People

Maxwell’s Silver Hammer

“Joan was quizzical; studied pataphysical

Science in the home.

Late nights all alone with a test tube.

Oh, oh, oh, oh.

Maxwell Edison, majoring in medicine,

Calls her on the phone.

“Can I take you out to the pictures,

Joa, oa, oa, oan?”

But as she’s getting ready to go,

A knock comes on the door…”

Do you know the story of Victor? Did you empathize with his heartache? Could you fault him for delving into his experiments as an escape from his sorrow? Seriously…have you heard this story? The one about the young scientist chipping away at human limitation, one oversized limb at a time? Can you imagine yourself as the engineer of such a destructive force? Do you know the story of Victor and the creature that destroyed things that did not understand him? Do you know the story of the creature that came to be known as Frankenstein? Surely you know how this creature evokes fear and revulsion amongst the “civil” world? Do you know the story of Victor Frankenstein, the creator of a savage that has taken the brunt of the burden for his own indiscretion?

They’re hopeless, and want what you have. They want your opportunity, your privilege, your resources; hell, they’ll settle for your general right to exist. What they have is a set of very limited options and detrimental influences. They’re hopeless, and will TAKE what you have, right? If that were even possible. If they weren’t confined to the South Side of Chicago, tucked conveniently away and left to prey on each other, that is. The savages- by design- have their habitat, and you have yours.

Has history painted Victor in nearly the same light as his creation? Or has the iniquity fallen solely on a creature that struggled to come to terms with such a dismal reality? Why is there no outcry for the lack of opportunity by those with the ability to provide such? Why is one viewed as a sympathetic figure, while the other has been labeled a savage nuisance? Furthermore, why is their so-called “barbarity” met with a convenient obliviousness? Why is their existence condemned?

Accountability rarely falls onto those in position to create change. That responsibility somehow falls onto those trapped in an environment of someone else’s creation. Savages created and placed in less than ideal conditions…

Victor eventually came to understand the error in his judgment. His recklessness afforded him a place as the victim. Hindsight has deemed him the tragic genius. He was unfortunate enough to create something that should not have been and a system in place that he himself would object to. He is pitied, while the true victims are admonished. But pointing out that dichotomy is frowned upon…

The protests and discussions are all well and fine. Town halls to address Black on Black violence open a very important dialogue, but where do YOU go after you leave these conventions? Home, away from the turmoil that surrounds the very people you claim to “educate” and “help”. Weird how quickly hollow intelligence dissolves into an obtuse, sheltered, wiggity-wack bunch of fuckboys, huh?

Yet you come and tell them they’re all a bunch of insensible animals…

Trapped. Isolated. Far-removed. But THEY’RE the ones lacking self-awareness…

Do you remember when the savage murdered Frankenstein’s family? You don’t, because that literary device just may make you face your guilt. And who wants that when deflecting is simpler, right? Right??

You remember the monster. You remember the damage, disruption, and disorder. The unabashed anger and brazen savagery from this beast. But do you remember how he was created? South Side wasn’t made by Us; it was created.

A.J. Armstrong is the creator of The Fly Hobo and His World of Oddities

Blackface

I’ll get to Dear White People in a second, but in honor of Halloween, please peep what is quite possibly the greatest Twitter exchange EVER (read from the bottom up):

Freddie Gibbs

Okay, back to what I was saying.

Dear White People was supposed to be a brilliantly biting satire that held a mirror up to White America to let them know they could be kind of ugly at times. I really wanted to seek out the first white person in the theater, sit beside him, and cast knowing glances in their direction after each resonating scene. The movie was supposed to end with me standing directly in front of the screen at its conclusion and yelling ‘see?!? Do you get it now?’ with my arms crossed to everyone and no one at…the…same…damn…time. This was supposed to be a film that was ingenious in its creation and flawless in its presentation. Dear White People was supposed to be writer Justin Simien’s Tour de Force, and it is…in the previews. It’s not that Dear White People missed its mark; I’m just not sure what the hell they were even aiming at.

Without giving too much away, the story centers around a group of college students at a majority-white Ivy League school. The focus is on four in particular: Coco, a woman from the South Side of Chicago that eschews Black culture and has a myopic view on what it actually MEANS to be Black; Sam, a rebellious Mulatto woman entrenched in Pro-Black idealism; Troy, a well-to-do son of the school’s Dean of Students; and Lionel, who is just gay. Because gay is the new Black (insert blank stare emoji here). There are obviously white people as well, but we’ll get to them in a few.

Now that you know the characters, let’s look into their internal conflicts. Of course Sam has a white man on the side while dating a Black co-ed to maintain her ‘All Black Everything’ illusion. Of Course Troy has a white girlfriend. And OF COURSE Lionel and his struggle with being homosexual is the primary storyline. Because gay is the new Black and TOTALLY relevant when discussing race relations (insert blank stare emoji here). CoCo just doesn’t want to have anything to do with any of them because…Black. That’s all I gathered. Nobody ever explored what led to these feelings so…yeah. That’s all I got.

In what I thought was an excellent piece of character development by Mr. Simien, it becomes apparent that Sam, the Rebel and Troy, the Company Man, share an inherent understanding of Black culture while being at either extreme in regards to their personalities and interactions. Kudos for that. Even a trashcan gets a steak sometimes, apparently.

Maybe attending a Historically Black University sapped my understanding of on-campus race relations- I admit my base of knowledge is limited here- but each of these four characters has some romantic connection with someone outside of their race. I just wonder if this is realistic and question why every character needs to have this connection, either closeted or public. Addressing inter-race relations is all well and good, but why make it such a conflict with EVERY major character? But again, maybe that’s just me.

As I said before, the primary storyline is about Lionel and his struggle to find an identity and his place on campus. Lionel is gay and his sexual identity supersedes all of the other storylines that I thought the movie was SUPPOSED to be about. This post is neither the time nor the place to speak on why Gay Rights is important; the same is true about a film entitled Dear White People. Because white people can be gay; they can’t…do I really have to expl…man…moving on…

Now let’s get to those white people. I wanted ‘These White Folk Crazy’; instead I got ‘These Black Folk Really Want To Love These White Folks But We Have Trouble Loving Each Other’. Where were the figurative taps on their collective shoulders to remind them that some of the things they do need not be done? What are white moviegoers learning about their behavior? They damn sure learned about OUR behavior. Honestly, the only thing I imagine white people took away from Dear White People is ‘Dear White People…you might not want to wear Blackface on Halloween’. And that’s a shame.

I wanted so much more from Dear White People. I expected edge. I never got my ‘see, White People? See?!?’ moment. The writing suffers from tending to the wrong audience: Black people. It becomes apparent halfway through that Dear White People is for white people in title only. It’s much safer to point out Our collective identity crisis; God forbid tilting the conversation towards the white audience. We can’t risk having THEM in disillusionment and self-contemplation. This was supposed to be Our moment, solely because Our moment finally wouldn’t be about Us. Damn shame Justin and his team weren’t brave enough to fully follow through with it.

F–k ‘Dear White People’. I hope they make a re-boot like they did with ‘The Incredible Hulk’. Matter fact, I’ll do it. Let’s call it ‘Dear White People: For Real This Time’. A.J. Armstrong is the writer of ‘Dear White People: For Real This Time’. He is also the creator of The Fly Hobo and His World of Oddities