In several interviews, Q&As, and most recently in this conversation with Marc Lamont Hill, Kiese Laymon has talked about being the kind of Black writer whose love for Black people will not allow him to devote his art to pleading with “good” white people to change their ways. Each time he’s said this, I nod in self-righteous agreement. Same. I think to myself that my concern for Black people spans locations in time and space; luxury hotels and wealthy buyers displacing communities in Ghana, and in the Sea Islands off the coast of Georgia, communities being lost to the relentless and raging Atlantic, African migrants drowning in the Mediterranean, police brutality from Ghana to Brazil to the US, government neglect of or refusal to provide safe infrastructure, and so many other intentional cruelties. Yes, I think to myself, I am concerned, and my concern is justified and right and urgent.
And yet I am afraid that I have become a parody of a parody in the following ways:
moves thousands of miles away from home
goes to grad school
encounters casual and overt racism in and out of the classroom
encounters Suzanne Césaire
shaves a not insignificant portion of head
throws the phrase class struggle into casual conversation
My “concern” only goes as far as I will let it, so that I’m realizing that even if I’m not interested in speaking to white readers at all (I mean really, you all can take this or leave it and I’d be totally alright) I might be the writer who is making it her ministry to plead with “good,” “well-meaning” elite Ghanaians that they too must change, and to attack the ones who do not even try to pretend they mean well towards those who are affected by their hoarding of wealth . My situation and Laymon’s are not analogous; in my “us” and “them” scenario, I belong more closely to the group who is resting their feet on the backs of the large exploited majority.
“The race for economic fortune, diplomas, unscrupulous social climbing. A struggle shrunken to the standard of being middle class. The pursuit of monkeyshines. Vanity Fair.”
-from “The Malaise of a Civilization,” Suzanne Césaire
We—and if you feel yourself implicated in this we then I’m definitely talking to you—sat in the same classrooms together, accruing an obscene amount of social capital, together, even those of us who see ourselves closer to the “middle,” those whose parents who had it like that some years and didn’t at other times, those whose parents didn’t not clear school fees checks with ease. You, whose grandfather’s face is on Ghana’s banknotes, and you, whose parents own several businesses most Ghanaians do not have the money to patronize, and you, who felt bad that most Ghanaian children lacked what we had in such excess we barely sniffed at but carried on in blissful entitlement anyway, and you, self-obsessed writer who is preoccupied with how often you write about the sun and the moon in all these precious and sentimental ways as if we aren’t all so close to burning alive. I’ve also been worrying about how basic, unexpansive, and decidedly not breathtaking my writing is. I’ve been reading a lot of Dionne Brand and every word I’ve written has felt unworthy ever since.
I’ve been talking a lot about people wearing white and sipping champagne at 2pm at the polo match, and I need a new image—I’ve used this one so much I might as well have it tattooed—but you know who you/we are. It’s not that I think I’m superior, more “radical” or more forward thinking, or that a few self-righteous blog posts equal class treason (but in the right direction, in solidarity with those most oppressed) or some other pretentious exaggeration, nor do I feel that now I have read Claudia Jones I’m ready to tell everyone how ridiculous and terrible we all are, how grotesque and excessive your “high society” is and has been.
I’m just wondering if I’m making it my job to do this cajoling and convincing, and if I even have the words to be successful. There’s always something prickly to me about aligning myself with people who have done or benefit from so much harm to other people, even if this alignment is a device put in place to point out that I’ve seen you up close and you need to be stopped. Power acts and consolidates in ways writers far more impressive and diligent than myself have not succeeded in stalling, or is that too narrow-minded, too pessimistic? Laymon expresses this same sentiment in the conversation I reference earlier, citing Toni Morrison and James Baldwin as examples of people who haven’t quite been able to coax the “good” white people away from their racism and the power it confers upon them. [Although I don’t know that Toni Morrison was ever interested in doing so…] If I were to stand in the center of Accra and scream about proletarian revolution, wouldn’t someone ask me, so you’ve finished enjoying in America and now you want to shout about equality?
I am standing at an important point in my writing, not a crossroads (too over-traveled) more like a dusty no-place in the back of my own subconscious. I have decided that I cannot afford the indulgence or the audacity of losing hope when other writers who have made me and my writing possible have written under threat of harm or death, in times maybe more bleak than these. Reckoning with the dangerous power you wield doesn’t mean that you are solely responsible for all of Ghana’s inequality. (This caveat also feels prickly to me. Why do I feel the need to give you this small wriggle room?) It means that your life is being made possible by exploitation and death, yes, the cost is in human life, and I feel I must say so again, this is not hyperbole. So reckon with this, and then decide what you will do. I’m reckoning and writing, as always, even as I know this is not nearly enough. So what next?
(Image source: Wikimedia Commons)