated circles years ago. I never told Eric about all my arguments over the years with my Humanities classmate JD, but it probably wouldn’t have mattered if I had. Eric was deep into his cups of Marxist wisdom, deep enough to ignore my counterarguments. “You cannot understand inequality in America without also accounting for racism,” I often said. I did enjoy these debates, at least at first. By my second semester, and especially by my second year, I was weary. 

I didn’t see Eric much the second half of the 1992-93 school year (this as I prepared to transfer from Pitt to Carnegie Mellon to battle with privileged-white-privileged, ass-kissing center-right fake Marxists). I guess that was when he finally sat down to write his dissertation, though it would be a number of years before Eric would complete it to his doctoral thesis committee’s satisfaction. 

I wouldn’t have learned about the good qualities of Rolling Rock or explored hard apple cider without his encouragement. But, as intriguing as these arguments with Eric could sometimes be, I longed for being understood, for people who took the centrality of racism to everything that is the US and the West seriously. It would be a long time before I’d find people like me in this life.

From Heat Checks to Hail Marys

13 Monday Sep 2021

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Heat Check, Hail Mary, between Steph Curry and Aaron Rodgers (cropped and spliced), September 13, 2021.

This is my final (maybe?) essay in my series More Confessions From an Educated Fool. I do need help, to keep me from self-publishing a third book, to make the leap into writing beyond the freelancing. I ask, but I don’t think I ask correctly. Or, maybe people just don’t like me. Anyway, the essay is less than 1,000 words. Please read.

Make no mistake. This post is a plea for help to reach the next stage as a writer, to get a book out into the world with some measure of success. I’d prefer not to go the route of the self-published manuscript this time, where the book has no chance to reach more than a few hundred people or maybe a couple thousand people. For those who are better positioned as writers, I’m not asking for your first-born child. However, if you have enjoyed my stories, my blog, or my published work over the years, maybe, put in a word with an agent if you have one? Or, maybe, if I ask you to read a chapter of my latest ms, that you read it and give me feedback? Or, maybe even, just the least bit of encouragement to hang in there?

My latest manuscript is titled Narcissism, American Style: Essays on Racism, Narcissism, and How to Get to a Post-Western World. (I do have an alternative title, Sage’s Gold.) It was originally supposed to be a series of essays on America’s narcissism, its origins, permutations, and the damage it has done and will do to the world if left unchecked. After I had published a piece in The Atlantic on the hidden psychological costs of college education for first-gen students five years ago, I did a heat check, put together an initial proposal and a cover letter, and sent out my idea to agents. Two immediately responded, but said no (or didn’t respond) after I sent them my initial drafts. Oh well!

Then, I started writing out the essays, all to figure out what direction this book should take. I had two epiphanies along the way. One, I needed to make my mostly US-focused book one that challenged the West, and that meant testing out parts of essays as articles. Two, I needed to figure out where this world is headed as long as the US and the West remain steadfast in leading and exploiting resources and lives.

That’s where all my articles with Al Jazeera come in. After years of mostly writing articles on education and Black and US identity, I mostly dropped looking at K-16 education reform and debates in 2017. Al Jazeera gradually gave me the platform to write about my topic for an international audience. And despite Al Jazeera’s flaws, it was an opportunity I needed.

But after a while, having figured out how to turn longer essays into digestible article- and op-ed-length chunks, the obvious question to me was, Who’s gonna offer me a contract for a collection of essays that were mostly published as articles internationally — especially in these elite New York streets? That was in the fall of 2018. It occurred to me that I could take another approach, to embed these essays as conversations about a post-Western and post-US world. That made me think of Derrick Bell and his best-selling allegories, published as the nonfiction books And We Are Not Saved and Faces at the Bottom of the Well. Bell demonstrated the necessity of critical race theory to describe the permanence of racism within the American matrix in both books. I needed to do something similar, an ms where systems of racist and class-based oppression had been destroyed as part of the climate-change apocalypse, but the narcissism of our current age lingered on in this new world order.

