Between the Black Body and Me
R. L. STEPHENS
Writers like Ta-Nehisi Coates focus on the metaphysics of racism to the point of obscuring its material realities.
Liza Bramlett was a slave. She lived on a cotton plantation in the Mississippi Delta during the nineteenth century. White men raped her repeatedly throughout her life. They traded her body amongst themselves in exchange for calves and piglets. In the end, Liza gave birth to twenty-three children, twenty of whom were conceived by rape.
One of Liza’s daughters, Ella Townsend, was born after emancipation, but remained in the bondage of sharecropping in rural Mississippi. As an adult, she carried a pistol with her in the fields, determined to protect herself and the surrounding children. One day, a white man on horseback rode into the fields. He had come to abduct a young black girl.
Ella, carrying her pistol in a lunch pail, intervened. “You don’t have no black children and you’re not going to beat no black children,” she told the intruder. “If you step down off that horse, I’ll go to Hell and back with you before Hell can scorch a feather.”
“I do not believe that we can stop them … because they must ultimately stop themselves,” Ta-Nehisi Coates says of white racists in the final paragraph of his bestseller
Between the World and Me, written as an open letter to his son
. Coates describes racism as galactic, a physical law of the universe, “a tenacious gravity” and a “cosmic injustice.”
When a cop kills a black man, the police officer is “a force of nature, the helpless agent of our world’s physical laws.” Society is equally helpless against the natural order. “The earthquake cannot be subpoenaed,” says Coates.
In a widely replicated gesture, Coates locates the experience of racism in the body, in a racism that “dislodges brains, blocks airways, rips muscle, extracts organs, cracks bones, breaks teeth.” In the slim volume, fewer than two hundred pages, the word “body” or “bodies” appears more than three hundred times. “In America,” he writes, “it is traditional to destroy the black body.” Another brooding passage dwells on the inevitability of this violence.
It had to be blood. It had to be nails driven through a tongue and ears pruned away. It had to be the thrashing of a kitchen maid for the crime of churning the butter at a leisurely clip. It could only be the employment of carriage whips, tongs, iron pokers, handsaws, stones, paperweights or whatever might be handy to break the black body.
Yet Coates’s descriptive language and haunting narrative are not mere metaphors. They act as a kind of ontological pivot, mystifying racism even as it is anchored in its physical effects.
Metaphor has long been used to capture racism’s almost unimaginable brutality. Lynching became “strange fruit” in Abel Meerpool’s song, made famous by Billie Holiday. In a wry, tragic innuendo, rape was referred to in Black communities as “nighttime integration.” The use of metaphor is not in itself an obfuscation. But Coates wields metaphor to obscure rather than illuminate the reality of racism.
What we find all too often in Coates’s narrative universe are bodies without life and a racism without people.
To give race an ontological meaning, to make it a reality all its own, is to drain it of its place in history and its roots in discrete human action. To deny the role of life and people — of politics — as Coates does is to also foreclose the possibility of liberation.
No Helpless Agent
Ella knew her mother Liza’s unimaginable suffering, but her memory was not a yoke on her shoulders. It provoked something in Ella.
As an adult, she did not see the white predator stalking the fields as some helpless agent. She took matters into her own hands. There was no gravity strong enough to break her will or loosen her grip on her pistol. Her efforts rippled beyond those cotton fields.
Ella taught her own daughter, Fannie Lou Hamer, not only to struggle, but to resist.
Fannie Lou was born into a sharecropping family in rural Mississippi but would go on to become a beacon of the Civil Rights movement. She is best known for her work registering black voters in Mississippi, most famously during 1964’s Freedom Summer, at great personal risk.
Police arrested and beat her. White racists shot at her. Lyndon Johnson dismissed her as an illiterate. In
1973, an interviewer asked her, “Do you have faith that the system will ever work properly?” By then, Fannie Lou had seen a decade of setbacks and false dawns since first walking off her plantation in 1962 to fight for Civil Rights. She responded,
We have to make it work. Ain’t nothing going to be handed to you on a silver platter. That’s not just black people, that’s people in general, masses. See, I’m with the masses… You’ve got to fight. Every step of the way you’ve got to fight.
She marched. She sang freedom songs. She testified. She co-founded the Mississippi Freedom Democratic Party. For her, the logical solution was political: uniting a powerless many against a powerful few. White racists could be stopped. Black people could resist, and Fannie Lou and so many others did just that.
Fannie Lou knew that the wages of racism were measured on the body. “A black woman’s body was never hers alone,” she once remarked. White doctors sterilized her without her consent during a minor surgery, a barbaric intrusion so common she called it a “Mississippi appendectomy.” However, though she knew racism’s physical toll, she drew inspiration from stories of black resistance passed down orally across the generations. Hamer recalled her grandmother’s will to survive and her mother’s weapon of protection.
These intergenerational resistance narratives, according to Charles Cobb in his book
This Nonviolent Stuff’ll Get You Killed, “underlay a deep and powerful collective memory that was invisible to whites but greatly affected the shape and course of the modern Freedom Movement.”
As a result, Fannie Lou and so many others possessed an intimate knowledge not only of their own human dignity, despite the racist brutality they endured, but also of the human frailty of their racial oppressors.
In the years before Fannie Lou’s political struggle began, whole communities, black women and men, rose up against the violence that was forced on black women’s bodies. Feminist historian Danielle McGuire
argues this anti-rape community organizing in Alabama laid the foundation for what eventually became the Montgomery Bus Boycott. She observes, “The majority of leaders active in the Montgomery Improvement Association in 1955 cut their political teeth demanding justice for black women who were raped in the 1940s and early 1950s.”
Despite being a poor, black sharecropper drowning in the poverty and racial terror endemic to rural Mississippi, Fannie Lou held fast to her forbearers’ stories of resistance. She did not resign herself to fatalism, as Coates does.
The "Birthmark of Damnation"
Coates too takes a multigenerational view.
Between the World and Me is framed as a letter to his son. However, rather than seeing a legacy of resistance, he finds a lineage of blackness defined by fear and dysfunction.
“When I was your age the only people I knew were black, and all of them were powerfully, adamantly, dangerously afraid,” he writes. “I felt the fear in the visits to my Nana’s home in Philadelphia,” Coates continues. “And I saw it in my own father.”
My father was so very afraid. I felt it in the sting of his black leather belt, which he applied with more anxiety than anger, my father who beat me as if someone might steal me away, because that is exactly what was happening all around us.
Coates describes his condition, and that of all black people, as a “birthmark of damnation.”
The resistance stories passed down to Fannie Lou and so many others spurred them to march. Coates’s narrative, riddled with fear and futility, begs us to retreat.