Black Bodies, Public Spectacle, and Narrative: Lessons from Karla Holloway

Henrietta Lacks

Henrietta Lacks

I recently listened to a talk given by Karla Holloway at Georgia Tech University.  In her talk, Holloway discusses Rebecca Skloot’s book, The Immortal Life of Henrietta Lacks, now destined for HBO, courtesy of Oprah Winfrey and Alan Ball.  In her book trailer, Skloot herself confirms that it is the characters that basically make this science book readable and riveting to a general audience.  Henrietta Lacks, known by the medical/science industry as HeLa, was a poor black tobacco farmer whose cells were taken without her knowledge in 1951 for developing what we now know to be the vaccine for polio and the central tools for cloning, gene mapping, in vitro fertilization, and more.  Her cells have made billions of dollars but her family, then and now, do not have even health insurance.  The story is now widely known and was even dramatized/re-mixed by one of the Law and Order episodes.  What Skloot’s book does though is take us deep into the interior of this family, putting her, rightly so, in the direct line of Holloway’s fire.

In her talk, called “Henrietta Lacks and the Ethics of Privacy,” Holloway asks a compelling question: “which bodies have earned the public presumption of the right of privacy and which are available, reasonably available, for public scrutiny?”   Her own research shows that it is blacks and women who are most “readily rendered up for public storytelling,” what she calls a “persistent loss of privacy” where privacy is a “right” only granted to some audiences.  Holloway connects Skloot’s book to shows like the Real Housewives series and their exploitative representations of women, Maury Povich’s media publication of paternity cases, and Jerry Springer’s public consumption of community and family dysfunction.  She sees these media empires as the motivation and subtext for the ways in which Skloot invades and publicly showcases the lives, medical records, and stigmatized diseases of Henrietta Lacks and her family.  The most intimate medical histories are made public in this book, alongside a kind of voyeuristic unveiling of Deborah Lacks’s (the daughter) challenges with understanding medicine/science, the details of one of Lacks’s son and his time in prison, and even the amount of Deborah’s disability checks. Deborah Lacks actually dies before the manuscript was published so there clearly was none of what we qualitative researchers like to call “member checking” on the final product here.  Holloway reveals that she herself is uncomfortable in even summarizing Skloot’s book because it would mean participating in the very violation of this family’s history that the book exploits. What Holloway clearly shows here is a kind of parasitic relationship between a wealthy white journalist mining the stories and family histories of the Lacks and to brilliant fanfare given how well the book has sold and been awarded.  In sum, Henrietta Lacks’s body was “stripped” as a spectacle, first, in the name of science research, and now in the new telling that Skloot engages.   Holloway doesn’t hesitate to connect this history of violence and exploitation on black bodies in the name of academic research and public spectacle to James Marion Sims and his experiments on black slave women (Sims invented the speculum, made of bent spoons, to see inside of women’s uterus) and Katherine Stockett’s imagination of race in The Help.

What Holloway also compellingly shows me is that the focus on crafting a tantalizing, evocative narrative about black women’s bodies is rooted in historical white violence. A story is not good because it is widely read by and marketable to a general public already mesmerized by the likes of “Real Housewives,” Maury, Jerry Springer, The Help, and the general set of pathologies and dysfunction under capitalism.  This is not to say that black people do not themselves choose to offer their bodies and stories up for public spectacle, only that there is a history of white supremacy and consumption that makes this thinkable and desirable.

I am compelled by Holloway’s discussion as both a qualitative researcher and a writing teacher.  How you write, what you say, how you say it, who you talk about, and what you say/include are always deeply political and enmeshed in the ways that the culture tells you to consume black bodies. If the narratives we write as and about black women do not take as their first call of duty an unflinching critique of the unjust systems in which our bodies get defined and used, including the marketing and/or academic systems that tell/sell our stories, it seems to me that we are just being served up again as a James Marion Sims’s experiment.  Holloway has a stunning critique of these unjust systems and points us toward new directions in how we analyze, write, and talk about those systems too.

“My Time as a Human Was Over”

Based mostly at the suggestion of various friends, I have been catching up on movies that I needed to see, in the cultural sense, but didn’t necessarily want to see, in the political sense.  As always, I am traumatized by these viewing experiences.