In early 2017, I had written a post where I envisioned a descendant of mine in Olivia, and what her post-Western and post-US world might look like. I sensed this could be useful in furthering my book idea. I began writing up allegories based on my vision of Olivia in 2018, and worked them out for most of 2019. I wasn’t sure I could completely mesh these allegories with the fuller version of my published pieces, or with those essays I hadn’t published. This was why I asked friends, colleagues, frenemies even, to take a look at earlier drafts. My PhD-ed colleagues mostly didn’t get it. My writer buddies told me they liked it, with two telling me “less is more.” Or, they were like, “Can you even sell this in today’s market?”

Then I fully committed. After separating the nonfiction essays from the allegories about Olivia’s world to rework them as standalones, I sensed in my bones that they needed each other. I spent much of 2020 writing and rewriting to bring the two halves together, but cutting and rewriting anything that didn’t fit. Once I got sections to the point of “this works,” I began contacting publishers, agents, and colleagues again. Some obviously liked what they read, but because Narcissism, American Style was now both nonfiction essays and speculative allegorical fiction, they didn’t “know how to sell this book.” It didn’t matter that I identified Bell, Patricia J. Williams, Kiese Laymon, Octavia Butler, and Erica Armstrong Dunbar (among others) who had successfully done what I am doing now in varying degrees with their books.

This is where I stand right now, about to make another run at finding a publisher this fall. I need any and all help I can get. I have previously reached out to folks who have agreed to read and critique, and then, nothing. Sometimes, I find myself trusting no one. The pandemic has made this mistrust worse. If people can’t consistently keep a mask on, how can I put faith in anyone to read my manuscript with care and honesty, assuming they actually read it at all? It would be one thing if I didn’t think my work was good enough. But even the most self-disparaging of writers knows when they’ve written something publishable, if not for themselves, then for the world. This is my Hail Mary. I pray someone will see or sense it, and respond.

Agents and Not Agents, The Hard Way

10 Tuesday Aug 2021

Posted by in 1, Academia, Boy @ The Window, Carnegie Mellon University, culture, Eclectic, music, New York City, Patriotism, Pittsburgh, Politics, Pop Culture, race, University of Pittsburgh, Work, Youth

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Agents from The Matrix (1999) screenshot (cropped), August 8, 2021. (https://matrix.fandom.com)

This is the second of several posts I’ve put together about my journeys as a writer. Please laugh when and where appropriate.

“You always gotta do things the hard way, don’t you?” my one-time professor Barbara Sizemore said with some sighed frustration. It was in response to me telling her I had decided to stay at Pitt, to pursue my history doctorate at the University of Pittsburgh and possibly transfer to Carnegie Mellon to complete it. It was April 1992. We were standing in the main corridor of the third floor of Wesley Posvar Hall (née Forbes Quadrangle), I was on my way back to my grad student cubicle in the History Department. Sizemore was heading back to her office in the adjacent Africana Studies Department. If I had known this would be my last conversation with the prickly educator, her of squinty eyes and well-manicured afro, before she return to Chicago, took a position at DePaul, and passed away in 2004, I would have done more than given Sizemore a blank stare. As the tall, lanky, and sarcastic 23-year-old I was, I probably would’ve said, “Why yes, professor, I really do!”

I knew what Sizemore was really saying. It was about attending a lily-white university, where there were only four tenured Black professors out of 800 total faculty. My advisor Joe William Trotter, Jr. was one of them. Sizemore assumed that going to Ohio State or Temple to earn a doctorate in Black studies would have been my best move. But even though Sizemore was incorrect about my education decision, she was definitely correct about me taking “always doing things the hard way” paths toward so many of my goals.

