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	<id>https://blackwiki.org/api.php?action=feedcontributions&amp;feedformat=atom&amp;user=Cnick</id>
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	<updated>2026-06-21T22:44:25Z</updated>
	<subtitle>User contributions</subtitle>
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	<entry>
		<id>https://blackwiki.org/index.php?title=File:Fonny_and_Tish.jpg&amp;diff=4014567</id>
		<title>File:Fonny and Tish.jpg</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=File:Fonny_and_Tish.jpg&amp;diff=4014567"/>
		<updated>2020-12-15T03:24:51Z</updated>

		<summary type="html">&lt;p&gt;Cnick: change in description&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Fonny and Tish during happy times walking on Beale Street&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=File:Fonny_and_Tish.jpg&amp;diff=4014485</id>
		<title>File:Fonny and Tish.jpg</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=File:Fonny_and_Tish.jpg&amp;diff=4014485"/>
		<updated>2020-12-15T02:26:50Z</updated>

		<summary type="html">&lt;p&gt;Cnick: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Fonny and Tish walking on Beale Street during happy times&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=File:Tish_and_Fonny.jpg&amp;diff=4014470</id>
		<title>File:Tish and Fonny.jpg</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=File:Tish_and_Fonny.jpg&amp;diff=4014470"/>
		<updated>2020-12-15T02:13:40Z</updated>

		<summary type="html">&lt;p&gt;Cnick: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Tish and Fonny considers what to do about their situation. They are sad.&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=File:Tish_and_Fonny.jpg&amp;diff=4014244</id>
		<title>File:Tish and Fonny.jpg</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=File:Tish_and_Fonny.jpg&amp;diff=4014244"/>
		<updated>2020-12-15T00:56:22Z</updated>

		<summary type="html">&lt;p&gt;Cnick: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Tish and Fonny considers what to do about their situation. They are sad&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=4014064</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=4014064"/>
		<updated>2020-12-15T00:25:37Z</updated>

		<summary type="html">&lt;p&gt;Cnick: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) &lt;br /&gt;
&lt;br /&gt;
In Jenkins’ film adaption of James Baldwin’s searing novel ''If Beale Street Could Talk'', Fonny (Stephen James) and Tish (Kiki Layne) are lovers separated by racist authorities after a woman falsely accuses Fonny of rape. Before that arrest, in the drama’s most evocative scene, Fonny spends some time catching up with his childhood friend Daniel (Brian Tyree Henry). &amp;lt;ref&amp;gt;https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&amp;lt;/ref&amp;gt;&lt;br /&gt;
&lt;br /&gt;
Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. &amp;lt;ref&amp;gt;https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&amp;lt;/ref&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Plot==&lt;br /&gt;
The story is set in the 1970s in Harlem where 19-year-old Tish (Kiki Layne) and 22-year-old Fonny (Stephan James) have been friends since childhood. Over the years, their relationship has deepened to the point that they are ready to get married. We see the beauty and the bounty of their love in a scene where they are separated from one another by a prison glass wall. He is incarcerated after being falsely charged with raping a Puerto Rican woman (Emily Rios); Tish is optimistic that she can get him released soon. Both of their hearts are warmed with Tish's momentous news that she is pregnant.&lt;br /&gt;
&lt;br /&gt;
After seeing Fonny, Tish shares the news with her family — her mother Sharon (Regina King), her father Joseph (Colman Domingo), and her feisty sister Ernestine (Teyonah Parris). They react with joy and total support. But when they invite Fonny's family over to tell them, whereas his father is excited about becoming a granddad, his sisters are cool, and his mother, a &amp;quot;Holy Roller Christian,&amp;quot; declares that Tish and Fonny have sinned and she goes so far as to curse the baby in Tish's womb.&amp;lt;ref&amp;gt;https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk&amp;lt;/ref&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Controversy==&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Driving Miss Daisy&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; or &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Green Book&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;, Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ &amp;lt;nowiki&amp;gt;''If Beale Street Could Talk''&amp;lt;/nowiki&amp;gt; is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. &amp;lt;ref&amp;gt;https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&amp;lt;/ref&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
{{reflist}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Anti-Black Racism In Romance Movies]]&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3957092</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3957092"/>
		<updated>2020-12-14T05:06:47Z</updated>

		<summary type="html">&lt;p&gt;Cnick: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) &lt;br /&gt;
&lt;br /&gt;
In Jenkins’ film adaption of James Baldwin’s searing novel ''If Beale Street Could Talk'', Fonny (Stephen James) and Tish (Kiki Layne) are lovers separated by racist authorities after a woman falsely accuses Fonny of rape. Before that arrest, in the drama’s most evocative scene, Fonny spends some time catching up with his childhood friend Daniel (Brian Tyree Henry). https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&lt;br /&gt;
&lt;br /&gt;
Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
&lt;br /&gt;
==Plot==&lt;br /&gt;
The story is set in the 1970s in Harlem where 19-year-old Tish (Kiki Layne) and 22-year-old Fonny (Stephan James) have been friends since childhood. Over the years, their relationship has deepened to the point that they are ready to get married. We see the beauty and the bounty of their love in a scene where they are separated from one another by a prison glass wall. He is incarcerated after being falsely charged with raping a Puerto Rican woman (Emily Rios); Tish is optimistic that she can get him released soon. Both of their hearts are warmed with Tish's momentous news that she is pregnant.&lt;br /&gt;
&lt;br /&gt;
After seeing Fonny, Tish shares the news with her family — her mother Sharon (Regina King), her father Joseph (Colman Domingo), and her feisty sister Ernestine (Teyonah Parris). They react with joy and total support. But when they invite Fonny's family over to tell them, whereas his father is excited about becoming a granddad, his sisters are cool, and his mother, a &amp;quot;Holy Roller Christian,&amp;quot; declares that Tish and Fonny have sinned and she goes so far as to curse the baby in Tish's womb.[https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk]&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Controversy==&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Driving Miss Daisy&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; or &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Green Book&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;, Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ &amp;lt;nowiki&amp;gt;''If Beale Street Could Talk''&amp;lt;/nowiki&amp;gt; is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
{{reflist}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Anti-Black Racism In Romance Movies]]&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3956924</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3956924"/>
		<updated>2020-12-14T05:04:45Z</updated>

		<summary type="html">&lt;p&gt;Cnick: edit reference list&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) &lt;br /&gt;
&lt;br /&gt;
In Jenkins’ film adaption of James Baldwin’s searing novel ''If Beale Street Could Talk'', Fonny (Stephen James) and Tish (Kiki Layne) are lovers separated by racist authorities after a woman falsely accuses Fonny of rape. Before that arrest, in the drama’s most evocative scene, Fonny spends some time catching up with his childhood friend Daniel (Brian Tyree Henry). http://&amp;amp;#x3C;ref&amp;amp;#x3E;https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&amp;amp;#x3C;/ref&amp;amp;#x3E;&lt;br /&gt;
&lt;br /&gt;
Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
&lt;br /&gt;
==Plot==&lt;br /&gt;
The story is set in the 1970s in Harlem where 19-year-old Tish (Kiki Layne) and 22-year-old Fonny (Stephan James) have been friends since childhood. Over the years, their relationship has deepened to the point that they are ready to get married. We see the beauty and the bounty of their love in a scene where they are separated from one another by a prison glass wall. He is incarcerated after being falsely charged with raping a Puerto Rican woman (Emily Rios); Tish is optimistic that she can get him released soon. Both of their hearts are warmed with Tish's momentous news that she is pregnant.&lt;br /&gt;
&lt;br /&gt;
After seeing Fonny, Tish shares the news with her family — her mother Sharon (Regina King), her father Joseph (Colman Domingo), and her feisty sister Ernestine (Teyonah Parris). They react with joy and total support. But when they invite Fonny's family over to tell them, whereas his father is excited about becoming a granddad, his sisters are cool, and his mother, a &amp;quot;Holy Roller Christian,&amp;quot; declares that Tish and Fonny have sinned and she goes so far as to curse the baby in Tish's womb.[https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk]&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Controversy==&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Driving Miss Daisy&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; or &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Green Book&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;, Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ &amp;lt;nowiki&amp;gt;''If Beale Street Could Talk''&amp;lt;/nowiki&amp;gt; is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
{{reflist}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Anti-Black Racism In Romance Movies]]&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3952774</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3952774"/>
		<updated>2020-12-14T04:18:46Z</updated>

		<summary type="html">&lt;p&gt;Cnick: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) &lt;br /&gt;
&lt;br /&gt;
In Jenkins’ film adaption of James Baldwin’s searing novel ''If Beale Street Could Talk'', Fonny (Stephen James) and Tish (Kiki Layne) are lovers separated by racist authorities after a woman falsely accuses Fonny of rape. Before that arrest, in the drama’s most evocative scene, Fonny spends some time catching up with his childhood friend Daniel (Brian Tyree Henry). [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
&lt;br /&gt;
==Plot==&lt;br /&gt;
The story is set in the 1970s in Harlem where 19-year-old Tish (Kiki Layne) and 22-year-old Fonny (Stephan James) have been friends since childhood. Over the years, their relationship has deepened to the point that they are ready to get married. We see the beauty and the bounty of their love in a scene where they are separated from one another by a prison glass wall. He is incarcerated after being falsely charged with raping a Puerto Rican woman (Emily Rios); Tish is optimistic that she can get him released soon. Both of their hearts are warmed with Tish's momentous news that she is pregnant.&lt;br /&gt;
&lt;br /&gt;
After seeing Fonny, Tish shares the news with her family — her mother Sharon (Regina King), her father Joseph (Colman Domingo), and her feisty sister Ernestine (Teyonah Parris). They react with joy and total support. But when they invite Fonny's family over to tell them, whereas his father is excited about becoming a granddad, his sisters are cool, and his mother, a &amp;quot;Holy Roller Christian,&amp;quot; declares that Tish and Fonny have sinned and she goes so far as to curse the baby in Tish's womb.[https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk]&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Controversy==&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Driving Miss Daisy&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; or &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Green Book&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;, Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ &amp;lt;nowiki&amp;gt;''If Beale Street Could Talk''&amp;lt;/nowiki&amp;gt; is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
{{reflist}}&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:Anti-Black Racism In Romance Movies]]&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=File:Example_1.jpg&amp;diff=3952660</id>
		<title>File:Example 1.jpg</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=File:Example_1.jpg&amp;diff=3952660"/>
		<updated>2020-12-14T04:03:42Z</updated>

