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Cytat
Do celu tam się wysiada. Lec Stanisław Jerzy (pierw. de Tusch-Letz, 1909-1966)
A bogowie grają w kości i nie pytają wcale czy chcesz przyłączyć się do gry (. . . ) Bogowie kpią sobie z twojego poukładanego życia (. . . ) nie przejmują się zbytnio ani naszymi planami na przyszłość ani oczekiwaniami. Gdzieś we wszechświecie rzucają kości i przypadkiem wypada twoja kolej. I odtąd zwyciężyć lub przegrać - to tylko kwestia szczęścia. Borys Pasternak
Idąc po kurzych jajach nie podskakuj. Przysłowie szkockie
I Herkules nie poradzi przeciwko wielu.
Dialog półinteligentów równa się monologowi ćwierćinteligenta. Stanisław Jerzy Lec (pierw. de Tusch - Letz, 1909-1966)
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.According avoice to his informants at this point in the narrative not only would dis-place some of Griffin s authority as spokesman by situating his voice incritical relation to other voices, but it would also upset the whole econ-omy of Griffin s sentimental portraiture, in which pathos depends uponpassivity.If the dinner table symbolizes commonality as well as com-munity in its ideal political and social form, the beloved community imagined by Martin Luther King Jr. then Griffin s staging of this scenein BlackLikeMe would seem to suggest that silence, or the denial of blackpolitical agency, is paradoxically the source of black political agency,insofar as it is the means by which blacks win concessions from whiteelites.Silent suffering and making do the two dominant tropes inGriffin s description are in this context both sources of sentimentalappeal and the pretext of white liberal political alliance across the colorline.Although BlackLike Me s sentimental narrative reaches a climax withGriffin s description of his night with a poor southern family, it is alsoduring his stay with this family that Griffin s growing distrust of white-ness enters his unconscious in the form of a nightmare about his ownlynching: White men and women, their faces stern and heartless,closed in on me.The hate stare burned through me.I pressed backagainst a wall.I could expect no pity, no mercy.They approached slowlyand I could not escape them (122).Griffin s imagination of his entrap-ment by a white mob would seem to symbolize his emerging conscious-ness of being bombarded by the sheer weight of evidence contradict-ing the lie of harmonious southern race relations.Moreover, the dreamwould seem to indicate that despite the deeply flawed foundation ofGriffin s ethnojournalistic experiment, his experiences exert a transfor-mative power over Griffin s self-conception.Not surprisingly, in the process of shedding his illusions about theSouth, Griffin is left feeling somewhat naked himself.In a passage thatdescribes his rather ignominious arrival in Georgia (shame now asso-ciated with the heart of whiteness, rather than of darkness), Griffin ex-presses this sense of bareness rhetorically, his normally straightforward,sometimes clunky prose slipping unsubtly into irony: I was back in theland of my forefathers, Georgia.The town of Griffin was named forone of them.[I].carried the name hated by all Negroes, for former White Identity in Black Like Me 177Governor Griffin (no kin that I would care to discover) devoted him-self heroically to the task of keeping Negroes in their place. Thanks inpart to his efforts, this John Griffin celebrated a triumphant return tothe land from which his people had sprung by seeking sanctuary in a toi-let cubicle at the bus station (140).In the passage that follows, Griffin,his supply of oxsoralen now depleted, removes the stain from his facewith cleansing cream and scrubs the rest of his body with an undershirt,until he is satisfied that he can pass for white. For the remainder ofhis experiment, Griffin switches back and forth between identities, re-moving the dye when he wants to be white and reapplying it when hewants to become black again.In contrast to the consternation and dis-comfort his disguise once inspired, these more rapid transformations donot seem to faze Griffin.A Time magazine article about his Journeyinto Shame series unintentionally puns on the shift in Griffin s sensi-bility in the caption below a photograph of him, which reads: After fourweeks as a Negro, Griffin harbors new doubts about his own race. 37Whether his own race refers to Griffin as an individual or whites ingeneral, in fact the experiment in passing has proved transformative.Although Atlanta the New South promises respite from the night-mare of Mississippi, Griffin no longer needs to shield himself from thedamage such discoveries inflict on his white self-image.Feeling like shit,he seeks sanctuary in a toilet stall.REFLECTING BACKIt is not easy to escape mentally from a concrete situation, to refuse its ideology whilecontinuing to live with its actual relationships.Fromnow on, [the colonizer] lives hislife under the sign of contradiction which looms at every step, depriving him of allcoherence and all tranquility.38 albert memmi, The Colonizer and the ColonizedIn his 1973 follow-up articles to the original Sepia series that becameBlack Like Me, Griffin draws on the historical lessons of the precedingdecade to reexamine the status of Black Like Me as a workof civil rightsadvocacy and to rethink his role as a civil rights advocate.In particu-lar, What s Happenedsince BlackLike Me (the name given to the epi-logue of the second edition) reflects the generational shift in tactics andgoals that accompanied the transition from a politics of rights in the 178 Crossing the Linelate 1950s, which emphasized integration and interracialism, to politicsof power in the mid-1960s, which emphasized black pride, nationalism,and economic empowerment.The shift in civil rights heralded a periodof rift what Griffin calls a new area of unknowing between blackactivists and white liberals, one with enduring repercussions.GodfreyHodgson argues that the 1965 Watts riots are a watershed in this his-tory, marking the beginning of a period when the same events tookon utterly different meanings for white people and for blacks. 39 Thebreakdown of an alliance between black and white liberals, which pre-viously had been exemplified by moderate groups such as the naacp,resulted in changes in the membership and the philosophy of blackpolitical organizations
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