Claudia Menza became my first (and so far, only) literary agent in July 1999. The idea of finding a literary agent to help me publish my first book was something I had played with as an idea for nearly a year. At least once I had begun to emerge from my state of rage, depression, and sheer burnout from my years finishing my doctorate at Carnegie Mellon and having Professor “running interference” Trotter as my advisor. I made the decision to turn my doctoral thesis into a book that would straddle the fence between the scholarly and the general. I wanted to publish what would become Fear of a “Black” America for a larger audience, to include both the academic and the personal in the same book. No one told me this was impossible. No one said this was the harder road for a first-time book author. I owned books by scholars that had mainstream imprints and labels. And many, if not most of them, had an agent helping them.

Soon after I finally found my full-time gig with the nonprofit Presidential Classroom in the DMV, I went ahead, did some research in those big, thick books on books and lit agents at Pitt’s Hillman Library, and wrote pitch letters to seven of them. Three weeks later, Menza wrote me back offering to represent me.

She started querying publishing house editors in October 2000, just as I was leaving Presidential Classroom for a higher paying nonprofit job working in social justice in DC. I was so busy with work and my New York family and with married life that I took my eye off the process. One year went by, with a few rejection letters here and there. Then 9/11 happened. I met up with Menza in New York six weeks later. I was already there to do a site visit with a social justice fellow. That’s when I learned Menza at this stage of her time as an agent predominantly represented fiction and poetry. Still, she had some high-powered authors under her belt. I remained confident in her and the mysterious process of finding an editor willing to publish me, in between bites of delicious pasta at a wonderful Italian bistro in the Village.

Two more years went by after that. I received rejections from Basic Books, Random House, Palgrave, Oxford University Press, Farrar, Straus, and Giroux, among others. Some stood out because the acquiring editors met to debate the merits for my book before ultimately rejecting it. Some stood out for being two-sentence rejections. I remember Menza saying, “I don’t understand why they don’t want your book.” That was at the end of 2002. By then, even though I remained outwardly confident, I had given up on finding a mainstream commercial publisher. “Maybe I need to go learn how to write again,” I said to my partner more than once. This, just after she became pregnant with our first and only egg.

With the ugly transition between jobs within my nonprofit organization and the birth of and caring for our one and only son, I knew I didn’t have it in me to continue the process of pitch-and-reject with Menza. I was also thinking about writing a memoir, something that could explain how I got to be me. I wrote Menza in March 2004, formally cutting ties with her as my agent. “I wish it had all worked out,” she wrote back.

That July, with some encouragement from my new boss and from my significant other, I decided to look at Fear of a “Black” America one last time, but this time, to self-publish. I went and found a house that did its own reviews of manuscripts and provided adequate enough copyediting to make sure I didn’t embarrass myself. Sometime in that process, Barbara Sizemore died. I read about her death in a nicely done obituary DePaul University put out (The Washington Post obit, not so nice about her years as DC Public Schools chancellor). I imagined Sizemore looking down at me that July and August, shaking her head.

The book came out at the end of August. Somehow, despite myself, I sold over a thousand copies in 16 months, did radio and newspaper interviews and talks and signings all over the DMV. I was happy and a bit bitter, like a cup of black coffee not sugary enough for my taste buds. This book could’ve been so much more, I thought so many times in 2004 and 2005.

But none of this is Menza’s fault, or Trotter’s, or even my fault, not in any direct sense. The world of book writing is more mysterious than the cloistered world of academia, and much more mercurial, too. It’s a popularity contest cloaked in American -isms, especially individualism and elitism (which of course contains racism and misogyny, too). It puts all the effort and blame on you and me. In my case, for not having a job in academia that lined up with my expertise in writing Fear of a “Black” America. For not having a degree from an Ivy League institution, or for not having enough successful writer contacts in my genre(s) or in general. For not living in New York as a writer. Maybe even for not being light enough or good-looking enough.

And, even in the four-and-a-half years of having an agent, for not paying close enough attention to how the industry had become a set of six monopolies. All with independent presses being squeezed, to sell out, to fold, to become niches for a small group of aspiring authors. It went from being an industry where you could pitch your books directly to publishers with or without an agent to “Get outta here!” unless you do have an agent. So many agents would prefer DIY schlock or books that easily fit the tastes of elite or hokey white readers than to ever read a query from me. I’m too eclectic, too determined to write for Black folk and beat up on white ways of thinking. I received more than 130 rejections from agents for my memoir Boy @ The Window, between 2007 and 2011, including one that read, “Alas, another book on childhood abuse!”