First was the movie, Flight.

Then I watched Beasts of the Southern Wild.

Then came that final twilight foolishness: The Twilight Saga: Breaking Dawn: Part 2. I have already talked about that here so, unsurprisingly, I didn’t change any of my positions on THAT.

20121030132042I really couldn’t get past the first five-minute frames of each of these movies and, ironically, each started basically the same: with a twisted, pornographic imagination where women are slithering animals and sexual objects.  I was actually surprised by Flight, despite all that I had heard about using Denzel, a black man, to play an addict.  I didn’t expect for the movie to open by showcasing a Latina’s naked body (played by Puerto Rican actress and model, Nadine Velazquez).  I expected that we wouldn’t see Denzel fully naked, not because it’s Denzel, but because it is quite normative for every ad, video, or television show to have a fully clothed man next to an almost naked woman.  There’s no logic to a man dressed in long sleeves and coat standing next to a woman in a bikini—someone must be really cold or someone must be really hot— other than the deliberate parading/selling of women’s bodies.  As I watched Flight, Denzel’s white female love interest (played by Kelly Lynch)— an unemployable drug addict who almost dies from an overdose— is never shown fully naked, not even in the studio where her friend/drug-supplier is making porn videos. Instead, this white love interest is frequently told by a cancer victim of her beauty, gets saved by Denzel from her eviction and landlord ‘s physical violence, and then she saves Denzel in the end by introducing him to AA.  A (black) shining knight to the rescue of a white woman!  The movie seems to make a point of letting us know that the first woman is Latina by stating her full name more than a few times.  Intentionally so, this is not another J-Lo-featured movie where we have a Latina playing/passing as a white woman. Though he defends her in the end, Denzel’s Latina love interest does not receive the same salvation in this movie as the white woman.  The two black women in the movie are not even full characters: the ex-wife is scorned, angry, alone, and demanding money; the co-worker is asexual and loyal (even if it means telling a torturous lie) til the very end, the perfect mammy.  The talk about the movie seemed to question why Denzel’s love interest couldn’t have been a black woman, but the answer to that question seems obvious and does not begin to deal with what the movie does with Latina bodies (and that’s only ONE of the problems with the movie).  Clearly, when we talk about the sexual exploitation of women’s bodies, not all women are equally exploited and sexualized, and white women seem to always be rescued.  But we knew this already, didn’t we?

936640_068Beasts of the Southern Wild opens with a little black girl climbing around in her underwear (Hush Puppy, played by Quvenzhané Wallis).  It’s unnecessary to repeat all of the problems with the images of this little black girl in this film.  At this point, all you need to do is read bell hooks’s analysis, “No Love in the Wild,” on Mark Anthony Neal’s blog.  I was, unsurprisingly, mesmerized by Wallis’s talent as well as Dwight Henry who played the father; both are very talented within a script that could not adequately allow for it.   At this point though, I am most stunned by the willingness of adults— whether it be 21st century parents, Catholic priests, or film producers— to sexualize children’s bodies with the aid of digital cultures, social networking, and other multimedia operations.  The gaze of these filmmakers on Hush Puppy’s body feels no different to me than the gaze of the new digital archivist-parent who posts videos of her half-naked child on youtube, including my own college peers, who post endless photos of their children (and themselves) on Facebook half-naked all the time (these are supposedly protected FB sites and yet I am not even on FB and can get access).  And while cultural critics can talk forever and a day about the necessary and positive blurring of private and public and the rupture of respectability politics, there is something really wrong when parents have their small children perform, wearing only underwear or pajamas, in front of a camera for a youtube audience in the context of a cyber-world that daily criss-crosses with pedaphiliac violence. Everyone has a role in digital empire and this is what it looks like for exploited children and their digitized pimp/parent. You need only watch shows like “Toddlers and Tiaras” to see that parents willingly and regularly participate in the media pimping of their children quite regularly in all kinds of ways. I agree with hooks that  Beasts of the Southern Wild certainly participates in this culture of commodifying children’s bodies but in my mind, it is doing so as the new digitized pimp-parenting, not simply as a Hollywood tool.