		<summary type="html">&lt;p&gt;Cnick: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;This is an  Example&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3851844</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3851844"/>
		<updated>2020-12-12T02:05:24Z</updated>

		<summary type="html">&lt;p&gt;Cnick: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) &lt;br /&gt;
&lt;br /&gt;
In Jenkins’ film adaption of James Baldwin’s searing novel ''If Beale Street Could Talk'', Fonny (Stephen James) and Tish (Kiki Layne) are lovers separated by racist authorities after a woman falsely accuses Fonny of rape. Before that arrest, in the drama’s most evocative scene, Fonny spends some time catching up with his childhood friend Daniel (Brian Tyree Henry). [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
&lt;br /&gt;
==Plot==&lt;br /&gt;
The story is set in the 1970s in Harlem where 19-year-old Tish (Kiki Layne) and 22-year-old Fonny (Stephan James) have been friends since childhood. Over the years, their relationship has deepened to the point that they are ready to get married. We see the beauty and the bounty of their love in a scene where they are separated from one another by a prison glass wall. He is incarcerated after being falsely charged with raping a Puerto Rican woman (Emily Rios); Tish is optimistic that she can get him released soon. Both of their hearts are warmed with Tish's momentous news that she is pregnant.&lt;br /&gt;
&lt;br /&gt;
After seeing Fonny, Tish shares the news with her family — her mother Sharon (Regina King), her father Joseph (Colman Domingo), and her feisty sister Ernestine (Teyonah Parris). They react with joy and total support. But when they invite Fonny's family over to tell them, whereas his father is excited about becoming a granddad, his sisters are cool, and his mother, a &amp;quot;Holy Roller Christian,&amp;quot; declares that Tish and Fonny have sinned and she goes so far as to curse the baby in Tish's womb.[https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk]&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Controversy==&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Driving Miss Daisy&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; or &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Green Book&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;, Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ &amp;lt;nowiki&amp;gt;''If Beale Street Could Talk''&amp;lt;/nowiki&amp;gt; is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
{{reflist}}&lt;br /&gt;
&amp;lt;ref&amp;gt;https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&amp;lt;/ref&amp;gt;&lt;br /&gt;
&amp;lt;ref&amp;gt;https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&amp;lt;/ref&amp;gt;&lt;br /&gt;
&amp;lt;ref&amp;gt;https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk&amp;lt;/ref&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:Anti-Black Racism In Romance Movies]]&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3851836</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3851836"/>
		<updated>2020-12-12T01:57:31Z</updated>

		<summary type="html">&lt;p&gt;Cnick: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) &lt;br /&gt;
&lt;br /&gt;
In Jenkins’ film adaption of James Baldwin’s searing novel ''If Beale Street Could Talk'', Fonny (Stephen James) and Tish (Kiki Layne) are lovers separated by racist authorities after a woman falsely accuses Fonny of rape. Before that arrest, in the drama’s most evocative scene, Fonny spends some time catching up with his childhood friend Daniel (Brian Tyree Henry). [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
&lt;br /&gt;
==Plot==&lt;br /&gt;
The story is set in the 1970s in Harlem where 19-year-old Tish (Kiki Layne) and 22-year-old Fonny (Stephan James) have been friends since childhood. Over the years, their relationship has deepened to the point that they are ready to get married. We see the beauty and the bounty of their love in a scene where they are separated from one another by a prison glass wall. He is incarcerated after being falsely charged with raping a Puerto Rican woman (Emily Rios); Tish is optimistic that she can get him released soon. Both of their hearts are warmed with Tish's momentous news that she is pregnant.&lt;br /&gt;
&lt;br /&gt;
After seeing Fonny, Tish shares the news with her family — her mother Sharon (Regina King), her father Joseph (Colman Domingo), and her feisty sister Ernestine (Teyonah Parris). They react with joy and total support. But when they invite Fonny's family over to tell them, whereas his father is excited about becoming a granddad, his sisters are cool, and his mother, a &amp;quot;Holy Roller Christian,&amp;quot; declares that Tish and Fonny have sinned and she goes so far as to curse the baby in Tish's womb.[https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk]&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Controversy==&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Driving Miss Daisy&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; or &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Green Book&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;, Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ &amp;lt;nowiki&amp;gt;''If Beale Street Could Talk''&amp;lt;/nowiki&amp;gt; is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:Anti-Black Racism In Romance Movies]]&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3851828</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3851828"/>
		<updated>2020-12-12T01:55:15Z</updated>

		<summary type="html">&lt;p&gt;Cnick: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) &amp;lt;ref&amp;gt;https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&amp;lt;/ref&amp;gt;&lt;br /&gt;
&lt;br /&gt;
In Jenkins’ film adaption of James Baldwin’s searing novel ''If Beale Street Could Talk'', Fonny (Stephen James) and Tish (Kiki Layne) are lovers separated by racist authorities after a woman falsely accuses Fonny of rape. Before that arrest, in the drama’s most evocative scene, Fonny spends some time catching up with his childhood friend Daniel (Brian Tyree Henry). [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
&lt;br /&gt;
==Plot==&lt;br /&gt;
The story is set in the 1970s in Harlem where 19-year-old Tish (Kiki Layne) and 22-year-old Fonny (Stephan James) have been friends since childhood. Over the years, their relationship has deepened to the point that they are ready to get married. We see the beauty and the bounty of their love in a scene where they are separated from one another by a prison glass wall. He is incarcerated after being falsely charged with raping a Puerto Rican woman (Emily Rios); Tish is optimistic that she can get him released soon. Both of their hearts are warmed with Tish's momentous news that she is pregnant.&lt;br /&gt;
&lt;br /&gt;
After seeing Fonny, Tish shares the news with her family — her mother Sharon (Regina King), her father Joseph (Colman Domingo), and her feisty sister Ernestine (Teyonah Parris). They react with joy and total support. But when they invite Fonny's family over to tell them, whereas his father is excited about becoming a granddad, his sisters are cool, and his mother, a &amp;quot;Holy Roller Christian,&amp;quot; declares that Tish and Fonny have sinned and she goes so far as to curse the baby in Tish's womb.[https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk]&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Controversy==&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Driving Miss Daisy&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; or &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Green Book&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;, Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ &amp;lt;nowiki&amp;gt;''If Beale Street Could Talk''&amp;lt;/nowiki&amp;gt; is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
{{reflist}}&lt;br /&gt;
&amp;lt;ref&amp;gt;https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&amp;lt;/ref&amp;gt;&lt;br /&gt;
&amp;lt;ref&amp;gt;https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&amp;lt;/ref&amp;gt;&lt;br /&gt;
&amp;lt;ref&amp;gt;https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk&amp;lt;/ref&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:Anti-Black Racism In Romance Movies]]&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3851817</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3851817"/>
		<updated>2020-12-12T01:48:49Z</updated>

		<summary type="html">&lt;p&gt;Cnick: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) &amp;lt;ref&amp;gt;https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&amp;lt;/ref&amp;gt;&lt;br /&gt;
&lt;br /&gt;
In Jenkins’ film adaption of James Baldwin’s searing novel ''If Beale Street Could Talk'', Fonny (Stephen James) and Tish (Kiki Layne) are lovers separated by racist authorities after a woman falsely accuses Fonny of rape. Before that arrest, in the drama’s most evocative scene, Fonny spends some time catching up with his childhood friend Daniel (Brian Tyree Henry). [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
&lt;br /&gt;
==Plot==&lt;br /&gt;
The story is set in the 1970s in Harlem where 19-year-old Tish (Kiki Layne) and 22-year-old Fonny (Stephan James) have been friends since childhood. Over the years, their relationship has deepened to the point that they are ready to get married. We see the beauty and the bounty of their love in a scene where they are separated from one another by a prison glass wall. He is incarcerated after being falsely charged with raping a Puerto Rican woman (Emily Rios); Tish is optimistic that she can get him released soon. Both of their hearts are warmed with Tish's momentous news that she is pregnant.&lt;br /&gt;
&lt;br /&gt;
After seeing Fonny, Tish shares the news with her family — her mother Sharon (Regina King), her father Joseph (Colman Domingo), and her feisty sister Ernestine (Teyonah Parris). They react with joy and total support. But when they invite Fonny's family over to tell them, whereas his father is excited about becoming a granddad, his sisters are cool, and his mother, a &amp;quot;Holy Roller Christian,&amp;quot; declares that Tish and Fonny have sinned and she goes so far as to curse the baby in Tish's womb.[https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk]&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Controversy==&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Driving Miss Daisy&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; or &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Green Book&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;, Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ &amp;lt;nowiki&amp;gt;''If Beale Street Could Talk''&amp;lt;/nowiki&amp;gt; is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
{{reflist}}&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:Anti-Black Racism In Romance Movies]]&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3851810</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3851810"/>
		<updated>2020-12-12T01:46:48Z</updated>

