Mexican Heaven: (Untold) Experiences of Mexican Immigrants

Cover of Citizen Illegal and author Jose Olivarez

Given today’s political climate with our current president, Jose Olivarez’s work, Citizen Illegal (2018), engages readers to learn and understand true experiences told by someone who is knowledgeable about Mexicans immigrating into the U.S. The collection of poems reveals cultural, social, and socio-political struggles of Mexican immigrants in the U.S. Citizen Illegal helps us re-imagine this topic by showcasing specific experiences that other Mexican immigrants can relate to while also educating readers of these experiences. It directs our attention to micro-level experiences that are not portrayed. Further, it encompasses emotions and experiences revolving around Mexican immigrants. Citizen Illegal is divided into five sections and contains poems ranging from 1 stanza to multiple stanzas in addition to the emotions ranging from nostalgia to sorrow. While there is no set character, the poems are meant to place the reader in Mexican immigrants’ position and enlighten relatable situations. Throughout the poems, readers learn about relations between individual family members, and between Mexican immigrants versus American society. Although Olivarez himself is not an immigrant, he is the son of immigrant parents, whose experiences informs some of his poems. His work helps readers understand the untold experiences of Mexican immigrants that no one thinks twice about. The poems allude to esoteric and specific experiences while educating and informing the reader of more than the misconceived notions or what is often portrayed in the media. Citizen Illegal highlights the experiences of Mexican immigrants that are not portrayed in media or that are seldom in discourse revolving Mexican immigrants. It challenges the representations of Mexican immigrants in U.S. cultural production and highlights untold experiences of Mexican immigrants. In particular, his multiple one-stanza poems titled “Mexican Heaven” describes and understands the ideal “heaven”/utopia that consists of both Mexican and American culture. The various “Mexican Heaven” poems allude to representations and experiences of Mexican immigrants that defy the misconstrued and negative portrayals of Mexican immigrants.

As Alejandro Portes and Robert L. Bach explains in their book Latin Journey: Cuban and Mexican Immigrants in the United States, the history of Mexican immigrants in the U.S. spans as far back as 1907 during the annexation of land belonging to Mexico (Bach and Portes 77). Eventually, the annexation of Mexico’s land reconfigures into the narrative and understanding of Mexican immigrants as “bad” because they are trying to “reconquer land that was formerly theirs (U.S. Southwest)” (Chavez 3). Often, what is portrayed or misconceived of Mexican immigrants is that they “don’t contribute to society” or “they’re taking all our jobs” or, as President Trump has most recently described them, “drug dealers, rapists, and criminals”. 
Unfortunately, we believe or perpetuate these notions because these narratives are most often the only ones portrayed, making us unaware of their untold experiences. In addition, these portrayals contribute to what author Leo Chavez coins as the “Latino Threat” narrative in his book, The Latino Threat: Constructing Immigrants, Narrative, and the Nation. The “Latino Threat” narrative encompasses the many assumptions of Mexican immigrants, including the “unwillingness to become part of the national community,” “illegal alien,” “destroying the way of American life,” and a foreigner (thus implying a threat to national security) (Chavez 3). The “Latino Threat” continues to perpetuate the discourses revolving Mexican immigrants in part (but not exclusively) because of the negative portrayals and the lack of continued struggles Mexican immigrants face. These portrayals are “typically devoid of nuances and subtleties of real lived lives”, consequently negating the additional obstacles and experiences of Mexican immigrants (Chavez 4). Because of the lack of appropriate Mexican immigrant portrayal and the over portrayal of the “Latino Threat” narrative (as made evident by President Trump), many individuals’ perceptions of Mexican immigrants revolve around the “Latino Threat” narrative.

While he has multiple poems titled “Mexican Heaven” in different sections of the book, the “Mexican Heaven” poem in the third section exemplifies Mexican women’s role in the Mexican community. The Washington Post conducted a research study to analyze the depictions of Mexican immigrants in news media. Their results asserted that while the majority of Mexican immigrants’ portrayals were harmful and produced them in a negative light, Mexican immigrant men were more often represented than Mexican immigrant women were. This “Mexican Heaven” poem complicates the portrayals of Mexican immigrants as it gives recognition to Mexican women, rather than Mexican men, who “are pictured more often than females” (Washington post).