So, is it really me making it more difficult, because I like to “do things the hard way?” Is it because I have frequently put the need to pay bills and eat over pursuing my art and craft first? Is it because my writing sucks and agents see that immediately? Is it because I don’t know what I’m doing, or because of all of the above? Well, fam, what I do know is that I need help. I don’t quite know what I need to know to navigate this strange world of finding representation. I don’t quite know what I need to know to make publishing with a reputable press work without representation. Kenny Loggins says “when you can’t give love, you give out advice.” Advice with love is preferable, and usually, specific to where I am.

The Sacrifice of the Lambdas

28 Wednesday Jul 2021

Posted by in 1, Academia, Boy @ The Window, Cleaning, culture, Eclectic, Jimme, My Father, New York City, Pittsburgh, Politics, Pop Culture, race, University of Pittsburgh, Work

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Lambs from living to skewered (cropped and collaged), July 27, 2021. (Donald Earl Collins, via https://www.mygreekdish.com/recipe/greek-lamb-souvlaki-recipe-skewers-with-pita-bread/ and © Alison Toon/Adobe stock)

Most people I’ve met and known over the past 30 years have no clue as to what it is to teach high school, college, master’s and doctoral students. None. They think we who are serious educators just wing it and lecture to death, with no preparation at all. They have no inkling of what it takes to research topics, write articles for different audiences, to work on a book-length manuscript, or to publish one. Nor do they understand the job market — any job market, not just in higher education — or the psychological and emotional burden of holding students’ trust, or the constancy of systemic elitism, racism, sexism, in these elite white and elite Black spaces. 

I know my mom and dad never have. “You might as well have another high school diploma,” my mom said of my 10-year pursuit of my bachelor’s, master’s, and PhD, on the week of my doctoral graduation at Carnegie Mellon University. It was the day after she had finished her associate’s, a ten-year trek on her part.

My dad during one drunken stupor accused me of lying about having earned my master’s in barely two semesters. “Anybody coulda gone somewhere and made up a fake one,” he said in 1992 during my summer visit to New York, when I showed him my actual degree from the University of Pittsburgh. A few weeks later, after talking with his two white bosses, the Levi brothers, my now hungover dad admitted, “they say you can get a master’s in a year.” I said in response, “Really? I had no idea!”

But that’s only the beginning of the sacrifices people like me with advanced degrees and training make in earning these degrees and pursuing careers related to them. I know people whose first jobs were in weird and not-quite-ideal places. University of Maine at Machias. Austin College in North Texas. North Dakota State University. Washington State University. University of Maryland Eastern Shore. Sam Houston State University. University of Mary Washington. Northern Illinois. Illinois State.

Now, before anyone says, “Why, these seem like good places to work,” my response is, “Sure, if you are white!” Yes, I said it. If you are Black, Brown, Indigenous, man, woman, or transgender, most of these are between weird and horrible places to work. The communities around many of these campuses could be or would have once been sundown towns. Or, one could be a place where they tried to lynch someone like me 10 or 20 years earlier. The only people on many of these campuses who know your needs for culture and community play Division I sports or are the other three or four colleagues who aren’t white. To go through two, even three jobs to land at a place that provides one a tenure-line or tenured position — this is a massive sacrifice.

It means living a sort-of half-life, of only focusing on your professional development, or of partners putting their lives on hold so that you can build your career. And all while dealing with an everyday deluge of direct racism, isolation, marginalization, and erasure on the job. If one is lucky, you find community off campus in some of these places. In more white-bred (or more accurately, white-corn-fed) communities, that deluge can turn into a tsunami, and might force you to stay at home and away from these racist and misogynistic and homophobic Children-of-the-Corn-types as much as humanly possible.

