In Fran Ross’ Oreo, the self-titled main character serves as the ultimate minority as she goes on a journey to Philadelphia in pursuit of her absent father. Through the analysis of the subway passage, Ross questions if America is binary or biracial by comparing different passengers’ movements. Race comes into play and leads to a generalization. However, this politically charged passage deals with the racial stereotypes associated with human activity. Furthermore, the broad generalization of travelers on Philadelphia’s public transit reveals who is superior and inferior with comedic satire. Focusing on the passage details of the repetition and rhythm in the narrative, characterization of racial stereotypes, and biracial identity of Oreo, offers …show more content…
Ultimately, Ross relies on dark humor to mock the bigotry of everyday occurrences while offering potent social criticism on race relations. While underground in Philadelphia’s subway, Ross repeatedly uses word correspondence to establish a narrative rhythm for the reader. Fran Ross critiques different commuters as they struggle to avoid the “irritation, humiliation, irrigation, and syncopation,” caused by the station’s leaky pipes. The vernacular is strongly based on tempo, rhyming and movement through the composition’s emphasis on movement. Furthermore, she stresses the consecutive repetition in the following sentence, stating, “According to the number of drops that fell on the traveler from the Leaky Pipes, he or she was irritated, humiliated or irrigated.” Not only does this establish a friendly narrative voice, it stresses what is at stake for the passengers on the subway. If they take a wrong step, the …show more content…
This passage’s comedic tone engages with the stereotypes of Black and White Americans in an attempt to forgo convention. Following the tempo of “one, two, three, four, --, six, seven, eight,” Ross pokes fun at the traditional stereotype of White people and their inability to dance while simultaneously mocking the Blacks inability to imitate a simple pattern. Through poking fun at the conventional stereotypes, the passage unveils the subtext of racism. Ross states, “Ninety percent of those caught by the one, two, three, four, --, six, seven, eight were white. They just couldn’t get the hang of it.” Ross critiques the underlining racism apparent within society through the manipulation of comical prejudices. Ross infers that White people and their inability to maintain a simple beat. This grand statement categorizes the White demographic. Conversely, Black people find it outlandish that they could not learn the simple beat. They “couldn’t believe it.” Playing with the African-American stereotype of dancing and movement makes the reader consider if this is an accurate portrayal of the entire population. Furthermore, the syncopation is too simple and they get “caught by the normal, unsyncopated, one, two, one, two.” Stereotypes attempt to generalize the appearance of a minority or majority. This passage appears
Throughout history, Black Americans have fought to reclaim their bodies and redefine ideas of Blackness. Much of this struggle can be attributed to the fact that Black people have not owned their own bodies for the vast majority of American history. The Black struggle to escape white labels and the fight for self-determination, Black narration, and the presentation of Black beauty are evident in dance and its evolution throughout history. In his article, "Simmering Passivity: The Black Male Body In Concert Dance," Thomas DeFrantz uses the career and choreography of Alvin Ailey to show how Black dancers in America have historically been forced to conform to White stereotypes. Conversely, Jason King and Ananya Chatterjea show in their articles “Which way is down? Improvisations on black mobility” and “Subversive Dancing: The Playful
Okita and Cisneros’ stories are written from very different standpoints, and from first glance do not even appear related, yet through all of this emerges the idea that you can create your own identity. This common theme would not be achievable if it were not for the eloquent use of literary devices such as tone, mood, and shifts by Okita and Cisneros. Not only do Okita and Cisneros’ works bring together a common theme they manage to bring to light the very real problem of racism in America, that has existed since it’s very foundation, in an attempt to bring about change. Although Both authors used a wide variety of literary techniques to write their works they show that commonalities can be found in the most different of
In “Queens, 1963”, the speaker narrates to her audience her observations that she has collected from living in her neighborhood located in Queens, New York in the midst of the Civil Rights Movement. The narrator is a thirteen-year-old female immigrant who moved from the Dominican Republic to America with her family. As she reflects on her past year of living in America, she reveals a superb understanding of the reasons why the people in her neighborhood act the way they do towards other neighbors. In “Queens, 1963” by Julia Alvarez, the poet utilizes diction, figurative language, and irony to effectively display to the readers that segregation is a strong part of the American melting pot.
According to the book the series of creative responses to the suffering of black American are not so complex. Perry’s polemic is open for discussion because it is inevitably connected with selection and interpretation. For example the constant discussion of rascally, when doing break dance, outlaw gangstas misses during the earlier days of hip-hop, graffiti and also electric boogaloo developed a space for Afro-American recognition. It was perhaps more concerning about pure hedonism than knowingly discussing on the deadlock of race relations. Creating imagery for the genre was essential hence the need for the use of metaphor in hip-hop plays on the black slaves looking for freedom as well as the hip hop
Next, he discusses the break with traditional African-American culture. According to Frazier, the black middle class has abandoned the folk culture of “the black masses” in favor of shell of the middle class white world that rejected them. Therefore, the black bourgeoisie lives in what Frazier calls a cultural vacuum, disdainful of the culture of most African-Americans, dismissed by the white middle class culture.