The poem is one stanza, comprised of five lines, and narrates common domestic responsibilities:

all the Mexican women refuse to cook or clean

or raise the kids or pay the bills or make the bed or

drive your bum ass to work or do anything except

watch their novelas, so heaven is gross. The rats

are fat as roosters & the men die of starvation. (Olivarez 31)

The repetition of “or” throughout the poem separates the numerous tasks/responsibilities Mexican women have, even though they may not work at an actual job. The repetition produces the effect of an ongoing list that is “never-ending”, that the domestic responsibilities of Mexican women are endless. Additionally, in omitting commas to separate the tasks, the poem forces the readers to take their time in reading and reflecting on each task. This poem showcases that while Mexican immigrant women contribute just as much in providing for the family, even though it is not always portrayed. Moreover, in stating that this imagined “heaven” is where the women refuse to do this continuous list of tasks, it signifies that the “heaven” they imagine is different than the one they are living in. This poem illuminates that the “heaven” imagined for Mexican women is being able to relax and not do any of these tasks. However, the “heaven” they are living in (America) emphasizes that they have to do these tasks in order to help sustain their family’s life.

In examining Olivarez’s work, his poems speak to experiences and motivations of Mexican immigrants. As sociologist Carol Cleaveland observes in her research study, ‘In this country, you suffer a lot’: Undocumented Mexican immigrant experiences, Mexican immigrants individuals migrate “in order to spare their families potential suffering from poverty, or from having to immigrate themselves” (Cleaveland 582). They immigrate in pursuit of a better life, of the American Dream. Immigrating in pursuit of the American Dream reflects their concerns and worries of providing for their family and of financial stability (Hugo Lopez, “Latinos”). While there is no concrete definition to the concept of the American Dream, the Pew Research Center defines the American Dream as “hard work, financial security, career success and confidence that each new generation will be better off than the one before it” (Hugo Lopez, “Latinos”). The American Dream is the idea that if you work hard enough, you can achieve whatever you want.  In another short-stanza poem titled “Mexican Heaven”, Olivarez is able to articulate what an imagined “heaven” looks like to Mexican immigrants while highlighting the realities of coming to America and striving to achieve the American Dream. The poem further complicates the portrayals of Mexican immigrants by illuminating the concealed, continuous struggle of trying to provide for their family. In a seven-line stanza, the “Mexican Heaven” poem of the third section of the book showcases the contrasting ideas of the expectations versus the realities of America. Through the use of descriptive diction, Olivarez highlights to the reader the dismay of Mexican immigrants’ experience in America:

Saint Peter lets Mexicans into heaven

but only to work in the kitchens.

a Mexican dishwasher polishes the crystal,

smells the meals, & hears the music.

they dream of another heaven,

one they might be allowed in

if they work hard enough. (Olivarez 19)

cartoon taken from https://theimmigrants2010.wordpress.com/

The word “heaven” refers to the ending destination of Mexican immigrants: America. The word “heaven” juxtaposes where they come from, indicating that the place they are leaving in pursuit of “heaven” is unpleasant. As Cleaveland stated before, many Mexican immigrants migrate to the U.S. as “neo-liberal economics created untenable conditions for workers in Mexico” (Cleaveland 568). Mexican immigrants migrate because they are unable to work and therefore unable to make money to provide for their family. Additionally, the third, fourth, and fifth line of the poem contain diction that describe menial tasks, specifically referring to a job in the kitchen. The third and fourth sentences indicate that the worker is not enjoying the event, rather they are the ones prepping it. This portrays one of many low, “under-the-table” jobs Mexican immigrants work in order to sustain their life in America because of the disadvantages of language barriers and minimal education (Cleaveland 569). Because of their status, Mexican immigrants are forced to “work at jobs that are exploitative in terms of pay and benefits” (Cleaveland 571). Many places hire Mexican immigrants while not giving them the full benefits because it is cheap labor. Furthermore, describing these jobs by referencing some of the human senses (touch, smell, and hearing) places the reader in the shoes of a Mexican immigrant working the job. In placing the reader in this labor position, it illuminates an aspect of the life Mexican immigrants have in that they work “under-the-table” jobs because of their status.
The second half of the poem uses diction that refers to the idea of the American Dream. The words “dream” and the phrase “if they work hard enough” indicate that by working hard, one can achieve the American Dream. However, this poem showcases that “working hard enough” is not enough because Mexican immigrants are able to only work in menial occupations. It highlights an experience that is not often portrayed in the media and it recognizes the labor Mexican immigrants face in order to sustain their life.