There are those like me who never fully believed in making these kinds of sacrifices in order to publish a scholarly article or book, just so that we could get the plum job at a major university. But that choice means sacrifices, too. Like leaving your research and writing behind for a steadier and better-paying gig. But, at least in my case, I couldn’t ask my partner to drop her own aspirations while I took a job in the middle of Nowheresville (Colgate University, Slippery Rock, and Northern Illinois all come to mind here). 

So my first post-PhD job search between 1997 and December 2000 was an urban, mostly East Coast one. I turned down as many job interviews as I took on. I ended up in the nonprofit world in the DC area, though, and the abject racism I faced there was still not as bad as the elitism I dealt with during a job interview I had at Howard University. I said no to the only tenure-track job I was ever offered, with few regrets. But it still meant that I would lack the job stability necessary to build my writing career and to keep a steady paycheck. Not all sacrifices turn out the way any of us expect. 

My parents and other people born before 1955 have had the tendency to say to me in one version or another, “See, that’s why all that book learnin’ aint all that good for you. Better to do work with your hands. That’s how you become a man.” It wouldn’t have mattered if I’d become an award-winning author and full professor, or a senior program officer at the Ford Foundation. As far as they have always been concerned, I was sacrificing my mind to “useless facts.” If I had become divorced or homeless because of my path, on the other hand, they would’ve said, “I told you so.”

For the rest of folks in my life, mine is a “lazy” life, where my liberal butt “gets paid a lot of money to sit around and indoctrinate students.” All built on the fact that I and other faculty only teach for a few hours a week, instead of working from 8:30 to 5 like real Americans. They have no idea that I’ve given up ten years worth of weekends and holidays to prepare for my classes, review papers, grade assignments, to write a piece, to work on a manuscript or a new project, just in the past 13 years alone. Or, to meet with students struggling in the classroom or in life in general. The emotional toll of learning about some student or colleague’s trauma or abuse is incalculable. But, yeah, I’m “lazy” when I take a nap in the middle of the day, because it’s the only way I can get to seven hours of sleep in a 24-hour period five days out of seven.

They have never experienced what it is like to have the same qualifications and make some of the same sacrifices as my more successful colleagues, and not get a specific job or a particular grant. Just recently, I learned that I will not get interviewed for a term faculty position in my department at American University. The job is the same job as the one I have worked at AU for the past three years, but as contingent faculty. Patting me on my head to tell me that I’ve made “valuable contributions to the university,” to students, and to the department does not make up for my sacrifices as a writer, as an educator, and as a historian.

And I still have it much easier than my less lucky colleagues, who may be working at three or even five universities to generate a full-time-equivalent income. Or those who have had nervous breakdowns from the brutal conditions of working for abusive institutions within the nested doll of this matrix of elitism, racism, misogynoir, and other -isms and -phobias that is the United States. Or those who are burned out husks of the educators and writers they used to be. Or still, others who’ve died because of their sacrifice. 

Not all sacrifices are worth it. Then again, assuming my mind and spirit remain intact, I might be able to drill NBA-range 3s and run faster than most of my students until my 75th birthday.

The White-Boy Logic of Supernatural

15 Thursday Jul 2021

Posted by in 1, Christianity, culture, Eclectic, eclectic music, Hebrew-Israelite, Movies, Politics, Pop Culture, Religion

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Jensen Ackles and Jared Padalecki as Dean and Sam Winchester in Supernatural, Season 9, Episode 13 (“The Purge”) screenshot. Originally aired February 4, 2014.

One of the benefits of working from home for years is the ability to take in copious amounts of popular culture in passive and subliminal ways. For more than a decade before the pandemic, my daily schedule included a multitasking routine of writing, teaching, grading, working-out, napping, running errands, and getting my son off to school and my partner off to her job. All the while, I am consuming news and pop culture. BBC World News from 6 or 7 am until I go to the car to drive my spouse to the Metro stop or run errands, sometimes longer. In the Honda Element, listening to my tunes or ESPN 980 (before Dan Synder sold the station two years ago) or WAMU/NPR. And, bouncing from show to show while writing, grading, working out, making lunch, prepping dinner, sometimes taking a brief nap between 1:30 and 2:45 (when my son returned home from school) or between 3:45 and 6 pm (when it was time to pick my significant other up from the Metro). 