		<summary type="html">&lt;p&gt;Cnick: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) &amp;lt;ref&amp;gt;https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&amp;lt;/ref&amp;gt;&lt;br /&gt;
&lt;br /&gt;
In Jenkins’ film adaption of James Baldwin’s searing novel ''If Beale Street Could Talk'', Fonny (Stephen James) and Tish (Kiki Layne) are lovers separated by racist authorities after a woman falsely accuses Fonny of rape. Before that arrest, in the drama’s most evocative scene, Fonny spends some time catching up with his childhood friend Daniel (Brian Tyree Henry). [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
&lt;br /&gt;
==Plot==&lt;br /&gt;
The story is set in the 1970s in Harlem where 19-year-old Tish (Kiki Layne) and 22-year-old Fonny (Stephan James) have been friends since childhood. Over the years, their relationship has deepened to the point that they are ready to get married. We see the beauty and the bounty of their love in a scene where they are separated from one another by a prison glass wall. He is incarcerated after being falsely charged with raping a Puerto Rican woman (Emily Rios); Tish is optimistic that she can get him released soon. Both of their hearts are warmed with Tish's momentous news that she is pregnant.&lt;br /&gt;
&lt;br /&gt;
After seeing Fonny, Tish shares the news with her family — her mother Sharon (Regina King), her father Joseph (Colman Domingo), and her feisty sister Ernestine (Teyonah Parris). They react with joy and total support. But when they invite Fonny's family over to tell them, whereas his father is excited about becoming a granddad, his sisters are cool, and his mother, a &amp;quot;Holy Roller Christian,&amp;quot; declares that Tish and Fonny have sinned and she goes so far as to curse the baby in Tish's womb.[https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk]&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Controversy==&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Driving Miss Daisy&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; or &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Green Book&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;, Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ &amp;lt;nowiki&amp;gt;''If Beale Street Could Talk''&amp;lt;/nowiki&amp;gt; is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
{{reflist}}&lt;br /&gt;
&amp;lt;ref&amp;gt;https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&amp;lt;/ref&amp;gt;&lt;br /&gt;
&amp;lt;ref&amp;gt;https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation https://www.litcharts.com/lit/if-beale- street-could-talk/themes/racism-fear-and-isolation&amp;lt;/ref&amp;gt;&lt;br /&gt;
&amp;lt;ref&amp;gt;https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk&amp;lt;/ref&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:Anti-Black Racism In Romance Movies]]&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3851031</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3851031"/>
		<updated>2020-12-12T01:29:59Z</updated>

		<summary type="html">&lt;p&gt;Cnick: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) &amp;lt;ref&amp;gt;https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&amp;lt;/ref&amp;gt;&lt;br /&gt;
&lt;br /&gt;
In Jenkins’ film adaption of James Baldwin’s searing novel ''If Beale Street Could Talk'', Fonny (Stephen James) and Tish (Kiki Layne) are lovers separated by racist authorities after a woman falsely accuses Fonny of rape. Before that arrest, in the drama’s most evocative scene, Fonny spends some time catching up with his childhood friend Daniel (Brian Tyree Henry). [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
&lt;br /&gt;
==Plot==&lt;br /&gt;
The story is set in the 1970s in Harlem where 19-year-old Tish (Kiki Layne) and 22-year-old Fonny (Stephan James) have been friends since childhood. Over the years, their relationship has deepened to the point that they are ready to get married. We see the beauty and the bounty of their love in a scene where they are separated from one another by a prison glass wall. He is incarcerated after being falsely charged with raping a Puerto Rican woman (Emily Rios); Tish is optimistic that she can get him released soon. Both of their hearts are warmed with Tish's momentous news that she is pregnant.&lt;br /&gt;
&lt;br /&gt;
After seeing Fonny, Tish shares the news with her family — her mother Sharon (Regina King), her father Joseph (Colman Domingo), and her feisty sister Ernestine (Teyonah Parris). They react with joy and total support. But when they invite Fonny's family over to tell them, whereas his father is excited about becoming a granddad, his sisters are cool, and his mother, a &amp;quot;Holy Roller Christian,&amp;quot; declares that Tish and Fonny have sinned and she goes so far as to curse the baby in Tish's womb.[https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk]&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Controversy==&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Driving Miss Daisy&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; or &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Green Book&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;, Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ &amp;lt;nowiki&amp;gt;''If Beale Street Could Talk''&amp;lt;/nowiki&amp;gt; is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
{{reflist}}&lt;br /&gt;
https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&lt;br /&gt;
https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk&lt;br /&gt;
&lt;br /&gt;
[[Category:Anti-Black Racism In Romance Movies]]&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3850257</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3850257"/>
		<updated>2020-12-12T01:13:09Z</updated>

		<summary type="html">&lt;p&gt;Cnick: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) &amp;lt;ref&amp;gt;https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&amp;lt;/ref&amp;gt;&lt;br /&gt;
&lt;br /&gt;
In Jenkins’ film adaption of James Baldwin’s searing novel ''If Beale Street Could Talk'', Fonny (Stephen James) and Tish (Kiki Layne) are lovers separated by racist authorities after a woman falsely accuses Fonny of rape. Before that arrest, in the drama’s most evocative scene, Fonny spends some time catching up with his childhood friend Daniel (Brian Tyree Henry). [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
&lt;br /&gt;
==Plot==&lt;br /&gt;
The story is set in the 1970s in Harlem where 19-year-old Tish (Kiki Layne) and 22-year-old Fonny (Stephan James) have been friends since childhood. Over the years, their relationship has deepened to the point that they are ready to get married. We see the beauty and the bounty of their love in a scene where they are separated from one another by a prison glass wall. He is incarcerated after being falsely charged with raping a Puerto Rican woman (Emily Rios); Tish is optimistic that she can get him released soon. Both of their hearts are warmed with Tish's momentous news that she is pregnant.&lt;br /&gt;
&lt;br /&gt;
After seeing Fonny, Tish shares the news with her family — her mother Sharon (Regina King), her father Joseph (Colman Domingo), and her feisty sister Ernestine (Teyonah Parris). They react with joy and total support. But when they invite Fonny's family over to tell them, whereas his father is excited about becoming a granddad, his sisters are cool, and his mother, a &amp;quot;Holy Roller Christian,&amp;quot; declares that Tish and Fonny have sinned and she goes so far as to curse the baby in Tish's womb.[https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk]&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Controversy==&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Driving Miss Daisy&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; or &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Green Book&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;, Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ &amp;lt;nowiki&amp;gt;''If Beale Street Could Talk''&amp;lt;/nowiki&amp;gt; is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
{{reflist}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Anti-Black Racism In Romance Movies]]&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3606762</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3606762"/>
		<updated>2020-12-06T19:36:20Z</updated>

		<summary type="html">&lt;p&gt;Cnick: If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-sy&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''If Beale Street Could Talk'' feels especially timely right now, due to a sequence where two old friends open their shared wounds. The pain they express is familiar — Black people traditionally seek comfort for this kind of emotional injury among ourselves. (To the detriment of our mental health, we’ve also had to cyclically explain it to white Americans who, until recently, have mostly avoided such introspection.) [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests] &lt;br /&gt;
&lt;br /&gt;
In Jenkins’ film adaption of James Baldwin’s searing novel ''If Beale Street Could Talk'', Fonny (Stephen James) and Tish (Kiki Layne) are lovers separated by racist authorities after a woman falsely accuses Fonny of rape. Before that arrest, in the drama’s most evocative scene, Fonny spends some time catching up with his childhood friend Daniel (Brian Tyree Henry). [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
&lt;br /&gt;
== Plot ==&lt;br /&gt;
The story is set in the 1970s in Harlem where 19-year-old Tish (Kiki Layne) and 22-year-old Fonny (Stephan James) have been friends since childhood. Over the years, their relationship has deepened to the point that they are ready to get married. We see the beauty and the bounty of their love in a scene where they are separated from one another by a prison glass wall. He is incarcerated after being falsely charged with raping a Puerto Rican woman (Emily Rios); Tish is optimistic that she can get him released soon. Both of their hearts are warmed with Tish's momentous news that she is pregnant.&lt;br /&gt;
&lt;br /&gt;
After seeing Fonny, Tish shares the news with her family — her mother Sharon (Regina King), her father Joseph (Colman Domingo), and her feisty sister Ernestine (Teyonah Parris). They react with joy and total support. But when they invite Fonny's family over to tell them, whereas his father is excited about becoming a granddad, his sisters are cool, and his mother, a &amp;quot;Holy Roller Christian,&amp;quot; declares that Tish and Fonny have sinned and she goes so far as to curse the baby in Tish's womb.[https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk]&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
== Controversy ==&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Driving Miss Daisy&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; or &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;Green Book&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In &amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;, Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt;If Beale Street Could Talk&amp;lt;nowiki&amp;gt;''&amp;lt;/nowiki&amp;gt; concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ &amp;lt;nowiki&amp;gt;''If Beale Street Could Talk''&amp;lt;/nowiki&amp;gt; is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
== References ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests&lt;br /&gt;
&lt;br /&gt;
https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;br /&gt;
&lt;br /&gt;
https://www.spiritualityandpractice.com/films/reviews/view/28673/if-beale-street-could-talk&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;[[Category: Anti-Black Racism In Romance Movies]]&amp;lt;/nowiki&amp;gt;&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3603457</id>
		<title>If Beale Street Could Talk</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=If_Beale_Street_Could_Talk&amp;diff=3603457"/>
		<updated>2020-12-06T17:56:40Z</updated>

		<summary type="html">&lt;p&gt;Cnick: Created page with &amp;quot;The movie opens with an explanation that while Beale Street is an actual location, its use in this case is symbolic. It represents a place where people of color can gather and...&amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The movie opens with an explanation that while Beale Street is an actual location, its use in this case is symbolic. It represents a place where people of color can gather and freely express themselves without fear of reprisal from a repressive society. “Every black person born in America was born on Beale Street,” we’re told. “Beale Street is our legacy.”[ &lt;br /&gt;
&lt;br /&gt;
In ''If Beale Street Could Talk'', Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves. https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
		<id>https://blackwiki.org/index.php?title=ANTI-BLACK_RACISM_IN_THRILLER_MOVIES&amp;diff=3461726</id>
		<title>ANTI-BLACK RACISM IN THRILLER MOVIES</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=ANTI-BLACK_RACISM_IN_THRILLER_MOVIES&amp;diff=3461726"/>
		<updated>2020-12-04T05:48:53Z</updated>

