Violence: A Call to Action

 violence2

We are confounded, once again.

Suppositions, stereotypes, generalizations, abstractions: these collide as we await the facts.

Apprehending  facts,  understanding shuns us.

We discern no single truth will ever revive the moment  that broke our world.

Narratives – colored by dogma; reenactments – suffused with pain; chronicles –  cold with science; reports – protective of particular interests; all emerge, and, in profusion, crowd the event itself.  Uncertainty and  shared vulnerability; guilt and shame; sorrow and loss; power and powerlessness; these are now the stuff of advancing legend and turgid conflict.

If it is a young white man with a gun, the surge to blame the bullies; invective on the doctors and the teachers who let that man-child walk unmedicated on the street.  Condemn the mothers, and the videos, and Hollywood. And, of course, the gun laws, our cowboy culture caused the crime.

If we face a  military mass murderer, our cries become less certain.  Again, the doctors, and the gun laws are to blame.  But we, also, shoulder shame:  we mistreat our “heroes.”  Those we trained to kill  for country, asserting a  just cause, conceiving war will leave no trace on the young psyche; the fragile soul  sent forth in isolation, sometimes desolation, and discarded on his return.

And if police personnel kill, our  bonds may fracture: this collusion that we all risk as much each day.  More splintered if the kill happens to be racial:  that this is not happenstance is suddenly exposed.

Certainly, not because white cops seek to kill black children.  And,  not because those of color commit more crime. But because how we deploy our civilian control resources puts those with less more at risk than those with enough.

But,  in the frenzy and the fury that follows the murder, in the necessary quest to grasp the moment, restore order, and prevent another kill, the seeds of fundamental change are never sown.

Nor is the ground prepared.

Individual justice may not  be possible.

And  the roar which follows, creates a tunnel of distortion.

Calls for basic education are silenced by talk of higher taxes. Pleas for jobs with living wages are termed disloyal and greedy. Proposals for representation of all races in government and industry  are discarded as “racist.”

We have entered a passage where shrilled voices  dissipate without communication.

Ours is a pornographic relationship with the gun.  The constitution did not guarantee private home military arsenals.  But in the days of 3D printers, the gun control lobby  cannot continue to fight the battle it did in 1985.

Violence occurs by gun. By knife, machete, fist and bean bag bullet. Drug overdoses and untreated viruses in poor communities deliver violent death.  Violence is imposed  through hunger caused by poverty, by disease, by inadequate housing.  Income inequality is violent.

Around the country, the brave are speaking loudly; some so clearly the great vacuüm of purpose may be filled.

Again, there are vigils which  mythologize the vibrant humanity of the dead.

Still, more are dying, more are killing, old refrains are repeated,  too few are listening.

If any one of us  succeeds in exiting the tunnel, perhaps change could be instigated.  Not through some major media event or  by savvy use of the internet, crowd-funding or any other modern, inspired, tactic.  Perhaps, the time has come for wholly “retro,”  and in that sense, “conservative” action:  perhaps the time has come when the only voice clearly heard is our own: the change we seek must begin within ourselves ,and, once seeded there, in our sphere.

 “Everyone thinks of changing the world, but no one thinks of changing himself.”
Leo Tolstoy
 

.

http://www.blogsbywomen.org.

Realizations in Black and White

 

I love film.  I love watching films in a nice theater with deep comfortable seats and equipped with an audio system that will allow the soundtrack to encircle me.  I have found films healthy food for my intellect, enhancing for my literary sense, challenging for my mind, directing for my reading.  But I can recall few  films that can begin to meet the power or the challenging intellectual and emotional impact of   Fruitvale Station.

If you had asked me before I entered the theater whether I was aware of racism in our society, I would have said, quite reflexively, in fact,  “of course.”

However, driving home after watching the power of this film, I recalled what had seemed to me at the time an embarrassing, but not so important incident. Leaving a medical facility while under the influence of anesthetic after a medical procedure, I was assaulted by a man, although not injured.  When I reported the incident to the facility staff, the first question posed:”Was he black?”