Of all the TNT reruns I’d put on in the midday slot over the years, between Bones, Castle, Arrow, and Law & Order, the one that has stuck with me the longest is Supernatural. Its final episode aired at the end of this past year. Perhaps it’s because it’s such a white boy’s show, or because it’s about as American as a show filmed in Vancouver, British Columbia can get. Whatever it was, I went from calling the show “Brooders” and “White Males Brooding” to actually enjoying the series, a not-so-guilty pleasure in between grading, writing, and revising, and yoga poses, planks, pushups, crunches, free weights, and plyometrics.

That doesn’t mean I’ve watched it with an uncritical mind. Just like with what I’ve called “white male angst music” in the 1990s — alt rock and grunge (think Pearl Jam and Live here) — Supernatural is a tour-de-force of whitemansplaining the world. Jensen Ackles and Jared Padalecki as Dean and Sam Winchester might play classic ‘70s rock in their legendary 1967 black Chevy Impala, but they are all “White, Discussion” and Red Hot Chili Peppers’ “Under The Bridge” in their attitudes. Seriously, how do two white dudes get away with mass murder while they constantly “save the world” with the “family business” of “hunting and killing monsters”?

The premise of the show, for the generation of folks who haven’t watched the 15 seasons of episodes between 2005 and 2020 (I watched my first episode in 2012, so there’s that), is that the Winchesters have to fight monsters born of supernatural forces while hunting for a yellow-eyed demon who killed their mother, and eventually, their father. In between bouts with demons, angels, archangels, Lucifer, Leviathans, Knights of Hell, Princes of Hell, the King of Hell, and God, er, “Chuck” himself, the Winchesters battled the usual. Ghosts, vampires, werewolves, skinwalkers, jinns, Greco-Roman, Norse, Incan, and Mayan gods, witches, and whatever other supernatural monster one could imagine. Supernatural was at its absolute best when the focus was on the ancient lore around cultural considerations of the metaphysical.  

But the overarching theme of Dean and Sam Winchester “saving the world” is the great white man’s white lie. How does anyone get credit for “saving the world” when they broke the world, the natural order, multiple times. Here’s a short list of the Winchester’s thirst for revenge leading to Armageddon:

– the father John Winchester selling his soul to the “yellow-eyed demon” to save Dean’s life (Season 1)

– Dean selling his soul to the same demon to save Sam’s life (Season 2)

– Sam drinking demon blood to kill a Princess of Hell and Dean torturing damned souls in Hell, breaking the last and the first of 66 seals to unleash Lucifer and the Four Horsemen on the planet (Season 4)

– Dean not allowing Sam to die after finishing the three trials to forever seal up the gates of Hell, and then tricking Sam into allowing a rogue angel possess him for months afterward (Seasons 8 and 9)

– Dean taking on the Mark of Cain, becoming a demon in the process, and Sam freeing Dean from the Mark, unleashing the Darkness (think if so-called dark matter was God’s sister here) and another universe-destroying force (Seasons 9, 10, and 11)

– The Winchesters allowing a nephilim to live and its power to open up a rift between alternative Earths, a rift that threatened both versions of the planet in the process (Seasons 12 and 13)

– Engaging in a all-out war with God, ending only when they resurrect the nephilim Jack from the Empty, as he become the new God, and the old God becomes just Chuck, “just a slob like one of us,” ala 1990s rocker Joan Osborne (Seasons 14 and 15).

