Posterity Read Online Free PDF Page B

princeliness, his straight back and unbowed head? I think I felt that there walked the Negro, as Pop might have said; there walked the whole of the African people, as regal as any king. And that feeling I had, that gooseflesh sense of identity that I felt at seeing Nelson Mandela, listening to Mahalia Jackson sing, watching Muhammad Ali fight, or hearing Martin Luther King speak, is part of what I mean by being colored. I realize the sentiment may not be logical, but I want to have my cake and eat it, too. Which is why I still nod or speak to black people on the streets and why it felt so good to be acknowledged by the Afro-Italians who passed my table at the café in Milan.
    I want to be able to take special pride in a Jessye Norman aria, a Muhammad Ali shuffle, a Michael Jordan slam dunk, a Spike Lee movie, a Thurgood Marshall opinion, a Toni Morrison novel, a James Brown's Camel Walk. Above all, I enjoy the unselfconscious moments of a shared cultural intimacy, whatever form they take, when no one else is watching, when no white people are around. Like Joe Louis's fights, which my father still talks about as part of the fixed repertoire of stories that texture our lives. You've seen his eyes shining as he describes how Louis hit Max Schmeling so many times and so hard, and how some reporter asked him, after the fight: “Joe, what would you have done if that last punch hadn't knocked Schmeling out?” And how ole Joe responded, without missing a beat: “I'da run around behind him to see what was holdin' him up!”
    Even so, I rebel at the notion that I can't be part of other groups, that I can't construct identities through elective affinity, that race must be the most important thing about me. Is that what I want on my gravestone: Here lies an African American? So I'm divided. I want to be black, to know black, to luxuriate in whatever I might be calling blackness at any particular time—but to do so in order to come out the other side, to experience a humanity that is neither colorless nor reducible to color. Bach
and
James Brown. Sushi
and
fried catfish. Part of me admires those people who can say with a straight face that they have transcended any attachment to a particular community or group . . . but I always want to run around behind them to see what holds them up.
    I am not Everynegro. I am not native to the great black metropolises: New York, Chicago, or Los Angeles, say. Nor can I claim to be a “citizen of the world.” I am from and of a time and a place—Piedmont, West Virginia—and that's a world apart, a world of difference. So this is not a story of a race but a story of a village, a family, and its friends. And of a sort of segregated peace. What hurt me most about the glorious black awakening of the late sixties and early seventies is that we lost our sense of humor. Many of us thought that enlightened politics excluded it.
    In your lifetimes, I suspect, you will go from being African Americans, to “people of color,” to being, once again, “colored people.” (The linguistic trend toward condensation is strong.) I don't mind any of the names myself. But I have to confess that I like “colored” best, maybe because when I hear the word, I hear it in my mother's voice and in the sepia tones of my childhood. As artlessly and honestly as I can, I have tried to evoke a colored world of the fifties, a Negro world of the early sixties, and the advent of a black world of the later sixties, from the point of view of the boy I was. When you are old enough to read what follows, I hope that it brings you even a small measure of understanding, at long last, of why we see the world with such different eyes . . . and why that is for me a source both of gladness and of regret. And I hope you'll understand why I continue to speak to colored people I pass on the streets.
    Love,
Daddy
    Piedmont, West Virginia
July 8, 1993

Elsie, Mabel (wife), Daisy, and
Alexander