Even after migrating to America, Mexican immigrants still face obstacles that remain concealed. One of these instances is the experience of Mexican immigrants needing to give up a part of their culture for the sake of white people. Olivarez encompasses this situation in another “Mexican Heaven” poem:

There are white people in heaven, too.

They build condos across the street

& ask the Mexicans to speak English.

I’m just kidding.

There are no white people in heaven. (Olivarez 21)

cartoon taken from https://newiesthirteen.wordpress.com/cartoons/

This Mexican Heaven poem highlights the relationship between Mexicans and the neighborhood they live in. It illuminates and an experience that it relatable (but not exclusive) to Mexican immigrants as it juxtaposes their positionality in relation to others, specifically white people. The contrasting diction of “build” and “ask” indicate that white people have the privilege to do and ask what they want of Mexican people. In incorporating the sentence about “speak[ing] English”; it illuminates the experience Mexican immigrants have about needing to change their language.
Additionally, the first sentence of the poem indicates the reality of being in America while the last sentence imagines a “heaven” in which there are no white people to denigrate them. In America, they are asked to rid their language and speak English, whereas in an imagined “heaven”, they do not have to worry about such an incident. The poem further illustrates Olivarez’s intentions, in which he states in a 2018 interview with Hannah Steinkopf-Frank of the Chicago Tribune. The interview, titled “Chicago Poet Jose Olivarez builds his own world in debut book ‘Citizen Illegal’,” contextualizes Olivarez’s background and experiences to show how they are illustrated in Citizen Illegal. In addition, the article suggests that while many of poems are based off of Olivarez’s experiences, they can also be accredited and attest to other experiences of Mexican immigrants, as he wanted to “create a space where Mexicans who already know the language feel that intimacy” (Steinkopf-Frank, “Chicago”). This poem highlights the experience of language as while each individual has their own obstacles, language is a common obstacle shared by (but not exclusive to) the Mexican community.

Primarily, analyzing Citizen Illegal and its multicultural contexts showcases that the portrayal of Mexican immigrants in U.S. cultural production is frequently a negative portrayal and disregards other aspects of Mexican immigrants’ experience. Citizen Illegal highlights and explains experiences that are not always depicted in discourse revolving around Mexican immigrants. In the “Mexican Heaven” poems, Olivarez is able to describe experiences in easy-to-understand terms, such as recognizing Mexican women’s role in the Mexican community, understanding the difficulty of striving for the American Dream, and understanding the sacrifice of culture in order to “make it” in America. After reading Citizen Illegal with additional research, I question why these experiences remain untold and why the negative portrayal of Mexican immigrants are perpetuated in U.S. cultural production. Citizen Illegal speaks to a specific audience that can relate to these experiences while educating other audiences of more than Mexican immigrants being “drug dealers, rapists, and criminals”. Ultimately, the discourse and portrayal of Mexican immigrants remains in this perpetuating state of unconstructiveness  unless challenged or enlightened, as Olivarez does in Citizen Illegal.

 

Works Cited

Chavez, Leo. The Latino Threat : Constructing Immigrants, Citizens, and the Nation, Second Edition, Stanford University Press, 2013. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/dickinson/detail.action?docID=1162035.

Cleaveland, Carol. “‘In This Country, You Suffer a Lot’: Undocumented Mexican Immigrant Experiences.” Qualitative Social Work, vol. 11, no. 6, Nov. 2012, pp. 566–586.