		<summary type="html">&lt;p&gt;Cnick: Created page with &amp;quot;== If Beale Street Could Talk == The movie opens with an explanation that while Beale Street is an actual location, its use in this case is symbolic. It represents a place whe...&amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;== If Beale Street Could Talk ==&lt;br /&gt;
The movie opens with an explanation that while Beale Street is an actual location, its use in this case is symbolic. It represents a place where people of color can gather and freely express themselves without fear of reprisal from a repressive society. “Every black person born in America was born on Beale Street,” we’re told. “Beale Street is our legacy.”[https://www.startribune.com/if-beale-street-could-talk-has-a-lot-to-say-about-racism/503444492/]&lt;br /&gt;
&lt;br /&gt;
In ''If Beale Street Could Talk'', Baldwin draws a connection between racism and fear, suggesting that bigots use intimidation tactics to suppress black people. Throughout the novel, he portrays fear as something that keeps young African Americans like Fonny and his friend Daniel from addressing their own oppression. What’s more, it becomes clear that this kind of racism is institutionalized, meaning that the structures of power surrounding Fonny and his loved ones actively work to disenfranchise them. Daniel, for his part, understands this well because he has already spent time in jail for a crime he didn’t commit, and now that he’s finally out of prison, he’s even more frightened than he was before, too scared to strive for true freedom because he simply can’t fathom a life unbridled by hatred and persecution. In this way, readers see that white America oppresses people like Daniel and Fonny by putting them in positions of powerlessness and then scaring them out of standing up for themselves. Baldwin also shows readers how racist power structures turn young black men against one another, which is what happens when the District Attorney tries to scare Daniel out of serving as a witness in Fonny’s case. As such, Baldwin highlights how America’s unjust and coercive systems of power put black people at a severe disadvantage, ultimately using fear to isolate people like Daniel and Fonny from their peers, which makes it even harder for them to advocate for themselves.[https://www.litcharts.com/lit/if-beale-street-could-talk/themes/racism-fear-and-isolation]&lt;br /&gt;
&lt;br /&gt;
====== ==Plot== ======&lt;br /&gt;
The story is set in Harlem, a place where people are told they are worthless “and everything they see around them reminds of them of that.”&lt;br /&gt;
&lt;br /&gt;
Set in the 1970s, the narrative is not chronological. The film opens with 22-year-old Fonny (Stephan James) and his 19-year-old pregnant fiancée, Tish (newcomer KiKi Layne), exchanging one last embrace outside the prison where he has been sent on a bogus rape charge. Tish, still under the illusion that his innocence will win out over the color of his skin, assures Fonny that she’s working on his appeal and he will be home soon.[https://www.startribune.com/if-beale-street-could-talk-has-a-lot-to-say-about-racism/503444492/]&lt;br /&gt;
&lt;br /&gt;
Jenkins’ work suggests how inescapable it’s always been for the people it directly affects. For those who couldn’t escape the conversation, these aren’t new ideas. They’re a part of life. That’s what makes his films so vital in this moment, as a white audience begins to take Black conversations seriously.  [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;br /&gt;
&lt;br /&gt;
====== ==Controversy== ======&lt;br /&gt;
Cinematographer James Laxton employs only one camera during the conversation sequence, and relies on pans rather than cutting. The camera’s action loops three times during the scene, with Fonny serving as the starting point on each loop. The repetition of pans traps the camera’s lens inside the room. It also traps white viewers through both the camera’s hypnotic looping and the unguardedness of the conversation, forcing them to absorb the unavoidable hurt. As the camera repeatedly fixes its gaze on the slightly less aggrieved Fonny, then wavers back to Daniel’s broken image, the visual metaphor for Daniel’s PTSD and this inevitable racial discussion gains tension, deterring viewers from searching the room for escapist distractions.&lt;br /&gt;
&lt;br /&gt;
In the past, when Black writers, creatives, and activists have undertaken the unenviable responsibility of expressing past racial grievances, white viewers have either opted out en masse, or escaped into their own comfortable, self-affirming culture, like ''Driving Miss Daisy'' or ''Green Book''. In this scene, the hypnotic, repetitive camera movement and Tyree Henry’s deliberate performance lull the white members of the audience into remaining in the conversation. As Fonny, Daniel, and many other Black people have been expected to fix their gaze to this trauma, white people must now do the same when confronting their hand in police violence and institutional racism.&lt;br /&gt;
&lt;br /&gt;
Still, a glaring question remains: What happens when public pressure on the white populace lessens? In ''If Beale Street Could Talk'', Daniel and Fonny’s near-inescapable melancholy is only broken by Tish announcing dinner. Nevertheless, after listening to Daniel’s memories, Fonny can’t shake what he’s heard.&lt;br /&gt;
&lt;br /&gt;
After witnessing the footage of George Floyd’s death, or listening to the inexhaustible stories of racism in public office and private businesses, does white America, like Fonny, know that racial discussions are unavoidable? Or must African-Americans perpetually feel hopeless because our harshest traumas are not redressed, even after they’re laid bare?&lt;br /&gt;
&lt;br /&gt;
''If Beale Street Could Talk'' concludes with the near-permanent unjust imprisonment of Fonny, martyred by a malicious, overtly racist legal system. In current events, the martyrs are Arbery, Taylor, Floyd, and the unreported Black victims of police killings not caught on video. African-Americans are frustrated counting the uncountable martyrs, while one side avoids the conversation we can’t avoid.&lt;br /&gt;
&lt;br /&gt;
If white America embraces conversations regarding race in perpetuity, just as Black Americans and Daniel and Fonny must — if they continually broach the subject of racism instead of veering into escapist tendencies, no matter how difficult — then sustainable change is possible. The hangout scene in Jenkins’ ''If Beale Street Could Talk'' is a model for white America, a road map to confronting issues of inequality, and severing itself from its escapist detachment. [https://www.polygon.com/2020/7/20/21328986/if-beale-street-could-barry-jenkins-systemic-racism-george-floyd-protests]&lt;/div&gt;</summary>
		<author><name>Cnick</name></author>
		
	</entry>
	<entry>
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		<title>User talk:Cnick</title>
		<link rel="alternate" type="text/html" href="https://blackwiki.org/index.php?title=User_talk:Cnick&amp;diff=3014523"/>
		<updated>2020-11-22T13:09:42Z</updated>

