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The Black Masculine Paradigm Kendric Coleman Louisiana State University and Agricultural and Mechanical College, Kcolema@Lsu.Edu View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Louisiana State University Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Power, money, and sex(uality): the Black Masculine Paradigm Kendric Coleman Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Coleman, Kendric, "Power, money, and sex(uality): the Black Masculine Paradigm" (2005). LSU Doctoral Dissertations. 337. https://digitalcommons.lsu.edu/gradschool_dissertations/337 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. POWER, MONEY, AND SEX(UALITY): THE BLACK MASCULINE PARADIGM A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Philosophy in The Department of English by Kendric Coleman B.A., Louisiana State University and A&M College, 1997 M.A., Louisiana State University and A&M College, 1999 May, 2005 i Table of Contents ABSTRACT . iii CHAPTER 1 CONTEXTUALIZING BLACK MASCULINITY: SCOPE, DEFINITION, AND SIGNIFICANCE. 1 Defining and Extending the Notion of “Cool Pose” . 2 Freedom of Movement and Politicization of the Black Male Body . 4 Synthesizing the Trickster/Bad-man Figure(s). 24 Building the BMP—Points of Analysis. .35 CHAPTER 2 THE POLITICIZED BLACK MALE CONSCIOUSNESS. 39 CHAPTER 3 PRESCRIPTIONS FOR BLACK MASCULINITY: LET’S GET CRUNK. 84 CHAPTER 4 BLACK MALE BONDING: MY NIGGA, MY BRUTHA, MY LUVA. 139 CHAPTER 5 TOWARD A CONCLUSION: MASCULINITY UNLEASHED. 179 BIBLIOGRAPHY. 186 VITA. 197 ii Abstract This study develops the Black Masculine Paradigm (BMP), a construct used to trace historically specific components that inform black masculinity and explores the physical and psychological defensive strategies employed by black men in Richard Wright’s Black Boy, Claude Brown’s Manchild in the Promisedland, Nathan McCall’s Make Me Wanna Holler, and James Earl Hardy’s B-Boy Blues. Specifically, this project offers that power, money, and sex(uality) are located at the core of the BMP, and these social objectives are negotiated through politicization, prescribed masculinity, and heterosexuality. This project reads the politicization of the black male body through its presence in literature and film. Adding to work included by literary and cultural studies scholars, the study has social and psychological dimensions that suggest an alternate form of black masculinity as well. The study reveals that these strategies affect the black males’ economic, social and physical movement, and creates a corrupt national narrative that is informed and disrupted by racism. iii The worst part of the masculine scream is that the feminine ear can not hear our frequency. T.D. Jakes Chapter 1: Contextualizing Black Masculinity: Scope, Definition, and Significance This project develops the Black Masculine Paradigm (BMP), a construct I use to trace historically specific components that inform black masculinity in the U.S. First, I extend and further define what Richard Majors and Janet Billson refer to as “cool pose,” the physical and psychological defensive strategies employed by black men to maintain detachment in tense encounters, and I wed it to the effect of man’s limited economic, social and physical movement, and a corrupt national narrative informed and disrupted by racism. The notion of black masculinity that prevails in contemporary critical discourse focuses on the single components that make up black masculinity, particularly behavior and performance, and materialism. Specifically, I offer that power, money, and sex(uality) are located at the core of the BMP, and these social objectives are negotiated through the paradigm’s major components: freedom of movement and politics of the body. My project then reads the politicization of the black male body through its presence in literature and film. Adding to work included by literary and cultural studies scholars, my study has social and psychological dimensions that suggest an alternate mode of black 1 masculinity as well. Using the trickster and bad-man figure as archetypes of black masculinity, I read the Narrative of the Life of Frederick Douglass, Richard Wright’s Black Boy, Claude Brown’s Manchild in the Promised Land, and Nathan McCall’s Makes Me Wanna Holler to explore physical, social, and economic movement. Further, I use the films, Boyz’ N the Hood, and Menace II Society to demonstrate the importance of performance in black male self- representation. Finally, I employ the novels of Wright, Brown, McCall and James Hardy B-Boy Blues to read sexuality as a problematic design for masculinity. Defining and Extending the Notion of “Cool Pose” Majors and Billson’s theory of “cool pose” places black males on a collision course with white social institutions. They posit “being male and black has meant being psychologically castrated—rendered impotent in the economic, political, and social arenas that whites have historically dominated “(1). Of course, many black men define their manhood the same as white men do—as breadwinner, provider, procreator, and protector. However, because black men have not had consistent access to social capital they need in order to fulfill their dreams of masculinity, cool pose becomes a surrogate for masculinity, adopted mostly by young inner city black males, “that is used as a tool for hammering masculinity out of the bronze of their daily lives in 2 a restrictive society” (2). It consists of the physical—unique patterns of speech, walk, demeanor, dress, and psychological components—poise under pressure, the ability to maintain detachment from emotions and tense encounters; all of these act as “a defense to ward off the ill effects of racial oppression and social inequality” (2-3). “Cool pose” for some black males becomes more important than life itself, which explains the fact that African-American males die earlier and faster than white males from suicide, homicide, accidents, and stress-related illnesses; that black males are more deeply involved in criminal and delinquent activities; that they drop out of school or are suspended more often than white children; and that they have more volatile relationships with women. (2) Thus, cool pose can end in destruction, if black men cannot navigate through hegemonic social institutions. Essentially, cool pose is a coping mechanism that black men use to develop a distinct form of black male aesthetics, behaviors and actions that they see as essentially male, and/or as acting male. I argue that in contemporary America cool pose is an articulation of masculinity that synthesizes tropes of the trickster/bad-man figure, and this modified version of black manhood demonstrates the increasing importance and changing definitions of masculinity from slavery to the post-modern era. Majors and Billson trace various forms of cool pose to African Culture in which the people were in harmony (cool) with 3 nature. I posit that filtering cool pose through the lens of the trickster/bad-man figure reveals it as a definitive trickster trope, reconfiguring Majors and Billson’s limited construct that addresses ritualized sexuality, yet hardly considers heterosexuality as a masculine construct, nor addresses homophobia. Further, I use Maurice Wallace’s idea of black male specularity to examine the current placement of black men in the American national narrative. Integrating Wallace’s notion into my framework allows me to read masculine performance as internalized racism and as a coping strategy. The wide critical net I cast produces a more inclusive mapping of black masculinity. Freedom of Movement and Politicization of the Black Male Body Freedom of movement refers to the ways in which black men have been limited because of racism: physically, socially, and economically. Physical and social mobility refers to the limited restriction of blacks during slavery and segregation in which they could not utilize the same facilities as whites. This project positions racism as a restrictor of black males’ social mobility in American institutions. Economic movement, which greatly affects social mobility, refers to black men’s ability to achieve financial success and the false status it creates. As Christopher B. Booker’s I Will Wear No Chain! argues, the greatest obstacle for black men to overcome is the legacy of slavery and Jim 4 Crow. Because slavery took the place of family and responsibility, it forced black men to reconstruct their masculinity in terms of sexual prowess and materialism; yet, the modern world requires black men to overcome the social fallout of Jim Crow. Jabari Asim suggests that the social remains of Jim Crow cast a veil over black men’s attempts to confront current forms of inequities “within the context of an increasing globalized economy and polity” (i). Thus, as America’s wealth and ideas extend beyond its geographical border, the black voice is seldom heard. This silence emblematizes the remaining elements of Jim Crow within the educational and criminal justice system. Asim’s “Black Man Standing” implies
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