Farris, Emily and Silber Mohamed, Heather. “The news media usually show immigrants as dangerous criminals. That’s changed – for now, at least.” Washington Post, 27 June 2018. https://www.washingtonpost.com/news/monkey-cage/wp/2018/06/27/the-news-media-usually-show-immigrants-as-dangerous-criminals-thats-changed-for-now-at-least/?utm_term=.ee14874a0da7. Accessed 24 April 2019.

Hugo Lopez, Mark. “Latinos are more likely to believe in the American dream, but most say it is hard to achieve.” Pew Research Center, 11 Sept. 2018, https://www.pewresearch.org/fact-tank/2018/09/11/latinos-are-more-likely-to-believe-in-the-american-dream-but-most-say-it-is-hard-to-achieve/. Accessed 30 April 2019.

Olivarez, Jose. Citizen Illegal. Chicago, Haymarket Books, 2018

Portes, Alejandro, and Robert L. Bach. Latin Journey : Cuban and Mexican Immigrants in the United States, University of California Press, 1985. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/dickinson/detail.action?docID=470876.

Steinkopf-Frank, Hannah. “Chicago Poet Jose Olivarez builds his own world in debut book ‘Citizen Illegal’.” The Chicago Tribune. 11 Sept. 2018, Website, https://www.chicagotribune.com/redeye/culture/ct-redeye-jose-olivarez-poet-citizenillegal-20180808-story.html. Accessed 4 March 2019.

 

Stop-and-Frisk, This is what it looks like

 

“To understand the universe you need to…” was the practice sentence that my Portuguese professor presented to us in class and my first response was the language itself. I believe understanding language is critical to how we communicate with one another. Claudia Rankine’s Citizen: An American Lyric demonstrates how the absence of quotation marks impacts the understanding of her writing.

Rankine’s prose creates a unique way of reading and understanding her work, especially in the poem “Stop-and-Frisk” in which she sets the stage for a play on words, truth, and dichotomy:

“This is what it looks like. You know this is wrong. This is not what it looks like. You need to be quiet. This is wrong. You need to close your mouth now. This is what it looks like. Why are you talking if you haven’t done anything wrong?” (Rankine 108).

The apparent dialogue is stripped of quotation marks. This style of narration zooms out of the direct confrontation between two people and allows readers to examine what the narrator is voicing. The presence of the word “You” highlights the familiarity of stop-and-frisk, and the contrasts from sentence to sentence suggest the internalization of these occurrences.

The presence of the sentences starting with “You need to…” can be the words of the cop, but it can also be the thoughts of the victim who’s vocalization has become criminalized. Pairing these commands with the words “this is wrong” illustrates the process behind the narrator deciding on what move to make next. Throughout this small part of the poem, repetition, and the ambiguity of dialogue alludes to the systematic oppression that creates these encounters. This internal dialogue can show just how normalized it is to fear encounters with police in the black community.

Just as black bodies are criminalized, black voices are repeatedly dismissed in their efforts to narrate their own experiences, on the streets and in classrooms alike. In her depiction of Stop-and-Frisk, Rankine’s structure of language forces readers to listen more closely to the narrator’s voice by contrasting each sentence with the one preceding and/or following it. We as readers are able to find deeper understanding of the complexity of communication in Stop-and-Frisk, all without the use of quotation marks. 

Image result for stop and frisk

Works Cited

Rankine, Claudia. “This is what it looks like.” Citizen: An American Lyric. Graywolf      

         Press, 2014.

B2

The Battle for Citizenship in America

The famous African-American baseball player, Jackie Robinson once said, “The right for every American to first-class citizenship is the most important issue of our time.” That was in the 20th century, and today in our 21st century, the issue is still crucial. The poet, Claudia Rankine writes on the significance of citizenship and the the struggles faced  by blacks in obtaining first-class citizenship in America in her collection, Citizen: An American Lyric (2014).

Let’s specifically focus on the no-title poem on page 14 about the argument the beginning character called “a friend” makes about the two identities, “historical self” and “self self” in lines 2-3. The ‘self self” identity is further broken down as black self and white self which transitions from a friendship with no conflict to one of conflict throughout the poem because their history creates different identities and placement in their shared America.

