Defiant Imaginations, Part 1: Thoughts on Malcolm, Ruby, and Louis

Absorbing and responding to the Ava DuVernay film event, When They See Us, will take some time and more than one post here.  As I thought through what I might want to write, I found myself thinking back over some previous learning that seems to be relevant to what I have seen in this film.  So this first post goes back over a series of insights initially spurred by a textbook I used in the Shaw University undergraduate course, Foundations of Knowledge and Ethics.  It was an introduction offered to first-year students on the European and African American traditions of philosophical and religious ethics.  One of the thematic claims of the book has become an important part of my understanding of how persons and communities must respond to systems of injustice, and it continues to stir my moral imagination as years go by.

Robert Franklin's book Liberating Visions examines the lives and words of four important African American leaders who offer powerful moral visions for humanity.  He assigns each one a thematic adjective for the kind of life a person should live:  Booker T. Washington, the adaptive person; W. E. B. DuBois, the strenuous person; Martin Luther King, Jr., the integrative person; and Malcolm X, the defiant person.  Analyzing their views in light of character ethics, Franklin helps the reader see a social vision of the virtuous life, human fulfillment, and the good society through their eyes.  All are powerful social insights worth examining, but Franklin's interpretation of Malcolm X is the one that the music of  When They See Us has brought to the forefront of my thinking.

In theological studies, the term "prophetic imagination" has become a popular term.  Walter Brueggemann writes in The Prophetic Imagination that the tradition of prophetic ministry from Moses to Jeremiah to Jesus engages God's people in dismantling oppression and reconstructing a world built on justice in loving communities.  J. Deotis Roberts plays on the popular Protestant and Baptist theme of the "priesthood of all believers" in his ecclesiological book The Prophethood of Black Believers to emphasize how the black churches have contributed to a richer understanding of the task of the church than mere comfort and religious observance, extending into challenging injustice and working for the common good.  This prophetic calling finds a particular expression in Franklin's use of "defiant" to describe the imagination.  Defiance is a crucial element and a helpful descriptor of certain ways that the prophetic calling may find expression and embodiment.

Over twenty years ago, I was invited to participate in a conference on moral education sponsored by  Shaw's Program in Ethics and Values and Duke's Kenan Institute for Ethics.  I had anticipated following a keynote address by Robert Coles--no small task.  I was doing some research into his work in preparation, and it led me to reflect further on Franklin's interpretation of Malcolm. Eventually I presented my paper under the title "Political Realism and the Defiant Imagination." 

Realism is that school of thought in politics and theology which tends to fall back on the balance of powers mode of reasoning.  Keeping all the existing powers in a condition of balance or detente--not at one another's throats, but also not stirring much change toward better justice--is considered the best one can do in the real world.  Hence, realism offers little beyond incremental change for those who suffer under the crushing weight of oppression.  The very idea that someone might challenge the existing powers is considered both ludicrous and dangerous by the realist.  As Franklin realized, Malcolm ultimately did not let his imagination be captured by political realism.

Malcolm had been a budding, intelligent, and hopeful child, doing well in school until his early adolescent years.  Despite his giftedness, one of the teachers he had respected and trusted most advised him that he should not have ambitions to be a lawyer, to take up a profession of intellect and prestige.  He should be realistic and aim to take up a trade, a solid way to make money that would not require him to transgress into the realms of power and status in which he would not be welcome.

The story of Malcolm's life which follows that period shows his dissolution from the prior ambition to achieve into a life that accommodates itself to the world's worst expectations of him.  The white world, the world of powerful people, would expect Malcolm not to amount to much.  They would look at him and see something dangerous, something damaged, something likely to be trouble, and not someone.  They would not see him.  They would see a phantasm, a stereotype, an inevitability.  To some extent, one can look at his life and conclude that Malcolm walked down a path that fulfilled what the world saw in him.  They remade him in their image of his destiny.

Franklin recognizes, however, that Malcolm does not ultimately remain what society had expected him to be.  After being imprisoned for breaking and entering and larceny, Malcolm's original intellectual curiosity and drive began to resurface, largely because of the nurturing friendship of members of the Nation of Islam.  Malcolm reports that he began to copy the dictionary, line by line, page by page, to improve his reading and facility of the English language.  He began to read extensively in history, philosophy, and political thought.  He was instructed in the teachings of the Nation of Islam and trained in their discipline of a life in submission to Allah.  He saw that to accomplish greater things, he had to set aside impulsiveness and raging emotion.  He learned that the limits that had been placed on his life were artificial and externally imposed.  He learned to defy the expectations of society and aim for something greater and more in tune with his true nature.

Malcolm's defiance drove him to gain the education he had missed before.  He became a powerful speaker and capable leader.  He applied his practical knowledge to become a strategic thinker and incisive analyst of the political scene.  And when he was confronted with the inadequacy of the orthodoxies that he had previously accepted, he pursued with relentless critical effort the truth of historic Islam.  Malcolm represented a defiance courageous enough to challenge the existing power relations, to say what must be said, and to be persistent in the face of powerful forces aligned against him.  His radical critique conceded nothing in his effort to dismantle the dominant cultural systems which oppressed African Americans.

Remembering this account of Malcolm's life and his emergence as a leading intellectual of his time, I found myself drawn to Robert Coles's account of the remarkable young Ruby Bridges as another example of defiant imagination.  At age 6, her parents guided her to be one of the first four children to integrate the New Orleans public school system.  She was the only black student enrolling in her particular elementary school.  The white parents took their children out of the school.  Only one teacher agreed to teach in a school with a black child.  So Ruby's teacher taught the class with only one student. 