Dean and Sam die and go to Hell, Heaven, and Purgatory multiple times in this series. How narcissistic do even white guys — get to be when they assume that they can come back to life over and over again in order to “save” their brother while also saving the world? Especially when they sacrifice other family and friends to keep each other living and hunting monsters? So many die in this show because of their ignorance, so many who didn’t have to. When you take apart the context of their “jobs” as hunters involves hustling pool tables, identity theft and hacking credit cards, stealing cars, and regularly killing people who’ve turned into monsters or in the midst of demon possession. Any two of these gets Black and Brown and Indigenous folks a one-way ticket to prison or a grave, with no chance for resurrection.

It’s hilariously macabre and the height of arrogance of two white guys believing they are doing more good than harm. But isn’t Supernatural really just a parable about how white guys see themselves in the world? Everything is there for the taking, it’s all about us and our lives. Between the drugs, the boozing, the meaningless misogynistic sex, the endless buffet of death by food, Supernatural is the ultimately expression of white male-dominance, or at least, the quest for it, from two average Joes.

Near the end of Season 9, Episode 13 (“The Purge”), Dean and Sam talk, not for the last time, about putting their need to save each other from certain death above the needs and lives of everyone else. Sam has a moment of complete clarity, one that fades away by the end of Season 10 (see the list above). 

You think you’re my savior, my brother, the hero. You swoop in, and even when you mess up, you think what you’re doing is worth it, because you’ve convinced yourself you’re doing more good than bad…but you’re not…What is the upside of me being alive?

Dean’s response:

You kidding me? You and me — fighting the good fight — together.

It never occurred to these characters, and perhaps, even the actors, producers, directors, and writers for Supernatural, that Dean and Sam Winchester are the real monsters here. Two everyday white guys who think that killing monsters and a host of supernatural entities is the solution to everything. Did they even consider that killing monsters might be the reason they need to keep hunting, because they create more each time they kill one? Or that maybe because the US is a place full of kidnapping, rape, enslavement, genocide, and murder, this nation is a natural incubator of supernatural hauntings and possessions, a place where all monsters can thrive? Did they ever see themselves as the humans they never seem to understand in the show? Probably not until the final episode in Season 15, when Dean and Sam finally die — this time for good, and for good. 

I never wanted them to “Carry On Wayward Son,” as Kansas sang it in 1976, as a choir of white girls sang it Season 10, Episode 5. As sad as it was to see the final finale of Dean and Sam Winchester, we need a world without the hundreds of millions of Dean and Sam Winchesters around us, an anti-racist world. A world without these narcissistic and yes, racist and misogynistic and homophobic monsters who see themselves as do-gooders.

The Unbearable Whiteness of White Proximity Fuses, Part II

03 Saturday Jul 2021

Posted by in 1, Academia, Boy @ The Window, Carnegie Mellon University, culture, eclectic music, Pittsburgh, Politics, Pop Culture, race, University of Pittsburgh, Work, Youth

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Front cover of my copy of Rebecca Carroll’s Surviving the White Gaze, July 3, 2021. (Donald Earl Collins)

The other and more direct parallel with Carroll’s journal in Surviving the White Gaze that comes to mind was someone I worked and went to school with at the University of Pittsburgh. For the sake of simplicity, let’s call her Heather, because I can no longer recall her name. She was a Black/biracial young woman from Erie, Pennsylvania, adopted by a white couple as a baby. I met her my third year at Pitt in 1989, when she was a freshman. We worked together for a while on a psychological epidemiology project that the great Juan Mezzich ran, as part of a larger project to revise the Diagnostic and Statistical Manual of Mental Disorders (turning the then-DSM-IIIR into the DSM-IV) and the International Classification of Diseases (turning the ICD-9 into the ICD-10). Aside from the fact that I thought Heather was cute, the first thing I noticed about her was her hair. It had been straightened, permed, and blown out beyond all recognition of a curl. Even at 19, I knew immediately that she was biracial, and didn’t have a Black woman who knew how to do her hair in her life.

I didn’t say a word. It wouldn’t have mattered if I did. Heather was very much standoff-ish, to me and the couple of other Black and Brown students who staffed up the project. She got along extremely well with the White students and staff, though. She rarely said hello when I saw her outside of Western Psych, on or off campus. Honestly, I felt sorry for her.