Rankine symbolism when she writes the words “Americans battle.” Symbolism is the use of an object or word(s) to suggest a larger meaning or idea. To better display the symbol Rankine uses, let’s look at the opening line from the poem which says, “A friend argues that Americans battle between the “historical self” and the “self self.” The words ‘Americans battle’ acts as symbols because they produce the effects of historical connotations to slavery and the civil war as an american battle for freedom and equality between blacks and whites. Those two words also imply that it was not peaceful but rather bloody and gruesome because of the word battle. In terms of surrounding text in relation to the symbol, the ‘historical self’ is at battle with the ‘self self’ in the poem.This brings up the association of the civil rights movement and the black lives moment because they are essentially battles between black and whites for freedom and equal citizenship in America.

The symbol of ‘Americans battle’ produces these associations and connotations because the racial history of America is highly memorable and characterizing in terms of the country. Some of the biggest American battles are ones based of race and for citizenship. The word battle placed in front of the word Americans brings up images of bloody conquest, stripping away native land, and forced labor like on cotton plantations. These effects are significant because the American history is one grounded and founded in racial inequality and discrimination. So, when the words ‘Americans battle’ are in the same line as ‘historical self’ and ‘self self’ (black self and white self) the message created of race relations and unfairness helps to convey Rankine’s message. The symbol of “American battles” helps to convey the fight between black and whites for black equality.

Jackie Robinson and Claudia Rankine both note the need to address the issue of black not feeling like first-class citizens in America because they are not despite it being a vital part of feeling like they belong here. Rankine goes a step further by using the symbol of ‘Americans battle’ to showcase the two types of Americans, black and whites, and how the battle for blacks to feel like first-class citizens is one based of historical discrimination and prejudice. ‘Americans battles’ stand for the inequality in citizenship that blacks face and how that creates a conflict between blacks and whites, even those who are friends.

 

Work Cited

Rankine, Claudia. Citizen : An American Lyric. Minneapolis, Minnesota : Graywolf Press, [2014], 2014. EBSCOhost, search.ebscohost.com/login.aspx?                        direct=true&db=cat00326a&AN=dico.1363424&site=eds-live&scope=site.

“Jackie Robinson Quotes.” BrainyQuote.com. Brainy Media Inc, 2019. 8 February 2019. https://www.brainyquote.com/quotes/jackie_robinson_140158

B2

A Place You Don’t Know

Can you survive a conversation about race and politics with a person of an opposing race? Many would answer this question with a yes why not? But in reality, many would explode in emotions and scream. Many of this conversations are indeed difficult due to not being able to articulate one’s ideas thoroughly and effectively, and yes containing one’s anger and frustration regarding this failure is even harder. This topic is also introduced in the second poem of Claudia Rankine’s collection of poems, Citizen: An American Lyric(2014). Rankine adequately develops the idea of racial conversations and the negative outcome of them in modern day societal terms.

Rankine develops the idea of racial uncomfortable conversations by the use of authorial intrusion, a figurative language tool that is unusually spoken of but well reaches the readers connection to the text. This literary device is the usage of the second person point of view instead of the more common first and third person by the author. Rankine uses this tool specially in the opening of her second poem as well as throughout the rest of the poem, she sets the stage with this tool and forms the platform to the rest of her poem in which the ideas flow cohesively and understandably in the readers point of view. This can be shown in the quote,

 “A woman you do not know wants to join you for lunch. You are visiting her campus. In the café you both order Caesar salad. This overlap is not the beginning of anything because she immediately points out that she, her father, her grandfather, and you, all attended the same college…” (Rankine 13)

 The usage of authorial intrusion proves to be effective in captivating the essence of the scene and portraying it in a way that readers can clearly and easily create an image in their minds. When an author uses second person, it becomes easier for the reader to imagine themselves in the scene, when readers can imagine themselves in the scene, they can create a better connection with the author. This better connection then leads to better understanding of the meaning behind the poem. In regard to Rankine poem the readers are able to set the uncomfortable setting in their minds for the conversation that occurs within the first line “A women you do not know wants to join you for lunch”. The idea of the not knowing who one is having lunch with creates an unsettling feeling that is deeply generated throughout the poem. In addition, given that a close relationship is depend by the second person perspective between the author and the reader the author doesn’t waste much time explaining in between the line ideas. Rankine lists actions that in the second person context pertain to the reader, the reader understands what the author means because the reader feels like a part of the story. For instance, when the author says “You are not sure if you are meant to apologize” the reader knows a sense of anger is supposed to be felt.

