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BLACK LOVE, BLACK HATE BLACK LOVE, BLACK HATE INTIMATE ANTAGONISMS IN AFRICAN AMERICAN LITERATURE FELICE D. BLAKE THE OHIO STATE UNIVERSITY PRESS COLUMBUS This edition licensed under a Creative Commons Attribution-NonCommercial- NoDerivs License. Library of Congress Cataloging-in-Publication Data available online at https:// catalog.loc.gov/ Cover design by Larry Nozik Text design by Juliet Williams Type set in Adobe Minion Pro The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. CONTENTS Acknowledgments vii INTRODUCTION 1 CHAPTER 1 The Public Space of Intimate Antagonisms: Black Intimacy and Opposition to Jim Crow 27 CHAPTER 2 Intimate Antagonisms and Double Consciousness in the Debate over Integration 55 CHAPTER 3 Going to Bed Angry: Intimate Antagonisms in the Epoch of Black Power 85 CHAPTER 4 What’s Yours Is Mine: The Paradox of Intraracial “Bootstrap” Politics 117 EPILOGUE Intimate Antagonisms, the Undercommons, and the Town-Hall Meeting 141 Bibliography 151 Index 161 ACKNOWLEDGMENTS I AM both ecstatic and humbled by the opportunity to thank the many people who have supported the development and comple- tion of this project. The notion that someone has ideas worth put- ting into a book always presumes that there is some group to whom one is writing, which makes the work lively and conversational. This is always an attempt to communicate across time, space, and differ- ences, intimate or otherwise. Thankfully (pun intended), acknowl- edgment pages are opportunities to express gratitude to those who made the process worthwhile and to do so with abandon! Toni Morrison has been one of the most important figures in my development as a writer and intellectual. Although we have never met and I don’t know how often authors thank her in their acknowledgments, I am so honored to be able to do so in mine for her extraordinary impact on my life. Thank you for your relationship with words, your creation of space, and your love of Black people. Tremendous gratitude goes to The Ohio State University Press, its editorial board, Editor-in-Chief Kristen Elias Rowley, and the spirited reviewers of this manuscript. Your collective support of this vii viii • ACKNOWLEDGMENTS project has made this a wonderful creative and productive process. Appreciation is also due to the institutional support I received dur- ing the process of researching and writing this manuscript. I am honored to have been a University of California President’s Postdoc- toral Fellow mentored by Dr. Abdul Jan Mohamed at UC Berkeley. I am also thankful for the Regents Junior and Regents Humanities Faculty Fellowships I received from the College of Letters and Sci- ence at the University of California, Santa Barbara. In addition to this support, I am also grateful for the Interdisciplinary Humanities Center Release Time and the Faculty Career Development Awards I received from UCSB. Such support extended to UCSB’s English department and its extraordinary championing of me as well as my scholarly and activist work. Special recognition is due to Drs. Bish- nupriya Ghosh, Stephanie Batiste, Julie Carlson, Aranye Fradenburg Joy, Glyn Salton-Cox, and Enda Duffy. I am also buoyed by the spirit of generosity and support I’ve experienced across UCSB. Special thanks goes to the Departments of Feminist Studies, Black Studies, and Global Studies, the Center for Black Studies Research, the Hemi- spheric Souths Research Center, the American Cultures and Global Contexts Center, and the MultiCultural Center and its exceptional director Zaveeni Khan-Marcus. I am also so thankful for the profes- sional, personal, and creative sustenance from my many colleagues, including Nadège Clitandre, Claudine Michel, Mireille Miller-Young, Lisa Hajjar, Laila Sheeren, Sherene Seikaly, Paul Amar, Eileen Boris, and Diane Fujino. Our colleague and ancestor Clyde Woods always reminded me to write something that the community needs and can use. I hope that this project contributes to that important work. I am forever thankful to the students who enthusiastically volun- teered to participate in UCSB’s Faculty Research Program (FRAP) with me and in connection to this project. I am grateful for the learning and memories developed with Julia Olson, Cristina Roman, and Simrun Bhagat. I am also grateful to the students of Feminist Studies 185 (2008) and English 197 (2011) for their courageous explo- ration of Black sexual politics and depictions of intraracial intimacy. Victor Rios and Rebeca Mireles are friends and colleagues who have helped me to hold it down in the most important way. There’s no number of pages that could contain my gratitude to you, Maya, ACKNOWLEDGMENTS • ix Nina, and Marco. This project is possible because of your presence in my and my daughter’s lives. My manuscript workshop was one of the best writing