Placing the Blame: An Analysis of Frantz Fanon’s Collective Catharsis in Modern Times

Frantz Fanon was a Martinique-born, Afro-Caribbean psychiatrist, philosopher, revolutionary, and writer whose works are influential in the fields of post colonial studies, Marxism, and critical theory. He was born in 1925 and died in 1961. The quote above is from Fanon’s first book, Black Skin, White Masks (1952), originally titled as “An Essay for the Disalienation of Blacks.” Fanon, in this book is providing a prognosis about the lived experience of the black man. He is concerned with describing the place that is held by blacks in the mid 20th century and illustrates the issues of race and racism and to point the reader toward a better and free future for all men. The quote above shows how oppression gives rise to ways of being. Fanon’s experience and the background of the time period he was living in justifies his hostility when he argues that the black man is constantly trying, but never fully accomplishing, to be white and to integrate into the white man’s world. In this essay I will show the three phases Fanon goes through to reach this conclusion: to escape his blackness,

Citizen, written by Claudia Rankine in 2014, narrates testimonies of systematic racism and every day micro aggressions through poems, essays, scripts and images. Rankine documents the racist encounters through the second person point of view for the reader to feel and understand the effects racism has on the body and mind. This paper will examine hypervisibility and invisibility of the black body embedded in the novel because of decades of racism. Rankine emphasizes the sensory emotions and feelings of the black body as a response to America’s reluctance to recognize and empathize with black men and women.

Matthew Jones declares that black masculinity is defined in three overarching categories: perception, expectation, and representation (Jones). The stories, Fences, by August Wilson and A Lesson Before Dying, by Ernest Gains, the main characters are forced to live with many hardships. Yet only a few of them can declare value of their lives, and redeem themselves, despite these hardships. The stories both of the main characters are unhappy angry men the only difference is that one of the characters progressed while the other stays the same. This paper will compare and contrast them both.

On a sociological basis, the notion of race is understood as a social construction. As a black student in France, Frantz Fanon writes of how the white man has made him a “slave not of the ‘idea’ that others have of [him] but of [his]

One of the most prominent components of the text is that the black body is constantly under threat. Coats argues that “the question of how one should live within a black body… is the question of life.” He shows how racism works through the control and exploitation of black bodies and the delicateness of black bodies that results within a racist society. Coats writes that racism is a natural experience. Throughout American history, black men and women were chained, beaten, labored, and killed. Now, they experience police brutality and nonsensical shootings. Arrested for trying to get into their own homes and shot because they look suspicious or their hood is up. Shot because they inhabit a black body. It is the subtle ways in which a black body must conduct itself in public. Violence is consistent in an America that is still divided by race.

Imagine being wrongfully persecuted and mistreated based on assumptions painted by society. The portrayal of the young black male in the late 1980s has not changed much in the United States. Brent Staples is able to reveal the truths of racial stereotyping in the United States, and the stigmas placed on young black males with the use of imagery in Black Men and Public Space. Appealing to the readers’ senses allows for better understanding of the time period Staples is writing about. Visual imagery is used to contrast how Staples appears to his “victims” and how these “victims” appear to the public. The fear the general public has of black males is exposed by appealing to the auditory senses. Non-verbal reactions and body language of those around Staples uncovers their true sentiment towards black males. Imagery is an essential tool in uncovering the racism and stigmatization of black males in the United States. Appealing to ones senses is a very effective way to bring depth and meaning to a message.

In the beginning, she develops her argument by briefly laying a foundation of the history of racialized control in the United States. To support her arguments in terms of the never-ending cycle of birth and death of slavery and jim crow through the reborn of mass incarceration. Moreover, she points out the pattern of invisible power, racialized social systems, controlling people of color in the United States. This racial caste systems brings black people returning to slavery and this pattern has been called the Mass incarceration.

Through the depiction of Chiron and his struggle in the film Moonlight Jenkins shows that the system one lives in and the internal self results in domination against oneself. Chiron the protagonist of the film is considered weak and fragile in comparison to his classmates and the people in his community and thus Chiron is targeted by his peers and even within his own household. In Frantz Fanon’s Black Skin, White Masks it is argued that the black man plays a part in their own domination by constantly viewing themselves as less than the white men.