I did not realize then that because I did not query back, “Why, does it make a difference?” I was complicit in a racist exchange.

In many discussions, in many places, at many times, I might have posed as a person who had special insight into “the race question.”  I might have told you that I learned about white privilege early when I attended a 1% white elementary school in West Philadelphia.  I probably would have shared how it was through the indiscriminate brutality of the nuns towards the children of color and their simultaneous treatment of the white children as “special,” that I saw the ugly face of racism and the embarrassing privilege of being white in the U.S.   I possibly might have   recounted my early experience of friendship with black children, exchanging and sharing snacks, believing this represented my own surmounting of our society’s racial divide.  Or I might have opened up about the magical friendship which I shared with my best friend in college, Sheena.  Sadly, this friendship was lost in those politically charged days of the late 1970s  when  identity politics was such a personal struggle.  Measuring identity as a black woman and its room for friendship with white women took a terrible toll,  yet this was one of the tasks which could become paramount in our young world where we claimed, “the personal is political,” convinced that we understood.

If you had asked me about racists, I most likely would have told you about my family of origin:  Irish immigrants and their offspring who spouted hateful statements as the civil rights struggle, the assassinations, the legal changes unfolded before our eyes as I grew up in the 1960’s.

Yes, I  was quite comfortable with that my liberal credentials allowed me understanding of the “race question” in the United States.

Not anymore.  Not after experiencing Fruitvale Station.

The film has been criticized by bastions of conservative propaganda as “whitewashing” the factual life of Oscar Grant, who was executed by a white Oakland police officer in 2008.  This criticism is almost the point.

Fruitvale Station bases its plot on the life of Oscar Grant the day before he was murdered.  It is implicit in the film’s action that we cannot know whether every word uttered, every embrace exchanged, each flash of anger, each moment of kindness is “real” or fictional.

We have learned that fifty people can witness the same event and report it entirely differently.  Do we not understand at the very least that one person’s honest statement of fact can differ dramatically from that of another?

What matters in this film is not that this WAS the last day in the life of Oscar Grant, but that this could have been the experience of Mr. Grant or any one of the young black men sacrificed on the United States’ altar of racism.

As I watched the film, I slowly traveled a path of new awareness as to how white supremacy infiltrates the life of a young black man, his family, and his friends.  From the fear he sees in the eyes of a white woman whom he addresses without knowing her, to the realization he accepts that for an unconnected, disrespected young black male, there will be no second chances, I saw reflections of myself, my family, my friends.  The search for a greeting card with black faces, while perhaps a cliché, in this film is a moment of transcendent understanding.  The image of a dead pit-bull is heartbreaking as we  comprehend that we are often easily aroused to sympathy for abused animals even as we are reluctant to engage in a conversation about the depth of the racial divide.

Perhaps most stunningly the film moved my consciousness from the screen to the theater.  Here, the audience for this film in an upscale art house theater was at least 50% people of color. Never before had I shared a film experience with such a diverse audience in this cinema generally populated with white, urban film buffs.

Ultimately we are left with a true image, that of Oscar Grant’s child.  It is this achingly poignant image that testifies to the truth of this narrative.  In the child’s face, we see pain passed on to another generation that will struggle in a society ravaged by a humiliating racial history.  The natural movement of her eyes escaping the camera affirms that it matters not whether Oscar Grant in fact decided to “go straight” the day before he died.  It matters only that, as real-time video captured in this case, a young black father was targeted to the exclusion of any white train riders. He was accused of crime based on the color of his skin, what that skin color means to whites. What matters is the brutality that was witnessed and tolerated by hundreds of onlookers who lacked the courage to intervene.  What matters is the shot that ended another life which had limited chances to change the narrative he entered at the moment of his birth.

I left that theater with a sense of shame. Shame at my skin color, shame at my middle class life, shame at my education, and shame at my foolishness believing I could even begin to understand.

(This post was first written in January, 2013 when the film appeared in theaters.  The film is now available on DVD.)