experiences I’ve ever had. Thank you for the participation, comments, and gen- erosity from Arlene Keizer, George Lipsitz, Paula Ioanide, Julie Carl- son, Geoffrey Jacques, Chandan Reddy, Barbara Tomlinson, Alison Reed, Swati Rana, and Fred Moten. None of you can begin to imag- ine the BBQ my parents have planned! I’m also grateful to the many other people who have taken time to comment and/or reflect on the project with me, including Karen Lund, Barbara Walker, and Alex Lubin. Special thanks is due to George Lipsitz, who has helped me to shape the direction of this project through conversations and inter- actions over many years. Thank you for accompanying me and for your model of mentorship. I’m eternally grateful to be “just friends” with Julie Carlson and for her extraordinary commitment to my work and well-being. Aranye Fradenburg Joy and Eileen Fradenburg Joy created an incred- ible space for me to lean back, laugh, and learn. I’m so appreciative of this most special form of care. Kay Young has been a champion of me and this project from the first day we met. I’m so grateful for all of the meaningful ways our paths have always crossed. Rhynna Santos and Kenia Calderon have stuck with me for the long haul and celebrated every accomplishment along the way. I’m so thankful for your friendship and looking forward to the next fête! To Paula Ioanide, thank you for coming into my life for this leg of life’s journey. I’m blessed to know you, humbled by what we learn together, and excited for the next chapters. Alison Reed and Mary McGuire are awesome friends who always appreciate how the music helps everything else make sense. I have an incredible family who have all contributed love, baby- sitting, encouragement, meals, and enthusiasm towards the comple- tion of this project. Thank you to my sisters Deborah Blake, Carol Barnes, Kelly Blake Wiseman, and Sandra Blake-Lange. My nieces Brittani White, Ashley Barnes, Sidne Lange, and Alyssa Barnes and nephews Justin White and Joshua Lange have also been wonderful interlocutors and advocates during sleepovers at my house and fam- x • ACKNOWLEDGMENTS ily gatherings in the United States and abroad. This familial spirit of encouragement and support has been fostered and modeled by my wonderful parents, Kell Blake and Dorothy Blake. I am forever grate- ful for their examples of spirited debate, intellectual curiosity, and Black love. To Malena Blake Kleiven, our time and existence together are the motivation, celebration, catalyst, and spark for all that matters to me. This book is dedicated to you. INTRODUCTION Sullen, irritable, he cultivated his hatred of Darlene. Never did he once consider directing his hatred toward the hunters. Such an emotion would have destroyed him. They were big, white, armed men. He was small, black, helpless. His subconscious knew what his conscious mind did not guess—that hating them would have con- sumed him. He was, in time, to discover that hatred of white men—but not now. Not in impotence, but later, when the hatred could find sweet expression. For now, he hated the one who had created the situation, the one who bore witness to his failure, his impotence. The one whom he had not been able to protect, to spare. —TONI MORRISON, THE BLUEST EYE, 150–51 THE EPIGRAPH from Toni Morrison’s The Bluest Eye1 reveals just how complicated the notion of bonding over shared suffering can be. At this point in the novel Cholly and Darlene have just been discov- ered making love by White hunters who shine their flashlights on the couple and insist that they finish the act for the amusement of their tormentors. The couple’s shared experience of racist, sexual vio- lence results in degrees of shame, humiliation, and helplessness that produce a rupture between the would-be lovers. Cholly’s feeling of racialized powerlessness finds expression in aggression and hatred directed toward Darlene, and eventually to other Black females rather than toward the White men. He does not experience her, in this scene, as being subject to the racism that they both endure. He does not see how he has become an instrument of her rape or how she is forced to bear his shame. He does not see how their relations with each other have been shaped by the structures of racist and misogynist violence. 1. Cited parenthetically throughout. 1 2 • Introduction The Bluest Eye portrays how the fierce imposition of White supremacy positions Black people as witnesses to and symbols of each other’s degradation. Metaphorically, the hunters violate Cholly with their lamps and guns, and weaponize his body in Darlene’s brutalization. Cholly’s attempt to “kneel” and Darlene’s attempt to shroud her face reveal their coerced prostration in the face of rac- ist violence, and the ways that the would-be lovers turn away from each other (148).
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