Hilton Als… damn, White Girls was splendid and queer and pummeled me with pain and experience I can never know because of who I am. Though I am hell of well read, our daily-lived references of poets and words moved past each other almost never touching. Just like our preoccupations. Our ways of being in the world, especially the ways we are with others in the world…I have never ever been a we in the way he describes. I hated Scarlet in Gone With the Wind, and he loved her. I finally understood a little better how I feel about Michael Jackson. Things like that…well, they cracked me open a little more, the kind of gift you don’t even know to ask for, could never demand if you did know because you can feel the cost to its author. The kind of gift you are always grateful for. Even though it hurt just a little to read. At the same time, somehow, I can see why these words, many of them at least, would appeal to the readers of The New Yorker. They were the ones that pushed me further outside maybe, made me feel a bit of voyeur staring in at that cocktail party I never had the credentials to enter. Though maybe too they give me a little more appreciation for that literary streamlining of all that is ‘worthy’, swimming against the tide of my south west/west-coast poor white girl bias against anything held up to me as the place to find Culture with a capital C.
Maybe. It’s just another world, isn’t it, one among so many all scrambled up within us and outside of us. We tend to give ones like this a little more power though, I think. I resent that. But it’s nice to find something like this there though.
Just a few quotes — though the power of this book lies in nothing that can be quoted, just to warn you. That goes way beyond some insights into writers or society…
O’Connor delighted in portraying the forms of domestic terrorism. It is a Catholic tenet that Hod judges by actions, but virtually all her white woman characters judge by appearances. O’Conner greatly adired Faulkner. “Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down,” she remarked of Southern writers’ relationship to the Master…What she describes is far more evil: the nice lady on the bus who calls you “nigger” by offering your child a penny; or the old woman who loves to regale her grandchildren with stories about the “pickaninnies” of her antebellum youth. These are the women who wouldn’t know grace if it slapped them in the face–which it often does. And why would any black person want to belong to the world that these women and their men have created? (121)
I don’t know what I love more, the vision of evil or O’Connor’s quote about Faulkner. More on evil in the eyes of white people…
Of course, one big difference between the people documented in these pictures and me is that I am not dead, have not been lynched or scalded or burned or whipped or stones. But I have been looked at, watched, and seen the harm in people’s eyes–fear that can lead to becoming a dead nigger, like those seen here. And it’s those photographs that have made me understand, finally, what the word nigger means, and why people have used it, and the way I use it here, now: as a metaphorical lynching before the real one. Nigger is a slow death. And that’s the slow death I feel all the time now, as a coloured man.
And according to these pictures, I shouldn’t be here talking to you right now at all: I’m a little on the nigger side, meant to be seen and not heard, my tongue hanged and, with it, my mind. (135)
I loved too the piece on Malcolm X’s mother Louise Little.
The Autobiography plays out the violence of their feelings toward the coloured immigrant. Once Malcolm has identified his mother as an immigrant in his book, it is impossible not to see her at a remove. That is the true nature of difference: something stupidly defined so as to be controlled. (156)
But is it?
More on difference in thinking about Eminem, and his mother…
That Mathers should be open to a musical culture not his own is interesting. For some artists–white as well as black–there is the sense that delving into “otherness” allows them to articulate their own feelings of difference more readily. (173)
The other within the other within the other…so much difference we shall never come to the bottom of it, never control it. Should not want to. Yet seems like this desire to contain and control, and the violence that arises from it, is one of the dynamics that is best at breaking us. Too often it kills us dead.
One last note, a smile and a surprise that Baudelaire should have succeeded in liberating someone…André Leon Talley, editor-at-large for Vogue.
Talley’s immersion in French gave him a model to identity with: Baudelaire, on who work he wrote his master’s thesis, at Brown University in the early seventies. And it was while he was at Brown, liberated by the Baudelairean image of the flâneur, that Talley began to exercise fully his penchant for extravagant personal dress. (197)
I really don’t like Baudelaire, and kind of hate this canon of white men flâneuring about the city because they can, but I am trying to be less judgmental because all of us need different things, and this is helping.
It ends with a sprawling, heartbreaking exploration of the world of Richard Pryor that kept me from sleeping. I have another small note, to find and read Henry Duman’s ‘Ark of Bones’, poet murdered in Harlem’s train station.
This of course, does not even touch what this book meant to me as I read it, but I don’t really know how to do that. Except that it highlights to me again that some cannot choose whether or not people stare with hate and fear at their difference. But us straight white girls? We can often choose. How important, then, that we join our own differences with those of others and face down the hatred together, come what may.
[Als, Hilton (2013) White Girls. San Francisco: McSweeney’s.]