By Susan Gillman, Alys Eve Weinbaum
Even though W. E. B. Du Bois didn't usually pursue the connections among the “Negro query” that outlined a lot of his highbrow existence and the “woman query” that engaged writers and feminist activists round him, subsequent to the colour Line argues that inside of Du Bois’s paintings is a politics of juxtaposition that connects race, gender, sexuality, and justice. This provocative assortment investigates a collection of political formulations and rhetorical ideas during which Du Bois approached, used, and repressed problems with gender and sexuality. The essays in subsequent to the colour Line suggest a go back to Du Bois, not just to re-examine his politics but in addition to illustrate his relevance for today’s scholarly and political issues. individuals: Hazel V. Carby, Yale U; Vilashini Cooppan, U of California, Santa Cruz; Brent Hayes Edwards, Rutgers U; Michele Elam, Stanford U; Roderick A. Ferguson, U of Minnesota; pleasure James, Williams university; Fred Moten, U of Southern California; Shawn Michelle Smith, St. Louis U; Mason Stokes, Skidmore collage; Claudia Tate, Princeton U; Paul C. Taylor, Temple U. Susan Gillman is professor of literature on the collage of California, Santa Cruz. Alys Eve Weinbaum is affiliate professor of English on the college of Washington, Seattle.
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Washington, where gendered allegory again does the work of racial critique. As the favored son of the white philanthropic and political establishment, Washington seemed to Du Bois to fulfill its racializing mission, buying into its temporal color line of darker and lighter, backwards and advanced races and fully accepting the social color line as a consequence of that difference. Although Du Bois also admitted the existence of intervals between what he himself called the “more advanced” and “less developed” races (43), what troubled him was the suspicion that those intervals were measured in arbitrary, unscientific, and often entirely subjective ways, with a profound disregard for the cultural and historical achievements of African and Asian peoples, and with little interest in seeing a racial group as anything other than a conglomerate of identical individuals.
Though voiced in the masculine register of irony, Du Bois’s observation of his consignment to the Jim Crow car ultimately operates allegorically in order to denote a particularly feminized kind of second-class citizenship. This is the version of citizenship that Du Bois seeks to counter in chapter II’s famous attack on Booker T. Washington, where gendered allegory again does the work of racial critique. As the favored son of the white philanthropic and political establishment, Washington seemed to Du Bois to fulfill its racializing mission, buying into its temporal color line of darker and lighter, backwards and advanced races and fully accepting the social color line as a consequence of that difference.
In Smith’s essay, for instance, “double consciousness” as conceptualized in Souls remerges as “doublesight,” a masculinist visual economy, when it is juxtaposed with the remarkable collection of photographs that Du Bois assembled for the American Negro Exhibit at the 1900 Paris Exhibition. As Smith suggests, Du Bois’s visual and philosophical texts together provide a revisionist view of the Du Boisean gaze and its historical function in confirming the vision, at the dawn of the twentieth century, of black masculinity.