As for the last installment of Twilight?  Well, like I said before: it is something I have had to keep up with in order to experience what many of my students have experienced.  Here again, we have a woman slithering around, literally roaming the woods, climbing walls, hunting for blood/food, like a starved animal, because she is a vampire now.  At least, unlike Trina in Flight and Hush Puppy in Beasts of the Southern Wild, she gets some supernatural powers.  Bella tells us somewhere in the movie that her time as a human was over, but given these images, one might wonder if women were ever allowed to fully participate as human in the first place.

“So Hot It Hurts”

IMG154After more than his fair share of, shall we say, “resistance” (there are better words for it but I’ll leave it there since I am feelin celebratory today… expect more on that later), Dr. Todd Craig, one of my advisees, successfully defended his doctoral dissertation yesterday!

IMG159This dissertation is an examination of Hip Hop DJ Rhetoric based on Craig’s own life-story alongside more than 9o interviews with foundational Hip Hop deejays whose literacies, rhetorics, and ideologies are, often for the first time, magnificently centered.  To open his dissertation defense, Dr. Craig, of course, spun a set that merged the music, quotations, and samples from all of his first chapter so that we could hear, in yet another fantastic way, what that first dissertation chapter was dropping.

IMG156These deejays— more aptly described by Dr. Craig as “mixologists and turntable technicians, beat-blending specialists, scratch scientists and musical grandmasters”— are theorized as the “21st century new media reader, writer, and literary critic.”  It is the Hip Hop deejay whose tastes decide what gets poppin in the streets as well as how turntables, headphones, mixers, and computer software are now engineered and re-invented.  Yes, yes, yall… and that’s just the first paragraph of the literature review.  That’s all I will reveal for now but when this dissertation drops as a book, let’s just say, I tole you so!  Despite all the naysayers, haters, lynch-mobbers, and supremacists, this thing is real and can’t be stopped!  To quote Dr. Craig, when he quotes Havoc of Mobb Deep: “this is all the way live/and the way that I survive.”

As if fate had finally kissed me on the forehead, one of my undergraduate mentees, Valerie, came back to the university (she already graduated) to tell me, just minutes before this dissertation defense, that she was accepted at all nine medical schools to which she applied… and this, despite, being told by a wanna-be-prominent white male administrator that medical schools no longer accept “unqualified” “black girls” like her.  I’m looking forward to the health research and advocacy that she will do on black people’s behalf and the way she already knows how to keep those fighting embers and inner shine glowing.

There have been few days in my academic career so far that I can chalk up with some positivity.  But, to quote Cube from way back when, I got to say it was a good day.

Public & Private Writing on New Plantations

Priscilla

See 2008 South Carolina State Museum Exhibit

My graduate advisor, Suzanne Carothers, is one of the most thoughtful pedagogues that I know, someone who thinks about the education of pre-school and elementary black children in strikingly alternative and radical ways.  In a recent conversation, she reminded me that black children’s role on slave plantations was to take care of white children close in age group.  Until that conversation, I had not thought of the wide-ranging ramifications of this.  It immediately triggered the countless histories and narratives I have read of African American adults explaining how they learned to read and write in slavery via the required chores they had to perform as children: carry  white children’s books for them to school; stand outside the schoolroom and wait for white children to finish school and carry their things home; stand in attention while white children learned or played, eagerly awaiting a command from them.  We know from the archives that black children used these moments to eavesdrop on school lessons, learn the alphabet, and trick white kids in disseminating the information white children had learned.   We have not talked enough though about what this relationship between white children and black children as learners meant for the epistemological construction of plantation life.  What is most interesting to me is the way in which Carothers marks this relationship as central to classrooms today: black children are still always expected to teach and help white children understand race or African American lives.  In my teaching context, I am talking about those moments in the college classroom where the issue of race or black history comes up and all the white people in the classroom turn to look at the one (or two or three) black student(s) in the room.  Or, there is the moment where a certain theory or issue comes up that is so obviously racialized, but it is up to that one (or two or three) black student(s) in the room to point it out, not the teacher’s role, and the room (or digital interface), of course, just goes dead silent. This seems like a story every black college graduate I know can tell and you can read about this kind of psychic warfare in countless educational accounts of black students’ experiences in schools.  I don’t think, however, we are often inclined to call and link these experiences of black students to slavery in the way Carothers has for me: these kind of moments in classrooms are simply the vestige of a plantation economy of knowledge and learning in the context of white dominance. That kind of framework pushes me to think about race and classrooms in a whole different way and question how, when, and where white children are made dominant.