		<summary type="html">&lt;p&gt;Cnick: &lt;/p&gt;
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&lt;div&gt;Roald Dahl’s early draft portrayed Charlie as a black boy who gets trapped in a chocolate mould, which researcher says was an image of stifling prejudice&lt;br /&gt;
&lt;br /&gt;
Alison Flood&lt;br /&gt;
&lt;br /&gt;
Tue 26 Sep 2017 13.25 BSTLast modified on Tue 26 Sep 2017 15.07 BST&lt;br /&gt;
Whitewashed? … Freddie Highmore as Charlie Bucket in the 2005 film version of Charlie and the Chocolate Factory.&lt;br /&gt;
 Whitewashed? … Freddie Highmore as Charlie Bucket in the 2005 film version of Charlie and the Chocolate Factory. Photograph: Reuters&lt;br /&gt;
An early draft of Roald Dahl’s Charlie and the Chocolate Factory not only starred a black version of Charlie Bucket, it saw the character trapped in a life-size chocolate mould of a boy as a “metaphor for racial stereotype”, according to research by an American academic.&lt;br /&gt;
&lt;br /&gt;
Dahl’s widow, Liccy Dahl, told BBC Radio 4’s Today programme last week of how her husband had wanted Charlie to be “a little black boy”. His biographer, Donald Sturrock, added that the idea had been rejected by Dahl’s agent, but no further details were provided about the discarded storyline.&lt;br /&gt;
&lt;br /&gt;
Charlie and the Chocolate Factory hero 'was originally black'&lt;br /&gt;
 Read more&lt;br /&gt;
Now Catherine Keyser, a professor of English at the University of South Carolina, has told the New York Times about the original plot of Dahl’s draft, Charlie’s Chocolate Boy. According to Keyser, the setup is similar to Dahl’s bestseller, with a magical chocolate factory owned by “Willie” Wonka, and children vying for a golden ticket to visit it. But Augustus Gloop was named Augustus Pottle and there were two more children: Marvin Prune and Miranda Piker. “And of course Charlie Bucket – who in this version is a black boy, and is accompanied by his two doting parents,” Keyser said.&lt;br /&gt;
&lt;br /&gt;
Charlie, she added, “ends up in the Easter Room, where there are life-size candy moulds of creatures, and one of these is shaped like a chocolate boy. Charlie is fascinated by this. Wonka helps him into the mould and gets distracted. The mould closes, and the chocolate pours over his body and he is suffocating and nearly drowning in it. It hardens around him, which feels terrible. He’s trapped. He’s alive but can’t be seen or heard. No one knows where he’s gone. Then he gets taken to Wonka’s house to be the chocolate boy in Wonka’s son’s Easter basket.”&lt;br /&gt;
&lt;br /&gt;
The next day, burglars attempt to steal money and jewellery from the Wonkas’ house – in this version, Mr Wonka is married – but Charlie, hidden in his mould, manages to prevent the robbery. In return, he is given a shop in the city, which he names Charlie’s Chocolate Shop.&lt;br /&gt;
&lt;br /&gt;
Keyser said that although the story was mentioned by Sturrock and in Lucy Mangan’s Inside Charlie’s Chocolate Factory, it “had never been looked at in great textual detail” before her analysis. She said that she loved the “vulnerability and the potential” of the early draft, describing it as “a really powerful racial allegory”.&lt;br /&gt;
&lt;br /&gt;
“I think the mould … is a metaphor for racial stereotype. In the early 20th century, chocolate marketing in both the US and England was very tied up in imperialist fantasies and in connecting brown skin with brown chocolate. In one British ad for chocolate, for example, you had a black figure holding a cocoa bean and happily bestowing it on white children,” she said.&lt;br /&gt;
&lt;br /&gt;
“So I think it’s neat that in this mid-century moment Dahl has this black boy get stuck inside a mould that fits him perfectly – he emphasises that – everything about the mould fits Charlie, except [that] once the chocolate inside the mould hardens, it’s uncomfortable! So what better symbol of what it’s like to be turned into a racial stereotype than a black boy who gets stuck inside a life-size chocolate mould and can’t be seen or heard through this chocolate coating.”&lt;br /&gt;
&lt;br /&gt;
Dahl, however, was told by his agent not to make Charlie black. He then went on to dream up the Oompa Loompas, which were originally written as a tribe of African pygmies, prompting accusations of racism and colonialism. Dahl rewrote them to be from “Loompaland” in subsequent editions, with rosy-white skin and golden-brown hair.&lt;br /&gt;
&lt;br /&gt;
“I think this arc – from what I find to be a fairly anti-racist novel to one that has been rightly criticised for its racist and imperialist politics – [shows] Dahl’s ambivalence,” said Keyser. “I think that’s the power of racism; to make someone able to hold these contradictory views at once. To both identify with the underdog and seem to understand the pain of stereotype, but then be completely flummoxed that anyone finds the Oompa Loompas offensive. He was genuinely surprised and very annoyed. So I don’t mean for this to whitewash Dahl’s racial politics. I just really love the vulnerability and the potential in this first draft.”&lt;br /&gt;
&lt;br /&gt;
Charlie and the Chocolate Factory went on to be published in 1964. It is now estimated to have sold more than 20m copies around the world. https://www.theguardian.com/books/2017/sep/26/charlie-and-the-chocolate-factory-began-as-anti-racist-novel-claims-academic&lt;br /&gt;
&lt;br /&gt;
People in the United States love chocolate, but history—not so much. For generations, we manufactured blatantly racist textbooks that taught young readers about the inferiority of African Americans. Since the 1980s, if not earlier, public schools began dropping history from their curriculums or assigned athletic coaches the task of teaching such classes. But history is far from a dead thing. “We carry it within us,” African American novelist James Baldwin memorably remarked in his essay, “The White Man’s Guilt.” We “are unconsciously controlled by it in many ways, and history is literally present in all that we do. It could scarcely be otherwise, since it is to history that we owe our frames of reference, our identities, and our aspirations.”&lt;br /&gt;
&lt;br /&gt;
Chocolate also has a history and, despite its sweetness to many Americans, it has a bitter legacy. Like sugar, it became the business of colonial—and slave trade—powers, and Great Britain, since the mid-17th century, sought to be in the thick of it. As British literature professor Kate Loveman wrote in Journal of Social History in 2013, the Earl of Sandwich tried to entice the English government into cultivating new harvests, including cacao, in the West Indies, and especially Jamaica. While initial English efforts to produce Jamaican cacao—highly prized today—proved successful, exporting “quite large quantities,” as one imperial historian wrote, the crop soon fell victim to hurricanes and disease and competition from sugar as the more profitable (slave-produced) investment.&lt;br /&gt;
&lt;br /&gt;
The very idea of chocolate is inextricably linked to slavery. Indeed, as early as the 1850s, U.S. abolitionists had protested the cocoa trade, and the cotton trade, pledging themselves to buy only free-labor products. In this way, the antislavery newspaper the National Era wrote in 1856, “the sweet may be obtained without the bitter.” &lt;br /&gt;
&lt;br /&gt;
The first cocoa shipments to Europe began in 1585 and ever since the commodity has been identified with the colonial world of Central America and the Caribbean, but especially with West Africa.  World’s cocoa production  shifted to West Africa (about 70% today), specifically because of Britain’s interests there, especially Cadbury, the famed British chocolatier.  Yet, as Jill Lane wrote in her 2007 essay “Becoming Chocolate, A Tale of Racial Translation,” the industry there offers an important warning for Caribbean nations.  African cocoa production remains “fraught with social problems, including child and slave labor. . . .”  Today, millions of West African children, especially in Ghana and Cote d’Ivoire, are caught up in the cocoa trade. Many survive “on little food, little or no pay, and endure regular beatings.” By one estimate, roughly half of the world’s chocolate comes from the labor of exploited children. &lt;br /&gt;
&lt;br /&gt;
As Daphne Ewing-Chow of Forbes magazine pointed out in 2019, Trinidad and Tobago are experiencing a steady increase in cocoa production after a century of progressive decline—from 30,000 tons per year to less than 500 tons. Cocoa orchards have been revived in Jamaica and thousands of farmers have become involved in production. Moreover, women in St. Lucia are increasingly becoming involved in cocoa production and have formed a network of rural female producers. Is this new Caribbean production free of the exploitation still found in Africa? What does cocoa production mean for today’s world? Do producers understand the contexts of their business?&lt;br /&gt;
&lt;br /&gt;
Roald Dahl, one of the world’s most successful writers of children’s books, grew up with chocolate—and white supremacy—in his veins. Born of Norwegian parents in Wales, a World War II fighter pilot, and British intelligence officer, Dahl became part of the lives of millions of children around the world, especially through two of his works, James and the Giant Peach (1961) and Charlie and the Chocolate Factory (1964). His fame only increased when he married the U.S. actress Patricia Neal. &lt;br /&gt;
&lt;br /&gt;
His adult career began in 1938 with the Asiatic Petroleum Company, soon to become a part of Royal Dutch Shell, in the former German East Africa, then known as Tanganyika. His adventure—and his later career as a writer—were nourished by the imperialism and racism he had grown up with. While in prep school, Dahl dreamed about the gold and adventurous life that might await him in Africa, where he remarked, “there is a great advantage in traveling to hot countries where niggers dwell.” &lt;br /&gt;
&lt;br /&gt;
Moreover, his prep school resided very near the Cadbury plant. He and other students served as test subjects, passing judgment on various chocolate products—and giving him a life-long addiction to the candy and additional inspiration for his famous book.  Thus, when he began his literary career after the war, one of the first stories he wrote—employing typical “colored” dialect—revolved around a sleazy and dangerous, brown-skinned Jamaican gambler who owned a Cadillac.&lt;br /&gt;