Overall this literary device truly expands the significance of taking part in uncomfortable conversations regarding race because it shows that discriminationagainst an applicant’s race and his ability to get into a school or not based on his persona and academics is not ok. This poem is honest and informative about how to react to a racist comment in a conversation, because yes walking away is always better then yelling at “a woman you do not know”.

B2

Works Cited:

Rankine, Claudia. Citizen. Graywolf Press, 2014. (Book)

The Power of Declaration

Speech is not easy in the face of tragedy. Words can’t capture the depths of grief, but they can circle slowly at its edges and, in their circling, evoke the empty center. In “February 26, 2012/In Memory of Trayvon Martin,” published in Citizen: An American Lyric (2014), Claudia Rankine uses short, declarative sentences to evoke and validate Black Americans’ grief in the face of racist violence.

In her poem, Rankine uses declarative sentences to develop an informative or factual tone. The poem begins with a paragraph composed almost entirely of declarative sentences, and this form of syntax repeats throughout the poem. In the first paragraph she writes, “My brothers are notorious. They have not been to prison. They have been imprisoned. The prison is not a place you enter. It is no place. My brothers are notorious” (Rankine 89). Here, Rankine asserts that the criminal justice system and white America at large criminalize Black men and limit their opportunities. She explains that her “brothers” have not physically been to jail, but are still “imprisoned” by their notoriety and their inability to perform simple (non)activities like “waiting” unmolested. Rankine’s syntax breaks the various parts of these assertions into deceptively straightforward statements. Declarative introduce a subject, describe its action, and end with a period, creating the appearance of simplicity and factuality by drawing an apparently uncomplicated connection between a subject and an action. Rankine expresses sentiments of great political and figurative complexity as matters of what simply “is” or “is not.” This gives her statements the feel of common (and unremarkable) knowledge.

Image result for black lives matter protest

Rendering her ideas as common sense both evokes the numbing effects of continual tragedy and challenges the racist strategy of denying the validity of Black people’s experiences and knowledge. The accumulation of declarative sentences on the topics of imprisonment, racism, and the inability to exist creates a contrast between tone and subject. The factual tone combined with the sorrowful subject matter mirrors the detached manner of a person who is experiencing shock, or who has become numb to grief through the proliferation of tragedy. When dehumanization is part of the fabric of a person’s everyday life, pain must, at times, go underground for the sake of survival. Rankine’s detached tone adds to the power of her poem by underscoring the constant nature of racist violence. Furthermore, her tone is an implicit valorization of the knowledge Black people gather through their daily experiences— knowledge that white people devalue in order to maintain our power. By stating these appearances in a factual tone, Rankine asserts their truth.

 

Works Cited

Rankine, Claudia. “February 26, 2012 / In Memory of Trayvon Martin.” Citizen: An American Lyric, Graywolf Press, 2014.

B 2

The Clash of Blackness and Authority (B2)

The American society is decorated with a history of racism and as of today, racism is still prevalent everywhere you look because America has imbedded race in everything, to the point when it dictates how you are treated. In the book Citizen by Claudia Rankine, particularly the story Stop and Frisk the literary device allegory is used to explain a symbol that conveys a deeper meaning, that symbol in this case is the process of a Black individual being wrongfully accused for something they didn’t do and the deeper meaning is the racism Blacks go through when they are unfairly accused of a crime.  

