The late New York Times critic, Anatole Broyard, whose passing was revealed after his death a few years ago and on whom Coleman Silk seems to be largely based, apparently "passed" only in midtown Manhattan, where being black might cause his career and social life to be pigeonholed in some way. In his Harlem community, I am told by some who knew him, many African-Americans apparently knew he was black.
Yes, although you will not see it in "The Human Stain," many African-Americans take pride in their ability to tell who is passing and have even helped keep the secret secret. Such are the interesting complexities that grow out of shared historical skin-based oppression. Coleman Silk is not comfortable enough for that.
He holds onto his secret, even when letting it out could save his career. That wondrous ability resonates in America, a nation that celebrates personal reinvention through ambition, opportunity and rugged individualism. With that in mind, a truly intriguing and instructive story for today's world would not be yet another tear-jerker about those who have become imprisoned by the racial, socioeconomic or victim roles that they have cast for themselves a theme "The Human Stain" treats to emotional exhaustion.
Rather, it would be the story of those who, like Secretary of State Colin Powell or Presi-dent Bill Clinton, have learned through trial and error to navigate comfortably back and forth across racial lines. The big question, then, is not whether a white man can play a black man, but rather when will Hollywood let people of all colors tell more of their own stories. A bit demonic even, a snub-nosed, goat-footed Pan » They should have called it Zeus » The world will do that for you.
There are plenty of forces out to get your father. The world will take care of him, as it had indeed taken care of Mr. He meant to insult no one by his choice, nor was he trying to imitate anyone who he took to be his superior, nor was he staging some sort of protest against his race or hers » You do, Coleman Brutus.
The raw I. Thrown out of Athena [ What is the major source of black suffering on this planet? They know the answer without having to come to class. They know without having to open a book. Without reading they know—without thinking they know. The same evil Old Testament monsters responsible for the suffering of the Germans. God knows nobody was meant to die. Nobody was going to fire him. Nobody would dare to fire him.
The incident—the incident! He knew from the wrath of Achilles, the rage of Philoctetes, the fulminations of Medea, the madness of Ajax, the despair of Electra, and the suffering of Prometheus the many horrors that can ensue when the highest degree of indignation is achieved and, in the name of justice, retribution is exacted and a cycle of retaliation begins. To hugely mount a woman as a bull. To enter her bizarrely as a flailing white swan » First love never works.
He was reading a letter from Steena and it seemed that Coleman was happy at that time. He was, again, remembering everything he had with Steena from the first time they met. But Steena was not a perfect woman for him. He would not have those four white skinned children if he were with Steena. Despite his warm feeling for Steena, he also had it to his family. He had an uncle named Jack Silberzweig.
He looked for him and kept looking for him everywhere. He was born in the old country and so kept the name remained as Silberzweig, not Silk. Coleman tried to find his uncle by looking up in all the California phone books to try to locate him but he could not find him.
No one was sure about where Jack lived. Colman wanted to meet him because he wanted to meet his only uncle and tell him that his brother had died. Also, he wanted to see his cousins if there were any. But after a long finding, he gave up. He could not find his uncle. Even though he already gave up on finding his uncle but his hard work finding him was enough to value that he did care about his family. Nathan was told by Coleman to write a book, but he refused.
Then Coleman wrote a book by himself and then he asked Nathan again to continue writing the book, but he refused again. But after Coleman died, he knew something that anybody else did not know. He then decided to continue writing the book. Just before that, he read things that Coleman had written and he learned the secret.
Faunia knew who Coleman really was but how could Nathan know that Faunia knew it? The last thing he could do was imagining something, forced to imagine, of what everyone does who thinks that they know.
Coleman wrote his true self on that book, telling that he was born from a black woman and his father was also a black man as well. But was that his true identity since he never put himself in a situation where he revealed himself as a child of black people when he was alive.
He hid it instead, even from his wife and his children. He experienced himself as another person when he was alive and he did it on purpose. He did not want to become a black man, he did not want to be called a Niger. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account.
You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Blog at WordPress. References: Hall, Stuart. Jaques Lacan, Ecrits. New York: W. Share this: Twitter Facebook. Like this: Like Loading Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:.
Email required Address never made public.
0コメント