&lt;br /&gt;
Magical, marvelous and imaginative is how virtually everyone understood Charlie and the Chocolate Factory, a story about a poor child, Charlie Bucket, who by chance received a golden ticket to a glowing future. No one can deny the genius of the book or its author. Looking at the whole of his children’s writings, one analyst even saw in them Dahl’s quest for a father, whom he lost as a child, a man who “made a world that was fair and wonderful.” What reviewers and readers around the world did not see, however, was how slavery underpinned his writing and how white supremacy fortified it. The power of a positive imagination, and what (white) readers desired to see, simply overwhelmed the obvious.&lt;br /&gt;
&lt;br /&gt;
The depiction of the Oompa-Loompas in Charlie and Chocolate Factory is so brazen that Dahl might have had a copy of Thomas Clarkson’s 1829 description of slavery in the British West Indies by his side when he crafted the book. When Charlie, the four other golden ticket holders, and their parents first spied the Oompa-Loompas they cried out: “What are they doing? Where do they come from? Who are they? “Aren’t they fantastic!  No higher than my knee! Their skin is almost black!” &lt;br /&gt;
&lt;br /&gt;
Willy Wonka tamped down speculation that he made them of chocolate. “They are real people! They are some of my workers!” He advised the group that these tiny black people had been “Imported direct from Africa!” They belonged to “a tribe of tiny miniature pygmies known as Oompa-Loompas.  I discovered them myself. I brought them over from Africa myself—the whole tribe of them, three thousand in all. I found them in the very deepest and darkest part of the African jungle where no white man had ever been before.”&lt;br /&gt;
&lt;br /&gt;
Wonka explained that the tribe had been starving, subsisting on green caterpillars, but longing for cacao beans, “oh how they craved them.”  He bargained with the tribe and promised that if they agreed to “live in my factory” they could have all the cacao beans they wanted: “I’ll even pay your wages in cacao beans if you wish!” So, the black pygmies traded their freedom for permanent enslavement and all the cacao beans they could eat. After the tribal leader agreed to stop eating green caterpillars and work for “beans,” Wonka “shipped them over here, every man, woman, and child in the Oompa-Loompa tribe. It was easy. I smuggled them over in large packing cases with holes in them, and they all got here safely.” As Britain had outlawed the slave trade in 1807, Wonka had to smuggle them to England in packing cases, in conditions that sounded almost as horrific as the Middle Passage.&lt;br /&gt;
&lt;br /&gt;
Dahl’s descriptions clearly exploited the demeaning ways whites conceived of the slave experience and treated the Oompa-Loompas as things to own. One of the lucky white children who gained admission to the factory, Veruca Salt, the girl who got everything she wanted, wanted an Oompa-Loompa. “I want an Oompa-Loompa right away!”  Ok, her exasperated father said. “I’ll see you have one before the day is out.” &lt;br /&gt;
&lt;br /&gt;
Willy Wonka embraced the role of master. If he clicked his fingers three times an Oompa-Loompa would appear and quiver at his loin. He “bowed and smiled, showing beautiful white teeth. His skin was almost pure black, and the top of his fuzzy head came just above the height of Mr. Wonka’s knee. He wore the usual deerskin slung over his shoulder.”  A slave galley even made an appearance in the book, one powered by pygmies who rowed on a river of chocolate. Just to further highlight the slave analogy, Dahl deviously introduced whips, “WHIPS—ALL SHAPES AND SIZES.” And why whips? Well, “For whipping cream, of course!” Riveting the idea that these black pygmies were Wonka’s property, to which he could do whatever he wanted, he subjected Oompa-Loompas to hair-growing medical experiments and product testing that turned some into blueberries. &lt;br /&gt;
&lt;br /&gt;
Eleven years after he had written Charlie and the Chocolate Factory, Dahl confessed to being “mildly ashamed” about his attitude toward those Africans that had worked with him in Tanganyika. His imperial adventure, he confessed, seemed “not right.” He admitted that he had unconsciously fallen into an imperial frame of mind, something that could not be helped: “You can’t buck the tide,” he remarked. “It was the last days of the British Empire.”  &lt;br /&gt;
&lt;br /&gt;
Yet, at almost the exact same time, he became outraged when anyone found racial prejudice in the wonderful fantasy tale that he had crafted and dedicated to his brain-damaged son. “It didn’t occur to me that my depiction of the Oompa-Loompas was racist,” he remarked when the new edition of the book emerged in 1973, “but it did occur to the NAACP and others . . . which is why I revised the book.”  Dahl hated criticism, especially when it pointed to his deepest flaws. His bewilderment, if any, came not from embarrassment or regret, but from the fact that his racism had been exposed to public view, threatening his reputation and, perhaps, his profits. &lt;br /&gt;
&lt;br /&gt;
Dahl learned nothing from the controversy. When finishing another successful children’s book, The BFG, his first draft of the friendly giant at the center of that book emerged as the very worst imitation of a Zip Coon figure, a black, flat-nosed, giant with “thick rubbery lips . . . like two gigantic purple frankfurters lying on top of the other.” For once, an editor spoke up and his new publisher, Farrar Straus Giroux, denounced Dahl’s characterization as a “derisive stereotype.” Dahl conceded the point, responding: “the negro lips thing is taken care of.”  Yet, Dahl’s inability to conceive of people of African descent as anything other than caricature remained, despite denials, as did the fact that his legendary book’s stimulating imagination about poverty, chocolate and unexpected salvation had been built on racially toxic assumptions, illusions and images.&lt;br /&gt;
&lt;br /&gt;
Dahl’s book did not exist in a vacuum. Far worse white supremacism appeared in school history and geography textbooks, in pamphlets and newspapers. They were buttressed by exponents of eugenics, especially the Harvard Ph.D. Lothrop Stoddard and Yale’s Madison Grant, who represented a movement with intensely racist and anti-immigrant ideologies that proved immensely popular in the United States prior to World War II and became models for Hitler’s Germany.  Nonetheless, Dahl’s work played an important role in perpetuating supremacist ideology and with ingenious imagination depicted Africans as an ignorant, savage people, best suited for enslavement, and whose lives were improved by subordination to white people. &lt;br /&gt;
&lt;br /&gt;
Astonishingly, the 2005 film remake of Willy Wonka and the Chocolate Factory returned to the original 1964 text for inspiration. Director Tim Burton declared that Dahl’s “politically incorrect” views attracted him to the project, and Gurdeep &amp;quot;Deep&amp;quot; Roy, an Anglo-Indian actor became the dark-skinned stand-in for the Oompa-Loompas. &lt;br /&gt;
&lt;br /&gt;
That so many commentators missed or refused to comment on the book’s depictions of dark-skinned people is testament to the enthralling power of Dahl’s language and imagery. It played as much to the subconscious as to the unconcealed, and given its enduring popularity offers Caribbean nations an important lesson concerning the depth and endurance of racism in the United States. It also affirms James Baldwin’s observation that “white people, with scarcely any pangs of conscience whatever,” are determined “to create, in every generation, only the Negro they wished to see.”  https://revista.drclas.harvard.edu/book/roald-dahl-caribbean-and-warning-his-chocolate-factory&lt;br /&gt;
&lt;br /&gt;
In the Guardian last week, Haroon Siddique had some news for Roald Dahl fans. Dahl’s widow, Liccy Dahl, had dropped some pretty big, previously unknown news a few days earlier, during an interview with BBC Radio 4’s Today: “His first Charlie that he wrote about was a little black boy.” Yes, the hero of Dahl’s 1964 novel Charlie and the Chocolate Factory was originally written to be black. So what happened? According to Dahl’s biographer Donald Sturrock, also part of the interview, the author’s agent talked him out of it, claiming that people would ask, “Why?”&lt;br /&gt;
&lt;br /&gt;
I suppose you could argue that in 1964, having a black child as the protagonist of a mainstream YA novel would be revolutionary. But please don’t let this manipulate you into thinking that Dahl was some progressive, open-minded, non-racist human being. Much of the book is racist AF. As Kristian Wilson explains over at Bustle, “As Dahl wrote them in 1964, Willy Wonka’s workers are presented as ‘pygmies’ from ‘the very deepest and darkest part of the African jungle.’ If that’s not cringey enough, you should also remember that Wonka pays his workforce in chocolate, for which his Oompa-Loompas have willingly, cheerfully enslaved themselves.”&lt;br /&gt;
&lt;br /&gt;
When news of the novel’s adaptation into a movie broke in 1970, the NAACP was rightly like, “Um, no.” At their urging, Dahl agreed to re-write the Oompa Loompas, changing them into what Wilson describes as “white, blond, hippie-like dwarfs.”  The movie, Willy Wonka and the Chocolate Factory, decided not to deal with Dahl’s mess at all and created the orange skinned, crazy-haired dudes we know today. &lt;br /&gt;
&lt;br /&gt;
Just in case you’re thinking about maybe giving Dahl a pass on the whole racist thing, please read this this article by Thea Glassman in the venerable Jewish publication Forward, compiling five very horribly anti-Semitic quotes from the author — including, “I am certainly anti-Israel, and I have become anti-Semitic.”  Roald Dahl, not a great guy! He was also a total jerk to his editor.  https://www.mhpbooks.com/roald-dahl-almost-made-his-charlie-and-the-chocolate-factory-hero-black-but-hes-still-a-racist/&lt;/div&gt;</summary>
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	<entry>
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		<title>User talk:Cnick</title>
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		<updated>2020-11-22T13:04:59Z</updated>

