Author: Adolph Reed, Jr.

The Real Problem with Selma : It doesn’t help us understand the civil rights movement, the regime it challenged, or even the significance of the voting rights act

The victory condensed in the forms of participation enabled by the VRA is necessary—a politics that does not seek institutional consolidation is ultimately no politics at all—but not sufficient for facing the challenges that confront us in this moment of rampant capitalist offensive against social justice, but neither are the essentially nostalgic modalities of protest politics often proposed as more authentic than the mundane electoral domain. It is past time to consider Prof. Legette’s aphorism and engage its many implications. And that includes a warrant to resist the class-skewed penchant for celebrating victories won in the heroic moment of the southern civil rights movement as museum pieces disconnected from subsequent black American political history and the broad struggle for social justice and equality.

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Response to Jay and Sustar & Bean

Both these pieces betray a really naïve or underdeveloped understanding of electoral action, its costs and benefits, the unavoidable messiness of engaging in it. And, by the way, the same messiness applies to all efforts to build and maintain broad alliances, all of which require finding ways to navigate locating points of agreement and looking the other way at least temporarily at potentially serious differences and contradictions.

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Django Unchained, or, The Help: How “Cultural Politics” Is Worse Than No Politics at All, and Why

So why is a tale about a manumitted slave/homicidal black gunslinger more palatable to a contemporary leftoid sensibility than either a similarly cartoonish one about black maids and their white employers or one that thematizes Lincoln’s effort to push the Thirteenth Amendment through the House of Representatives? The answer is, to quote the saccharine 1970s ballad, “Feelings, nothing more than feelings.”

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Three Tremés

Not only is everything that was good about The Wire, such as use of silence and nuance to make points and to evoke the effects of deep structural forces and a narrative that is decidedly and proudly not moved along by music or soap operatic plot devices, bad about Treme; Simon is also in way over his head. His vision has been captured and colonized by the touristic discourse of “real” authenticity.

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