Cross’ book Shades of black: diversity in African-American identity (1991) depicts a perceived metamorphous of black identity through five stages of development—his ideologies are now termed as the Nigrescence theory. In simple terms, this philosophy refers to the process of becoming Black. It also demonstrates daily struggles that the black community may have in developing a healthy personal identity. Over the years, many authors attempt to define what the word black means. Eventually, many came to begin using the politically acceptable term widely applied today to regard black people; that word is known as Negroes. As different historical events occurred, one being the black power revolution on the 1970’s the experience called for a fresh definition of the term negro. Blacks or Africans in America began to be more conscious of their identity and more aware of the differences separating them. This is the experience that Cross (1971) illustrates and is primarily referenced in his five-stage progress including: pre-encounter, encounter, immersion/emersion, internalization, and internalization-commitment. This book highlights some very vital topics relating to mental health, which has been carefully disregarded by other researchers. Nonetheless, it has strong affiliations to the black experience and can positively explain a more normal psychological behavior through logical and very thought provoking

Kelly describes his experience with two interdependent African American stereotypes, the “prototype of violent hypermasculinity” (Kelly p.315) and the “Nice Negro”. The potent reactions Kelly receives when he veers into situations where he is stereotyped with black male violence highlight Du Bois’s concept of the color line. Du Bois (p. 374) states, “But the facing of so vast a prejudice could not but ring the inevitable self-questioning, self-disparagement, and lowering of ideals which ever accompany repression and breed in an atmosphere of contempt and hate.” Stereotypes are pervasive and infiltrate even those they disparage. Kelly (p.315) relates his high school girlfriend’s reaction to his “nice guy”

The author uses language as a tool to show the characters’ status in society as black or white. Various language techniques are used to display the classes of society. The words “blanker” (used by blacks to describe whites) and “dagger” (used

“Representing Whiteness in the Black Imagination” written by American author, feminist and social activist, bell hooks, dissects the dichotomy of black and white culture in a westernized society. Hooks utilizes the term ‘whiteness’ throughout her piece as an acknowledgment of the domination, imperialism, colonialism, and racism that white people have asserted among black people. This discipline progressively has evolved from history; through slavery and forth, leaving an imprint in

It doesn’t take long to figure out that race and ethnicity issues continue to affect America - a quick glance at the news will show the latest riot, hate crime, or police brutality incident. This centuries old struggle has given rise to a number of literary works on the topic, many of which take a different approach to the issue. W.E.B. Du Bois, for instance, published the work The Souls of Black Folk in 1903, arguing for blacks’ right to equality in a horrifically segregated society. In these essays, Du Bois coined the term “double-consciousness,” wherein those with black skin must view the world both from their own perspective, and from the perspective of the predominately white society. The short story Recitatif by Toni Morrison explores this concept through the removal of the characters’ races, and the film Do the Right Thing, directed by Spike Lee, tells a story to demonstrate it. While the former shows double-consciousness through the usage of ambiguity, the latter almost directly references the concept. Taken together, these two sources argue a multi-faceted version double-consciousness, wherein society alienates the characters in ways that go beyond just the color of one’s skin.

Citizen, written by Claudia Rankine in 2014, narrates testimonies of systematic racism and every day micro aggressions through poems, essays, scripts and images. Rankine documents the racist encounters through the second person point of view for the reader to feel and understand the effects racism has on the body and mind. This paper will examine hypervisibility and invisibility of the black body embedded in the novel because of decades of racism. Rankine emphasizes the sensory emotions and feelings of the black body as a response to America’s reluctance to recognize and empathize with black men and women.

Franz Fanon is one of the many profound voices of black identity during the 1950s. His work in the field of psychology features an unfathomed approach to critical theory, post-colonial studies and Marxism. In Black Skin White Masks, Fanon dives into the Negro psyche through understanding its origin. In studying this, Fanon comes to the argument that the dehumanizing process of colonization renders both Blacks and Whites crazy. In analyzing Africans, specifically, Fanon determines that the “Negro [is] enslaved by his inferiority [and] the white man enslaved by his superiority” and that is why they are both mentally unbalanced. It is this neurotic orientation through which Fanon discusses the process through which Africans become second-class French people. In discussing the Negro neurosis, Fanon begins with this statement: The Negro “becomes whiter as he renounces his blackness.”