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Tag: institutional racism

The White Card by Claudia Rankine

Claudia Rankine’s latest work is a play. It premiered last year in Boston and was covered locally, but I didn’t know anything about it until I saw an advance copy of the published script listed as “coming soon” at my library’s Overdrive account. The White Card is a two-act play that explores whiteness, white privilege, and how they affect art, and it grew out of Rankine’s public Q&As about her much lauded poetry collection, Citizen: An American Lyric. The play has five characters: Virginia and Charles, a wealthy white couple who are art collectors, their college-aged son Alex, their white art dealer Eric, and Charlotte, a youngish black artist whose work most recent work they hope to acquire.

White Card book cover

The first act takes place in Virginia and Charles’s apartment, which is filled with art on the themes of racism and protest. They’ve given their black maid (their description, not mine) the night off and are hosting Charlotte and Eric to dinner. Charlotte is picky about whom she will sell her artwork to and Virginia and Charles know she hasn’t decided about them, but they seem pretty confident that their liberal credentials will get them what they want. The conversation is stilted and predictable, a reprise of set pieces we’ve seen at least since Guess Who’s Coming to Dinner. Reading the dialogue rather than seeing it performed emphasizes how stylized it is, but it’s mostly effective and builds to a shattering climax in the first half, when Virginia and Charles reveal their latest race-centered acquisition. They see it as part of their overall collection, which they have curated to emphasize the racism and inequalities black Americans live with, and they (and to a lesser extent Eric) can’t understand why Alex and Charlotte find it exploitative and unacceptable. It’s a predictable outcome, but it is powerful nonetheless.

The second act takes place a year after this dinner party and is a two-hander between Charlotte and Charles. And it occurs on Charlotte’s turf: Charles comes to her studio. Charlotte’s experience the previous year led her to abandon her work in progress, which was a restaging of the Charleston church killings. She has come to believe that constantly showing black bodies in states of distress or as subjects of violence reinforces whiteness and the white gaze rather than challenging it, and she has turned her method to a different subject: Charles.

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ReaderWriterLinks

This week’s links lean heavily toward the Hugo awards. I’m sure most of you have read plenty about them; Robin has been providing links in several DA news posts, and Natalie has done an excellent, comprehensive job in rounding up a wide variety of reactions and canine defensive maneuvers. I’m linking to a handful of pieces that I don’t think are in either of those locations and which you may not have seen.

First up, Pep at Two Dudes in an Attic talks about the Puppies from the perspective of a white, male, Mormon reader of SFF. I found the Two Dudes blog a few months ago because Pep (I think it’s mostly Pep) wrote three great reviews of Aliette de Bodard’s fantasy trilogy. And he’s a political scientist, so his reviews sound the way I think. It’s not at all because the Dudes’ pseudonyms are Pep and Jose and the early ratings are in terms of football teams. Nope. Anyway, his take on the Hugopocalypse is pretty unambiguous:

Brad’s religion expressly forbids any sort of diversity-motivated hatred, and I have no doubt that Brad himself is a decent guy. Unfortunately, Mormons have a checkered history of racism, homophobia, and misogyny, and there is a deeply rooted strain of benevolent bigotry in Mormonism. (Full disclosure: I am Mormon myself, for those who are new to the party here, and I am allowed to say things like this. Anti-Mormon spittle flinging from anyone, no matter the political or religious affiliation, will be squashed like a loathsome cockroach.) I fear that Brad, no matter how well meaning, has a blind spot right where all the non-white, female, and/or LGBT people are, a blind spot endemic to his native culture that I am not immune to either. I don’t think he sees the full implications of what is going on here.

Worse, he refuses to repudiate the spiritual leader of Puppy-dom, the singularly distasteful Vox Day. (Speaking of loathsome cockroaches.) If the gentle reader is not acquainted with dear Vox, count your blessings. Anyone looking to be outraged is welcome to Google the man, just be ready for a shower afterwards. Possibly in hydrochloric acid.

I encourage you to read the whole thing, and to bookmark the blog. The posting schedule is erratic but the content is worth waiting for.

The second post is one Athena Andreadis linked to in one of her great posts on the Hugos. You should follow Athena’s blog too, if you aren’t. She writes about science, gender, and SFF, and she writes stories and edits SFF anthologies in her spare time (I guess days on the East Coast are longer, because that’s the only explanation). Joshua Herring takes apart Abigail Nussbaum’s troubling and confusing post about why she is going to vote No Award rather than vote for Laura Mixon. I don’t know Herring, but this is an excellent demolition of an argument that should have collapsed of its own weight:

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