Federal Marshalls escorted Ruby to and from school because of the rowdy, violent protests that surrounded the school and the streets leading up to it.  Ruby was not particularly scared by the crowds.  She said they looked and sounded like Mardi Gras parties, with shouting and throwing things.  So she bravely walked in and out of the school each day.  Eventually, some white parents brought their children back to the school and the protests subsided.  Still, Ruby remained alone in her classroom.  In the next school year, the actual integrated classrooms began to come about in New Orleans.

Robert Coles became very involved with Ruby and her family, offering psychological care as much as was needed.  He learned a great deal in the process.  One of the central stories that he tells concerns an observation by her classroom teacher.  As Ruby was approaching the school, the teacher observed the little girl stopping, turning to face the yelling crowd, and saying something to them.  When Ruby got to class, the teacher asked about what she had seen.  Ruby explained that she had not been talking to the people, but to God.  Coles asked later for a fuller explanation.  Ruby told him that every day she stopped, usually before getting to the school, and prayed to God for the people.  That day she had forgotten until she was at the school steps.  Cole was shocked that her feelings toward this hateful crowd were leading to her have concern for them and pray for them.  She went on to explain that the prayer she said every day was to ask God to forgive them because they did not know what they were doing.

Her family and church had already instilled in Ruby a way of living in the world that was shocking to Coles and to many others.  They had joined a long procession of courageous defiers unwilling to let conditions of injustice stand.  They defied the barriers placed against the education she and other black children deserved, putting bodies in action to challenge the social order. 

Moreover, her family and community was already embedded in an alternative moral narrative.  She had understood the loving response of Jesus toward those who had done him wrong, and in defiance of the expectation that she should be afraid or should return hatred for hatred, she was seeking the good of those who wanted to do her harm.  She hoped against hope that her opponents could be changed, and she and her community imagined a better world could come about in which enemies become allies, even friends.  As an adult, Ruby Bridges still affirms that we must go against the grain of the world if we want to see change come for the better.

I became aware of a third example of defiant imagination during the period of Everly's illness.  A friend had given her a recording of "What a Wonderful World," made famous by Louis Armstrong.  Everly's first reaction was irritation.  She has never been a person who wanted to paint a rosy picture when things were not rosy.  No romanticizing and no pretending--she liked to simply say what she saw, what she felt.  So she could see no reason to play "What a Wonderful World" when she felt awful and the prognosis was not promising.  In what world could one call it wonderful to know that a person is dying of cancer at the peak of her life?  I understood her point.

It occurred to me that I had never given that song much thought.  I also wondered why someone might think it an appropriate recording for a friend who was fighting through cancer and chemotherapy.  But I knew that the friend was also not one to sugar-coat life's struggles or try to positive think oneself out of real problems.  I bought a Louis Armstrong album and took some time to listen to him sing the song.  I read a little about its themes and its popularity.  I began to understand that this kind of song represents a particular kind of defiance when sung by people who have been dealt every injustice and disadvantage by those with privilege and power.

There is a stance to take to the world when it treats you as if you are inferior, outcast, and unworthy, that defies those treatments.  It is a way of knowing the good, the true, and the beautiful that disavows the knowledge projected by the powerful.  Refusing to accept the world as it is offered, the defiant imagination of the oppressed recognizes that the good things in the world also belong to them.  They know the truth of the world, that it is not what the lies of the powerful would assert to be true.  They know that the beauty of the world, perhaps always mixed with ugliness, yet remains beauty.  In defiance, Armstrong can sing about the particular sights of natural beauty that he passes, the kindness of heart and soul experienced in community, and the hope of a better life as the struggle for liberation presses from one generation to the next.  Living in a world overshadowed by injustice, he can recognize that world as false, as the great lie.  In contrast, the truth remains that it is a wonderful world.

This is not the same as positive thinking.  It is a way of thumbing the nose at the oppressor.  It is a stone-faced challenge to the world's claim on one's life.  It's the laughter of one who knows that the joke is not on her.  It's not pollyannish blindness, but clear sight which sees both the wrong and the right.  It's not pretending, but a kind of honesty that knows tragedy as well as beauty.

I've been motivated to develop this discussion of the defiant imagination after having watched the powerful miniseries, When They See Us.  The title itself focuses on vision.  Presuppositions about the nature of the world and the people in it operate as filters on what human beings see.  The term "normative gaze" identifies a biased perspective shared by those who hold power in society and culture--their way of seeing things defines reality because it is assumed to be the normative way to see.

Yet the words and actions of those who are not in power can challenge the assumed truth.  Seeing beyond the current busyness, they may glimpse a truth not polluted or distorted by the interests of the oppressor.  Taken as part of a declaration, the film title names the way that white people see black people, one which automatically puts black people in jeopardy.  Taken as part of an interrogatory, the title asks whether the black young men have been truly seen at all.  In this case, the young men are waiting to be seen for who they really are, not for what the fantasies of white culture imagine them to be.  A defiant imagination gives its holder the possibility of challenging and overcoming the normative gaze of the oppressor.

The film project itself is an exercise of defiant imagination.  It challenges the dominant narrative, the way that the young men and their families were "seen" by the newspaper reporters, the police, the prosecutors, and by many of their neighbors.  In the next posting, I will discuss how various songs in the soundtrack of When They See Us help to feed a defiant imagination.