		<summary type="html">&lt;p&gt;Cnick: Created page with &amp;quot;Roald Dahl’s early draft portrayed Charlie as a black boy who gets trapped in a chocolate mould, which researcher says was an image of stifling prejudice  Alison Flood  Tue...&amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Roald Dahl’s early draft portrayed Charlie as a black boy who gets trapped in a chocolate mould, which researcher says was an image of stifling prejudice&lt;br /&gt;
&lt;br /&gt;
Alison Flood&lt;br /&gt;
&lt;br /&gt;
Tue 26 Sep 2017 13.25 BSTLast modified on Tue 26 Sep 2017 15.07 BST&lt;br /&gt;
Whitewashed? … Freddie Highmore as Charlie Bucket in the 2005 film version of Charlie and the Chocolate Factory.&lt;br /&gt;
 Whitewashed? … Freddie Highmore as Charlie Bucket in the 2005 film version of Charlie and the Chocolate Factory. Photograph: Reuters&lt;br /&gt;
An early draft of Roald Dahl’s Charlie and the Chocolate Factory not only starred a black version of Charlie Bucket, it saw the character trapped in a life-size chocolate mould of a boy as a “metaphor for racial stereotype”, according to research by an American academic.&lt;br /&gt;
&lt;br /&gt;
Dahl’s widow, Liccy Dahl, told BBC Radio 4’s Today programme last week of how her husband had wanted Charlie to be “a little black boy”. His biographer, Donald Sturrock, added that the idea had been rejected by Dahl’s agent, but no further details were provided about the discarded storyline.&lt;br /&gt;
&lt;br /&gt;
Charlie and the Chocolate Factory hero 'was originally black'&lt;br /&gt;
 Read more&lt;br /&gt;
Now Catherine Keyser, a professor of English at the University of South Carolina, has told the New York Times about the original plot of Dahl’s draft, Charlie’s Chocolate Boy. According to Keyser, the setup is similar to Dahl’s bestseller, with a magical chocolate factory owned by “Willie” Wonka, and children vying for a golden ticket to visit it. But Augustus Gloop was named Augustus Pottle and there were two more children: Marvin Prune and Miranda Piker. “And of course Charlie Bucket – who in this version is a black boy, and is accompanied by his two doting parents,” Keyser said.&lt;br /&gt;
&lt;br /&gt;
Charlie, she added, “ends up in the Easter Room, where there are life-size candy moulds of creatures, and one of these is shaped like a chocolate boy. Charlie is fascinated by this. Wonka helps him into the mould and gets distracted. The mould closes, and the chocolate pours over his body and he is suffocating and nearly drowning in it. It hardens around him, which feels terrible. He’s trapped. He’s alive but can’t be seen or heard. No one knows where he’s gone. Then he gets taken to Wonka’s house to be the chocolate boy in Wonka’s son’s Easter basket.”&lt;br /&gt;
&lt;br /&gt;
The next day, burglars attempt to steal money and jewellery from the Wonkas’ house – in this version, Mr Wonka is married – but Charlie, hidden in his mould, manages to prevent the robbery. In return, he is given a shop in the city, which he names Charlie’s Chocolate Shop.&lt;br /&gt;
&lt;br /&gt;
Keyser said that although the story was mentioned by Sturrock and in Lucy Mangan’s Inside Charlie’s Chocolate Factory, it “had never been looked at in great textual detail” before her analysis. She said that she loved the “vulnerability and the potential” of the early draft, describing it as “a really powerful racial allegory”.&lt;br /&gt;
&lt;br /&gt;
“I think the mould … is a metaphor for racial stereotype. In the early 20th century, chocolate marketing in both the US and England was very tied up in imperialist fantasies and in connecting brown skin with brown chocolate. In one British ad for chocolate, for example, you had a black figure holding a cocoa bean and happily bestowing it on white children,” she said.&lt;br /&gt;
&lt;br /&gt;
“So I think it’s neat that in this mid-century moment Dahl has this black boy get stuck inside a mould that fits him perfectly – he emphasises that – everything about the mould fits Charlie, except [that] once the chocolate inside the mould hardens, it’s uncomfortable! So what better symbol of what it’s like to be turned into a racial stereotype than a black boy who gets stuck inside a life-size chocolate mould and can’t be seen or heard through this chocolate coating.”&lt;br /&gt;
&lt;br /&gt;
Dahl, however, was told by his agent not to make Charlie black. He then went on to dream up the Oompa Loompas, which were originally written as a tribe of African pygmies, prompting accusations of racism and colonialism. Dahl rewrote them to be from “Loompaland” in subsequent editions, with rosy-white skin and golden-brown hair.&lt;br /&gt;
&lt;br /&gt;
“I think this arc – from what I find to be a fairly anti-racist novel to one that has been rightly criticised for its racist and imperialist politics – [shows] Dahl’s ambivalence,” said Keyser. “I think that’s the power of racism; to make someone able to hold these contradictory views at once. To both identify with the underdog and seem to understand the pain of stereotype, but then be completely flummoxed that anyone finds the Oompa Loompas offensive. He was genuinely surprised and very annoyed. So I don’t mean for this to whitewash Dahl’s racial politics. I just really love the vulnerability and the potential in this first draft.”&lt;br /&gt;
&lt;br /&gt;
Charlie and the Chocolate Factory went on to be published in 1964. It is now estimated to have sold more than 20m copies around the world. https://www.theguardian.com/books/2017/sep/26/charlie-and-the-chocolate-factory-began-as-anti-racist-novel-claims-academic&lt;br /&gt;
&lt;br /&gt;
People in the United States love chocolate, but history—not so much. For generations, we manufactured blatantly racist textbooks that taught young readers about the inferiority of African Americans. Since the 1980s, if not earlier, public schools began dropping history from their curriculums or assigned athletic coaches the task of teaching such classes. But history is far from a dead thing. “We carry it within us,” African American novelist James Baldwin memorably remarked in his essay, “The White Man’s Guilt.” We “are unconsciously controlled by it in many ways, and history is literally present in all that we do. It could scarcely be otherwise, since it is to history that we owe our frames of reference, our identities, and our aspirations.”&lt;br /&gt;
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Chocolate also has a history and, despite its sweetness to many Americans, it has a bitter legacy. Like sugar, it became the business of colonial—and slave trade—powers, and Great Britain, since the mid-17th century, sought to be in the thick of it. As British literature professor Kate Loveman wrote in Journal of Social History in 2013, the Earl of Sandwich tried to entice the English government into cultivating new harvests, including cacao, in the West Indies, and especially Jamaica. While initial English efforts to produce Jamaican cacao—highly prized today—proved successful, exporting “quite large quantities,” as one imperial historian wrote, the crop soon fell victim to hurricanes and disease and competition from sugar as the more profitable (slave-produced) investment.&lt;br /&gt;
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The very idea of chocolate is inextricably linked to slavery. Indeed, as early as the 1850s, U.S. abolitionists had protested the cocoa trade, and the cotton trade, pledging themselves to buy only free-labor products. In this way, the antislavery newspaper the National Era wrote in 1856, “the sweet may be obtained without the bitter.” &lt;br /&gt;
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The first cocoa shipments to Europe began in 1585 and ever since the commodity has been identified with the colonial world of Central America and the Caribbean, but especially with West Africa.  World’s cocoa production  shifted to West Africa (about 70% today), specifically because of Britain’s interests there, especially Cadbury, the famed British chocolatier.  Yet, as Jill Lane wrote in her 2007 essay “Becoming Chocolate, A Tale of Racial Translation,” the industry there offers an important warning for Caribbean nations.  African cocoa production remains “fraught with social problems, including child and slave labor. . . .”  Today, millions of West African children, especially in Ghana and Cote d’Ivoire, are caught up in the cocoa trade. Many survive “on little food, little or no pay, and endure regular beatings.” By one estimate, roughly half of the world’s chocolate comes from the labor of exploited children. &lt;br /&gt;
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As Daphne Ewing-Chow of Forbes magazine pointed out in 2019, Trinidad and Tobago are experiencing a steady increase in cocoa production after a century of progressive decline—from 30,000 tons per year to less than 500 tons. Cocoa orchards have been revived in Jamaica and thousands of farmers have become involved in production. Moreover, women in St. Lucia are increasingly becoming involved in cocoa production and have formed a network of rural female producers. Is this new Caribbean production free of the exploitation still found in Africa? What does cocoa production mean for today’s world? Do producers understand the contexts of their business?&lt;br /&gt;
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Roald Dahl, one of the world’s most successful writers of children’s books, grew up with chocolate—and white supremacy—in his veins. Born of Norwegian parents in Wales, a World War II fighter pilot, and British intelligence officer, Dahl became part of the lives of millions of children around the world, especially through two of his works, James and the Giant Peach (1961) and Charlie and the Chocolate Factory (1964). His fame only increased when he married the U.S. actress Patricia Neal. &lt;br /&gt;
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His adult career began in 1938 with the Asiatic Petroleum Company, soon to become a part of Royal Dutch Shell, in the former German East Africa, then known as Tanganyika. His adventure—and his later career as a writer—were nourished by the imperialism and racism he had grown up with. While in prep school, Dahl dreamed about the gold and adventurous life that might await him in Africa, where he remarked, “there is a great advantage in traveling to hot countries where niggers dwell.” &lt;br /&gt;
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Moreover, his prep school resided very near the Cadbury plant. He and other students served as test subjects, passing judgment on various chocolate products—and giving him a life-long addiction to the candy and additional inspiration for his famous book.  Thus, when he began his literary career after the war, one of the first stories he wrote—employing typical “colored” dialect—revolved around a sleazy and dangerous, brown-skinned Jamaican gambler who owned a Cadillac.&lt;br /&gt;
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Magical, marvelous and imaginative is how virtually everyone understood Charlie and the Chocolate Factory, a story about a poor child, Charlie Bucket, who by chance received a golden ticket to a glowing future. No one can deny the genius of the book or its author. Looking at the whole of his children’s writings, one analyst even saw in them Dahl’s quest for a father, whom he lost as a child, a man who “made a world that was fair and wonderful.” What reviewers and readers around the world did not see, however, was how slavery underpinned his writing and how white supremacy fortified it. The power of a positive imagination, and what (white) readers desired to see, simply overwhelmed the obvious.&lt;br /&gt;
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The depiction of the Oompa-Loompas in Charlie and Chocolate Factory is so brazen that Dahl might have had a copy of Thomas Clarkson’s 1829 description of slavery in the British West Indies by his side when he crafted the book. When Charlie, the four other golden ticket holders, and their parents first spied the Oompa-Loompas they cried out: “What are they doing? Where do they come from? Who are they? “Aren’t they fantastic!  No higher than my knee! Their skin is almost black!” &lt;br /&gt;
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Willy Wonka tamped down speculation that he made them of chocolate. “They are real people! They are some of my workers!” He advised the group that these tiny black people had been “Imported direct from Africa!” They belonged to “a tribe of tiny miniature pygmies known as Oompa-Loompas.  I discovered them myself. I brought them over from Africa myself—the whole tribe of them, three thousand in all. I found them in the very deepest and darkest part of the African jungle where no white man had ever been before.”&lt;br /&gt;
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Wonka explained that the tribe had been starving, subsisting on green caterpillars, but longing for cacao beans, “oh how they craved them.”  He bargained with the tribe and promised that if they agreed to “live in my factory” they could have all the cacao beans they wanted: “I’ll even pay your wages in cacao beans if you wish!” So, the black pygmies traded their freedom for permanent enslavement and all the cacao beans they could eat. After the tribal leader agreed to stop eating green caterpillars and work for “beans,” Wonka “shipped them over here, every man, woman, and child in the Oompa-Loompa tribe. It was easy. I smuggled them over in large packing cases with holes in them, and they all got here safely.” As Britain had outlawed the slave trade in 1807, Wonka had to smuggle them to England in packing cases, in conditions that sounded almost as horrific as the Middle Passage.&lt;br /&gt;