In the summer of 1991, when I became a full-time staff member on another of Mezzich’s projects, I worked with Heather for a few weeks. This was when I learned more about her upbringing and extremely limited exposure to Black folk. The questions she would ask about what I listened to on my Walkman, songs by Anita Baker, PE, Earth, Wind & Fire, even Phil Collins. She was maybe two years younger than me, and only knew ‘70s and ‘80s rock. Wow.

But, one day, Heather or another staff member had asked me a question — I don’t remember who asked, or what the question was. It one with a historical component, which I answered in typical granular exactitude, because, me. “Are you autistic or something?,” Heather immediately blurted out, as if I had some disease she had yet to see first-hand. “If by autistic, you mean the Rain Man movie? No, I just have a very good memory,” I answered back, rhetorically, with irritation and a bit of side eye. “Oh, I didn’t mean to offend you,” Heather continued, and then she went on for several minutes about why she thought I was autistic. 

I was gobsmacked by Heather’s entitled ignorance and by the racist and ableist implications of her questions and response. Seriously? I’ve been living on my own, mostly successfully navigating the world since I was 17, adulting since I was 12, and somehow I’m Dustin Hoffman with the most serious form of this neuro-social illness, all because my memory is stronger than a bank vault made of titanium and cobalt? And all this because I’m probably the first Black guy you’ve met with a bachelor’s degree from anywhere other than podunk Western Pennsylvania? All this and more ran like a chyron in my brain as I listened to Heather, now sensing my ire, stumbling over her words to make herself sound like she knew what she was talking about.

There were more than a few places in Carroll’s book where I saw the girl and the young woman that I saw in Heather, taking all of her assumptions about Blackness, about Black people, about whiteness and race, and applying them, often in damaging ways. I was absolutely disgusted at what Carroll and Tess did to her one-time English professor and advisor at the University of New Hampshire. I literally stopped reading Surviving the White Gaze for a week afterward. How could you?!?, I thought. Even with zero exposure to Black men, you had to know you put this man’s job in jeopardy over a minor utterance. You had to know that Tess’ vitriol toward him was about him not finding her intellectually interesting, or worse still, rebuffing potential flirtations. As a professor teaching mostly white students off and on for nearly three decades, I know this part all too well.

Carroll gradually embraced and uncovered her Blackness, over time, through years of alcoholism and eating disorders and fresh traumas from folks White and Black in her life. Her experience, though, is all too uniquely common from where I sit. There is the all too common story of someone the product of a Black-White relationship stumbling through life to discover their true selves and their Blackness, a story that is sadly still so easy to sell to a white-dominated book publishing industry and to a white-reading audience. But even for this sub-genre, Carroll’s willingness to reveal more than she conceals is really necessary, even as it feeds the beast, because she is still a work-in-progress at 52. 

There is also the all-too-common assumption that Black folk who aren’t raised by white parents or the product of a biracial pairing somehow don’t have any identity issues at all. Seriously? Anyone ever read Toni Morrison’s The Bluest Eye? We live in a white-dominant society, with white supremacy and white-ways as its main, everyday features. While most Black folk know and love their Blackness, it does not mean there isn’t a struggle to secure our identities as Black folk. Proximity to white people, class privilege, gender, age, and more play a role into the growing-pains-trajectory of how each of us gets to be comfortable in our own skin (or not). 

As for Wendy and Heather, it’s difficult to say where they are on their own trajectories. I haven’t spoken to either of them in years, decades in Heather’s case. But last time I saw Heather, it was May 1995 at a Pharmor store in the East Liberty section of Pittsburgh. I had just received my Spencer Fellowship award to write my dissertation. Heather was different, too. Her hair had gloss and curls, and her clothes fit better. We ended up talking for a few minutes, with me wishing her well. In thinking about this moment, I’ve wondered if Heather ever fully embraced her Blackness. In my imaginations, I think of her as having done so.