Image result for police brutality against blacks

Within the first passage of the story is this quote, “Everywhere were flashes, a siren sounding and a stretched-out roar. Get on the ground. Get on the ground now. Then I just knew.” This shows what exactly happens when a Black person is pulled over by the police. The Police become overly aggressive as a reaction from fear of blackness and the Black individual does everything, they can to seem less dangerous by cooperating and being selective, cautious with their tone and diction, one wrong move and it’ll all escalate. All you can do is cooperate because of the fear of dying. In the sixth passage there seems to be a conversation with the police officer and the Black man, or the Black man is having a conversation with himself within his subconscious as a way of trying to understand the situation he’s in. The dialogue has no parentheses, but it includes the words, “You didn’t do anything wrong. Why am I pulled over? Put your hands up.” However, thinking of that dialogue now it could just be him reassuring himself of what to do, even though he knows he did nothing wrong he also knows that the police officer doesn’t care if he is guilty or not so it’s best for him to just cooperate and appear less as a threat.  

Image result for police brutality against blacks

Nevertheless, Black men have been accused of crimes and misdemeanors that they didn’t commit but because they’re Black they were still blamed. Claudia Rankine states, “And still you are not the guy and still you fit the description because there is only one guy who is always the guy fitting the description.” This is saying that yes, a Black man can be innocent but because he fits into a stereotype that all Blacks are dangerous and cause chaos in society, he often isn’t believed, he’s mistaken for something he isn’t, which connects back to the way your treated in society depending on if you’re White or Black and on how close you’re to whiteness which is acceptable in contrast to blackness. It shouldn’t be like this, but it is, and it won’t change until the actual aggressor changes their tactics and stop reacting with racial fear. 

                                                        Works Cited 

                      Rankine, Claudia. Citizen. Graywolf Press, 2014. (Book) 

 

Is It Still History If It Reoccurs?

The fatal shooting of Trayvon Martin and the unjust acquittal of George Zimmerman would forever remain in history as the momentous incident that would spark the emergence of the #BlackLivesMatter movement and its conversation about racism and systemic violence towards black people in America. Claudia Rankine’s poem “February 26, 2012/In Memory of Trayvon Martin” in her collection, Citizen: An American Lyric (2014), portrays the emotion of a black individual detailing the position black Americans stand in, both historically and in modern day society.

In her poem, “February 26, 2012/In Memory of Trayvon Martin”, Rankine structures her sentence about the history of the black American as a continuous list, using multiple commas, to depict both the consistent history of violence towards black people and its ongoing presence in modern society. This is evident in the sentence,

“Those years of and before me and my brothers, the years of passage, plantation, migration, of Jim Crow segregation, of poverty, inner cities, profiling, of one in three, two jobs, boy, hey boy, each a felony, accumulate into the hours inside our lives where we are all caught hanging, the rope inside us, the tree inside us, its roots our limbs, a throat sliced through and when we open our mouth to speak, […]” (Rankine 90).

In incorporating a long and continuous sentence with multiple commas, it portrays to the reader just how long and the multiple discriminatory acts black people have had to deal with. The beginning part of the sentence, “[…] the years of passage, plantation, migration, of Jim Crow segregation, of poverty, inner cities […]”, reads like an ongoing list of the historical racism black people faced beginning with slavery and the racist aftermath. Additionally, this excerpt draws our attention to how this racism towards black people is not just one point in time, but it repeats over history. The list begins with “passage” and “plantation”, which signifies the start of unacceptable treatment towards black people, and continues with “Jim Crow segregation”, “poverty”, and “inner cities” to further exemplify that even after slavery, there was still poor treatment towards black people and it continues as evident through socio-economic status and affected neighborhood.

In reference of the Trayvon Martin poem, this excerpt that reads like a passage is significant because it is exemplifying that there is a long history of prejudice and racism towards black people, and yet society is still trying to portray them as the enemy. This poem allows reader to feel the continuity of unfortunate treatment black people have had to deal with and continue to deal with every day. Trayvon’s death is the crux of this poem because he was just a young black boy living his life, when George Zimmerman decided to implement his own prejudiced views and take his life away.

B2.

Works Cited

Rankine, Claudia. Citizen : An American Lyric. Minneapolis, Minnesota : Graywolf Press, [2014], 2014. EBSCOhost, search.ebscohost.com/login.aspx?                        direct=true&db=cat00326a&AN=dico.1363424&site=eds-live&scope=site.