Friday, December 5, 2014

Anxiety and Desire: Some Preliminary Thoughts on The Black Body in Light of Recent Events


“When I grabbed him the only way I can describe it is I felt like a five-year-old holding onto Hulk Hogan . . . That’s how big he felt and how small I felt just from grasping his arm.” 

--Officer Darren Wilson, describing to a grand jury his encounter with Michael Brown[i]

“Officer Pantaleo testified that when he put his hands on Mr. Garner, he was employing a maneuver taught to him at the Police Academy, hooking an arm underneath one of Mr. Garner’s arms while wrapping the other around Mr. Garner’s torso . . . But then things changed. As the struggle continued, one of Officer Pantaleo’s arms moved around Mr. Garner’s neck. Officer Pantaleo told the grand jury that he became fearful as he found himself sandwiched between a much larger man and a storefront window.”[ii]

--New York Times report of Officer Daniel Pantaleo’s testimony to a grand jury, describing his encounter with Eric Garner.

Two large black men, criminalized because of their bodies.  Minor scuffles with authorities, in each case over tobacco, cause the deaths of large black men—both laden with descriptions of fearful police officers, both large, armed, white men.  In one case, in Ferguson, the broader (white) public questions the truth of the account.  If only we had video, we would know what happened.  Then, in Staten Island, with Eric Garner, we know, but that knowledge hardly seems comforting: a grand jury, supporting the bias of institutional racism and extreme deference to police authority will see a different truth than so many others who view the images and the videos.  As scholars have pointed out for some time, the camera does not equal an unmediated truth; such conclusions always emanate from social circumstance, always in our modern world inflected by race.  Large black men are illegal in this country, illegal because they cause fear and anxiety, all laden, perhaps, with repressed desire, a desire that becomes more explicit when we connect these two incidents with a third recent event: a photographic collage of Kim Kardashian miming the position of the South African woman displayed as the overly sexual freak over two hundred years ago by scientists emphasizing her large posterior.[iii]

Over the past weeks, the United States has dealt a blow to the post-racial vision that some had advocated in the wake of Barack Obama’s election.  This short-sighted ahistorical vision ignored the long linkage between the history of race and the history of embodiment in the United States, a history based on particular encounters with European empires that led to the modern construction of race.  It appears that it is now illegal—punishable by death—to be a large black man.  It appears that it is now desirable—punishable by lustful looks that break the internet—to mimic the supposed large buttocks of the black woman.  This state of affairs can only be understood through a historical analysis of fear and lust, of anxiety and desire. 

When Wilson says that he felt like a five-year old child, one can certainly question the perceptions of the armed 6’4”, 210 pound man.  And one can further suggest problems with the more ludicrous fear that Pantaleo portrayed in relation to Garner, alternatively described as overweight and asthmatic.  However, the ubiquitous narrative that Pantaleo, Wilson, and much of the media reference relates to a historical construction: racial fears of the physically and sexually aggressive black male body.  One can witness such anxiety in the history of lynchings, in the more recent manifestations of young black men killed, seemingly, for no reason (Trayvon Martin), or in the popularity of gangsta rap.[iv]  In each case, racial anxiety stemmed from a misreading and fear of the desires of those deemed other (Black men supposedly lynched over disrespect for white women, Trayvon Martin supposedly killed over the fear that he was in a neighborhood in which he did not belong for the purpose of robbing people), combined with an attempt at asserting political power of whites over blacks.[v] 

The point here is not to question the legitimacy of these anxieties, but rather to analyze them as particular historical phenomena that make it illegal to be a large black man in this society.  For here we can find Wilson’s words instructive (even if they are lies): he felt like a five-year old.  His emotions and reactions became childlike, and his body filled with anxiety, thus allowing him to unleash a fury of bullets into the hulking body of the large black man. 

These killings fit into a pattern that we only begin to understand as we connect anxiety with desire. Thus Jean-Paul Goude and Kim Kardashian, along with the editors of Paper, enter our consciousness.  Goude, re-creating some of his earlier photographs, as portrayed in his aptly named book, Jungle Fever, has Kardashian posed in such a manner that emphasizes one of her physical attributes, her famous large ass.[vi]  In doing so, he has her balance a cocktail glass on her buttocks, carrying a bottle of champagne, looking as if the cork has just been popped, complete with champagne bubbling up and over her body, landing in the glass.  The not so subtle cum shot references lust and desire, related to an explicitly racialized history.  Goude’s “original” 1976 shot featured a black model; Goude, asked about this, claimed that he had “jungle fever.”[vii]  Indeed, both cum shots refer to a South African woman on scientific exhibit at the beginning of the nineteenth century in London and Paris.  Saartjie Baartman, or the Hottentot Venus, was examined and put on display to show the freakish nature of African sexuality and to create some scientific knowledge regarding human sexual development.  And, of course, her prominent large posterior featured in all images and accounts of her until her death in 1815.  After that, Georges Cuvier, a professor of anatomy, dissected her and put parts of her remains (including her genitalia) on display in Paris’s Musée de l’Homme, where they remained for over a century.[viii]    Goude seeks to remind us of this history, not so much to confront our racist orientations, but to peer into his own erotic entertainment, his jungle fever.  This is ethnopornography, gazing at the other in order to engage one’s own prurient interests.  Here the photographer asserts the power of the cum shot over the South African subject, even replacing her with Kim Kardashian, a sign of our own troubled (and ethnically ambivalent) decadence.[ix]

Is it a coincidence that these three events have all become spectacles at the same time?  All present us with narratives of the freakish size of the sexed African (American) body.  The narratives of embodiment display anxieties and desires, signified through various representations that we must overcome in order to institute a system of justice.  For those now clamoring to suggest that Pantaleo’s chokehold of Garner was exceptional, and the grand jury’s decision not to indict unthinkable, you need to develop a greater understanding of the sexed history of racial anxiety.   


[v] See Timothy Tyson, Blood Done Sign My Name (New York, 2004), for a poignant example.
[vi] http://www.papermag.com/2014/11/kim_kardashian.php.  See also Jean-Paul Goude, Jungle Fever (New York, 1981).
[viii] See Clifton Crais and Pamely Scully, Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography (Princeton, 2009).
[ix] Kardashian, of Armenian descent, maintains that she never thought about racism until she had an African American child with Kanye West.  See http://msmagazine.com/blog/2014/11/14/kim-kardashian-the-butt-of-an-old-racial-joke/.  Accessed 12/5/2014.