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Slave Children on Board the “Daphne”

I would like to hold myself accountable to offering black students something different from this “plantation economy of knowledge and learning in the context of white dominance.”   What this means concretely, for instance, right now is that in the first three weeks of my current class, my students do print-based writing (there is an informal writing assignment due each class) that they can email or hand in to ONLY me.  They are not posting their stuff online anywhere for the class or the world to read.  I need to see, hear, encounter their racial ideologies first and take them on.  I need to see who and what I am working with first.  I especially need to see the work we will need to do as a classroom before we can educate people outside of our classroom.  It is a seeming contradiction that so much, if not ALL, of my class depends on digital spaces; yet my students are not writing in the same open, digital spaces that contains the class materials (not yet).   To put it most simply: NO STUDENT in my class will be waxing on online with anti-black comments.  I am thinking here about my first semester teaching graduate classes where white male graduate students wrote quite freely in their weekly seminar papers about how lazy black people are and how slutty black women are.  I deal with that quite readily and willingly on my own, and pretty regularly (and have been able to count on white faculty not noticing or caring).  In my second year as an assistant professor, I encountered a white male student who had text-messaged sexually vile statements to the women of color in one of his classes where students were required to put their numbers on a class-distributed phone list.  When I reported his behavior, it was clear to me that I alone— the only untenured member of the department of the time— had to work with the women to file a complaint and would have to deal with the student alone in my own class in a way that would make sure he didn’t pass my class and, therefore, lose his position in the program— a program that certified teachers to work in urban high schools.  Like I said, I KNOW I am alone on all of this but I am also very clear: such students will not unleash racial violence and distribute their texts online in digitized classroom-discussion boards or in public online spaces as part of the work that happens in my class.  Not. On. My. Watch.  From my perspective, teachers need to be held accountable for such digital texts when white men such as the ones I described go online with this stuff. It is not the job of black students in the class to challenge them, to help them, to push them, all of which, as Carothers helped me to see, is a kind of ongoing plantation logic and relationship system.   Despite the liberalism that would say everyone is speaking their own minds, it is not a democracy when black people are being dehumanized.  I am not talking about the alternative liberal universe either where we don’t talk about race at all (hence, no one noticing the ideas of white male students I am talking about except me).  What I am talking about here is a kind of AfroDigital consciousness that works against these public spaces when the violence of racism is fully alive in classrooms.  No teacher’s classroom and no teacher’s assignment are ever innocent!

My class this semester always enrolls a large number of black female students, probably more than any other class on the campus (I learned yesterday that mine is the only class about black women).  I will not expose them to students who espouse anti-black/anti-black-woman diatribes on class digital, discussion boards. I know the damage that does given how many students of color come to me to talk about exactly such experiences in their other classes (I won’t even tell you how many white students have dropped my classes, no matter the subject, after the first day seeing me and seeing my syllabus).  Black women get enough of this kind of hostility elsewhere; they don’t need more of it in my classroom too.  As we move through the semester, I strategically choose when and where students will go public with their writing—whether with the class or with the wider digital universe.  I think this is especially relevant given a kind of liberalist mantra in my field about the general goodness of all, real audiences when students write digital texts.  I ain’t tryna hear that.  I experience writing and audience in very different ways.

I want to see teachers (and in my field, this means mostly white teachers) held accountable for the epistemological violence their students inflict on black bodies.  I am not suggesting that it is the fault of teachers when their students espouse racism but when they do that espousing within a public assignment that is teacher-required, then teachers need to be held accountable.   In fact, I think it is a crucial aspect of an AfroDigital pedagogy to further this kind of accountability.  It ain’t democratic to let students say and do racism; but we can surely ensure democracy by checking them and their teachers on it.  An AfroDigital pedagogy  does not comfort and take care of white children on our newest plantations in ways that maintain racialized hierarchies.  It must achieve the opposite.