...nly seen in everyday television. Common beliefs of black families being more aggressive, having lesser moral values, and living less socially acceptable and lawful lives can be clearly seen through the actions of the white characters, and the thoughts that Chris expresses throughout the episode. The show uses satire to exaggerate black stereotypes to the point where it means the opposite of the comedic nature of which it was presented. The treatment and visualization of the lives of the black characters in the episode, through comedy and exaggeration, clearly shows the real-life problem of black stereotyping that is still all too present in American life. Chris’ everyday life as a black student in a white school and struggle to “fit in” is a struggle that non-white students have faced and are still facing today.
Internal conflict caused by culture is a concept that Edward Hall explores in his book “Beyond Culture”. In this examination of intercultural interactions, Hall argues that people are born into the cultural prison of one’s primary culture. He then goes on to claim that from people can only be free of this prison and experiencing being lost in another (Hall). For Coates, this cultural prison is the permeating fear resulting from the blackness of his body. His internal conflict is therefore created when seeing the world of white, suburban culture. Because this world of pot-roasts and ice cream Sundays seems impossibly distant from the world of fear for his black body, Coates comes to feel the contrast of cultures. He tells his son, “I knew my portion of the American galaxy, where bodies were enslaved by tenacious gravity, was black and that the other, liberated portion was not” (21). As a result of the shocking divide, Coates comprehends the burden of his race. Coates therefore feels “a cosmic injustice, a profound cruelty, which infused an biding, irrepressible desire to unshackle my body and achieve the velocity of escape (21). The quality of life between the culture belonging to Coates’s skin in contrast to the culture of suburban America creates for Coates a sense of otherness between himself and the rest of the world. Disillusioned, Coates avidly pursues answers to this divide. Coates thereby embarks on a quest to satiate this internal conflict of cultures, beginning his journey towards
Rottenberg, Catherine. "Passing: Race, Identification, And Desire." Criticism 45.4 (2003): 435-452. Humanities International Complete. Web. 19 Dec. 2013.
Moreover, the task at hand is not one that is easily accomplished. In order for music to be a hit, it had to be a hit within the white community. The ...
Have you ever gone to Chinatown supposing to find a culture full of African Americans? Probably not, because that is not where they’re expected to be. We live in a world where colonies of different colored people are expected, or otherwise discriminated into populating distinct spaces; African Americans are supposed to be in the ghetto, Chinese belong in Chinatown, and Caucasians reserve more elite communities. For centuries, each race has been striving to belong in a society where people are accepted as equals and certain jobs are not handed out to favored ethnicities. This form of discrimination has somewhat dwindled down, however, it still has an undeniable impact on the lives of every single generation since mankind was created. In Dionne Brand’s What We All Long For (WWALF), we view and contrast the lives of four different but very similar characters in which they negotiate different aspects of their lives in order to find their own unique and comfortable place in the powerful and diverse city of Toronto. The following essay examines the depiction of global spaces and the effects on diasporic identity through characters Tuyen and Carla from WWALF. I will analyze and contrast the adaptation of the characters to the city, the influence from the characters’ homes, and the connection to the emotional spaces; illustrating the effects on identification.
This book addresses the issue of race all throughout the story, which is while it is probably the most discussed aspects of it. The books presentation is very complex in many ways. There is no clear-cut stance on race but the book uses racist language. The racist language durin...
upon the natural ability of the race in song and is acknowledged to be Dunbar's
One of the American prolific and versatile latest writers, Joyce Carol Oates focuses on the spiritual, sexual, and intellectual decline of modern American society. Joyce Carol Oates born on June 16, 1938, in Lockport, New York. She is the oldest daughter of Fredric and Caroline Oates’s children and is the only child in the family that taken reading and study seriously. She can tell a story by drawing the picture even before she knows how to write.
In the first Chapter of the book ‘A Different Mirror’ by (Takaki, 1993) the author embarks on a descriptive narrative that tries to elaborate the concept of a multiracial America. The chapter begins with the author taking a taxi ride in which he is subjected to racial discrimination. The taxi driver questions the author’s origin owing to the fact that his English is perfect and eloquent. This incident prompts a discussion that transpires throughout the chapter as the author tries to explain to his audience that America is a multiracial country with different ethnic groups that moved from their homelands to settle in the United States. The chapter discusses the settlement of various racial groups such as; English immigrants, African Americans, Asian Americans, Chicanos and the Irish.
The subway cart setting is an example of American symbolism. The eerie underground cart is an element of the play’s title; the flying Dutchman’s haunted ship, however, it can also be seen as the illustration of American society. The subway cart is a representation of an enclosed space where people are forced to interact. Regardless of race, gender and social class the urban subway cart is an area of social stimulation. Passengers often enter and ride anonymously, we see in the list of characters “Riders of Coach, white and black” are included in the dynamics of the subway cart set. It is a tight and confined space trapped with a random sampling of people at any given time. Baraka uses this setting as the perfect environment for two strangers to openly interact. A perfectly natural place to meet someone new, like Clay and Lula. A ...