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Dahl’s descriptions clearly exploited the demeaning ways whites conceived of the slave experience and treated the Oompa-Loompas as things to own. One of the lucky white children who gained admission to the factory, Veruca Salt, the girl who got everything she wanted, wanted an Oompa-Loompa. “I want an Oompa-Loompa right away!”  Ok, her exasperated father said. “I’ll see you have one before the day is out.” &lt;br /&gt;
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Willy Wonka embraced the role of master. If he clicked his fingers three times an Oompa-Loompa would appear and quiver at his loin. He “bowed and smiled, showing beautiful white teeth. His skin was almost pure black, and the top of his fuzzy head came just above the height of Mr. Wonka’s knee. He wore the usual deerskin slung over his shoulder.”  A slave galley even made an appearance in the book, one powered by pygmies who rowed on a river of chocolate. Just to further highlight the slave analogy, Dahl deviously introduced whips, “WHIPS—ALL SHAPES AND SIZES.” And why whips? Well, “For whipping cream, of course!” Riveting the idea that these black pygmies were Wonka’s property, to which he could do whatever he wanted, he subjected Oompa-Loompas to hair-growing medical experiments and product testing that turned some into blueberries. &lt;br /&gt;
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Eleven years after he had written Charlie and the Chocolate Factory, Dahl confessed to being “mildly ashamed” about his attitude toward those Africans that had worked with him in Tanganyika. His imperial adventure, he confessed, seemed “not right.” He admitted that he had unconsciously fallen into an imperial frame of mind, something that could not be helped: “You can’t buck the tide,” he remarked. “It was the last days of the British Empire.”  &lt;br /&gt;
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Yet, at almost the exact same time, he became outraged when anyone found racial prejudice in the wonderful fantasy tale that he had crafted and dedicated to his brain-damaged son. “It didn’t occur to me that my depiction of the Oompa-Loompas was racist,” he remarked when the new edition of the book emerged in 1973, “but it did occur to the NAACP and others . . . which is why I revised the book.”  Dahl hated criticism, especially when it pointed to his deepest flaws. His bewilderment, if any, came not from embarrassment or regret, but from the fact that his racism had been exposed to public view, threatening his reputation and, perhaps, his profits. &lt;br /&gt;
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Dahl learned nothing from the controversy. When finishing another successful children’s book, The BFG, his first draft of the friendly giant at the center of that book emerged as the very worst imitation of a Zip Coon figure, a black, flat-nosed, giant with “thick rubbery lips . . . like two gigantic purple frankfurters lying on top of the other.” For once, an editor spoke up and his new publisher, Farrar Straus Giroux, denounced Dahl’s characterization as a “derisive stereotype.” Dahl conceded the point, responding: “the negro lips thing is taken care of.”  Yet, Dahl’s inability to conceive of people of African descent as anything other than caricature remained, despite denials, as did the fact that his legendary book’s stimulating imagination about poverty, chocolate and unexpected salvation had been built on racially toxic assumptions, illusions and images.&lt;br /&gt;
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Dahl’s book did not exist in a vacuum. Far worse white supremacism appeared in school history and geography textbooks, in pamphlets and newspapers. They were buttressed by exponents of eugenics, especially the Harvard Ph.D. Lothrop Stoddard and Yale’s Madison Grant, who represented a movement with intensely racist and anti-immigrant ideologies that proved immensely popular in the United States prior to World War II and became models for Hitler’s Germany.  Nonetheless, Dahl’s work played an important role in perpetuating supremacist ideology and with ingenious imagination depicted Africans as an ignorant, savage people, best suited for enslavement, and whose lives were improved by subordination to white people. &lt;br /&gt;
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Astonishingly, the 2005 film remake of Willy Wonka and the Chocolate Factory returned to the original 1964 text for inspiration. Director Tim Burton declared that Dahl’s “politically incorrect” views attracted him to the project, and Gurdeep &amp;quot;Deep&amp;quot; Roy, an Anglo-Indian actor became the dark-skinned stand-in for the Oompa-Loompas. &lt;br /&gt;
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That so many commentators missed or refused to comment on the book’s depictions of dark-skinned people is testament to the enthralling power of Dahl’s language and imagery. It played as much to the subconscious as to the unconcealed, and given its enduring popularity offers Caribbean nations an important lesson concerning the depth and endurance of racism in the United States. It also affirms James Baldwin’s observation that “white people, with scarcely any pangs of conscience whatever,” are determined “to create, in every generation, only the Negro they wished to see.”  https://revista.drclas.harvard.edu/book/roald-dahl-caribbean-and-warning-his-chocolate-factory&lt;br /&gt;
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In the Guardian last week, Haroon Siddique had some news for Roald Dahl fans. Dahl’s widow, Liccy Dahl, had dropped some pretty big, previously unknown news a few days earlier, during an interview with BBC Radio 4’s Today: “His first Charlie that he wrote about was a little black boy.” Yes, the hero of Dahl’s 1964 novel Charlie and the Chocolate Factory was originally written to be black. So what happened? According to Dahl’s biographer Donald Sturrock, also part of the interview, the author’s agent talked him out of it, claiming that people would ask, “Why?”&lt;br /&gt;
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I suppose you could argue that in 1964, having a black child as the protagonist of a mainstream YA novel would be revolutionary. But please don’t let this manipulate you into thinking that Dahl was some progressive, open-minded, non-racist human being. Much of the book is racist AF. As Kristian Wilson explains over at Bustle, “As Dahl wrote them in 1964, Willy Wonka’s workers are presented as ‘pygmies’ from ‘the very deepest and darkest part of the African jungle.’ If that’s not cringey enough, you should also remember that Wonka pays his workforce in chocolate, for which his Oompa-Loompas have willingly, cheerfully enslaved themselves.”&lt;br /&gt;
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When news of the novel’s adaptation into a movie broke in 1970, the NAACP was rightly like, “Um, no.” At their urging, Dahl agreed to re-write the Oompa Loompas, changing them into what Wilson describes as “white, blond, hippie-like dwarfs.”  The movie, Willy Wonka and the Chocolate Factory, decided not to deal with Dahl’s mess at all and created the orange skinned, crazy-haired dudes we know today. (Insert Trump joke here.)&lt;br /&gt;
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Just in case you’re thinking about maybe giving Dahl a pass on the whole racist thing, please read this this article by Thea Glassman in the venerable Jewish publication Forward, compiling five very horribly anti-Semitic quotes from the author — including, “I am certainly anti-Israel, and I have become anti-Semitic.”  Roald Dahl, not a great guy! He was also a total jerk to his editor.  https://www.mhpbooks.com/roald-dahl-almost-made-his-charlie-and-the-chocolate-factory-hero-black-but-hes-still-a-racist/&lt;/div&gt;</summary>
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		<summary type="html">&lt;p&gt;Cnick: Created page with &amp;quot;{{created a new page}}  Warning: These Classic Books Have Major Racial Stereotypes 2020/08/09|Ayren Jackson-CannadyShares   Reading is fundamental—unless, of course, those f...&amp;quot;&lt;/p&gt;
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Warning: These Classic Books Have Major Racial Stereotypes&lt;br /&gt;
2020/08/09|Ayren Jackson-CannadyShares  &lt;br /&gt;
Reading is fundamental—unless, of course, those fundamentals are biased or racist. And so it goes with some of the most classic kids’ books. They were once apropos—sort of—but now they are a bit problematic and may require further explanation for your kid’s. From Little House on the Prairie to Peter Pan, these tomes prove that they aren’t necessarily timeless. What was once meant to comfort and entertain kids may now do major harm by spotlighting some of the racist ideology that many parents today try to shield from their children. Read on to learn more about six books intended for kids that you might want to shelve.&lt;br /&gt;
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Charlie and the Chocolate Factory&lt;br /&gt;
In its most basic form, the plot of Roald Dahl’s well-known children’s book takes readers on a journey through a zany candy factory. Sounds sweet, right? Maybe not. In Dahl’s original 1964 plot—two movie adaptations have since followed suit—the Oompa Loompas were not orange with green hair. Instead, they were described as black pygmies “from the very deepest and darkest part of the African jungle where no white man had been before.” It wasn’t until after readers decried the quite obvious slavery undertones of the Oompa Loompas, that later versions of the text remixed their skin color from black to white (which then turned to orange and green in the 1971 film).&lt;br /&gt;
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The Secret Garden&lt;br /&gt;
There’s no denying the fact that Frances Hodgson Burnett’s early 20th century novel about an English girl (Mary) who is forced to move back to her green and picturesque hometown after her parents die in India, is full of some good moral lessons (think: caring for others as they have cared for you). Some of the dialogue, however, may furrow your feathers. Example: Mary meets a servant girl named Martha, who thought Mary would be black (coming from India and all). Stereotypical, yes. But, wait—it gets worse. Mary replies to Martha by saying, “blacks are not people.” Double yikes!&lt;br /&gt;
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Dr. DoLittle&lt;br /&gt;
Before it was an Eddie Murphy or Robert Downey Jr. film adaptation, Dr. DoLittle was a popular kid’s book from the 1950s. The plot? A doctor realizes he can chat with animals. One part of the book, though, that you won't see in the modern flicks are when the doctor meets an African prince who wants to marry a white princess. Instead of his blessings, the doctor bleaches the prince’s skin so that he can acceptably marry the princess. Change our selves to fit in? Never, ever.&lt;br /&gt;
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Huckleberry Finn&lt;br /&gt;
Mark Twain's famous story about two runaways—one trying to get away from his dad; the other trying to get away from slavery—may not have read as ghastly when it was first published in 1885; remember, slavery wasn't completely abolished until 1865, with plenty of holdouts in the early years. But in today's readings the snippets of racism found in this classic tale—the 'N' word is used over 200 times (yes, 200!) can make for a rather uncomfortable group reading. So much so, that in 2019  New Jersey lawyers requested that Huck Finn be banned in school districts across the state.  &lt;br /&gt;
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Little House on the Prairie&lt;br /&gt;
Laura Ingalls Wilder's world-famous series that follows the 19th-century pioneer family has been around for ages. In a bit of irony, many American schools have blocked the books due to the racist language. Native Americans are consistently demonized, minstrel shows are performed, and Black people are referred to as “darkies.”&lt;br /&gt;
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Sherlock Holmes&lt;br /&gt;
We know what you’re thinking. Sherlock Holmes? And Watson?! Where’s the racism? If you’re thinking of the recent BBC adaptation of Sherlock, you won’t get too far—pretty much everyone (white, Black, yellow, blue) irritates him. It’s when you go back to Arthur Conan Doyle’s original texts when questionable phrases and pages start to pop up. In “The Adventure of the Three Gables,” for example, Holmes pursues a former slave and then tells him he stinks once he catches up to him. Also, Tonga (a character from “The Sign of the Four”) describes his people from the Andaman Islands as “having large, misshapen heads, small fierce eyes and distorted features…”&lt;br /&gt;
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Peter Pan&lt;br /&gt;
J.M. Barrie’s story of Peter, the Darling children and the Lost Boys is one part magical and one part outdated. Namely, the treatment of Tiger Lily and the other native Americans is majorly stereotypical—&amp;quot;they carry tomahawks and knives, and their naked bodies gleam with paint and oil. Strung around them are scalps, of boys as well as pirates.”&lt;br /&gt;
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[https://redtri.com/classic-kids-books-with-racist-stereotypes/slide/2 Click to get full details]&lt;/div&gt;</summary>
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