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Eula Biss’s “White Debt” is not about financial debt. Instead, this piece confronts white privilege and white guilt prompted by unpleasant historical truths and knowledge of the maltreatment Black and Indigenous Americans face.
Biss, a white woman, had a run-in with law enforcement when she was a college student accused of “tagging” for pasting posters around the city of Amherst, Massachusetts. Tagging is a felony, but she was released without charge. Yet the justice system frequently doles out severe punishments to Black Americans for similar offences. Even worse, police sometimes kill Black Americans in routine traffic stops.
For Biss, “whiteness is not an identity but a moral problem” (117). It is a moral obligation for white people to refuse to be party to racial injustice and to actively work against it. To embrace whiteness, and the privileges that come with it, is to enter a mutually beneficial relationship with power structures. She concludes, “And we forget our debt to ourselves” (121).
This short story is about a wealthy, widowed, white philanthropist who visits a Black church and protest rally to donate to the Save Our Lives campaign, a fictitious version of the Black Lives Matter movement.
The woman, Jessalyn, is uncomfortable from the beginning, sitting in the back of the church, listening to the speeches from countless Black people who have lost loved ones to police violence. She is moved by what she hears but does not know how to interact with the congregants or how to explain her presence. She recalls having locked her car doors when she exited the freeway to drive into the predominantly Black neighborhood. Several congregants turn to glare at her with suspicion and what she perceives as hostility.
The church’s preacher eventually approaches Jessalyn, who writes a check in donation to the movement. The minister asks a young Black man named Leader to walk Jessalyn back to her car, which he does with little conversation. At her car, Jessalyn wonders if she ought to give Leander a $20 tip, as if he’s a service worker. Her inner monologue asks, “But when is a tip not a tip? Is a tip always a tip? Is there no escaping—tip? If you are white?” There is no answer, and the story leaves Jessalyn in a state of confusion, plagued by her white guilt.
This short story follows the lives of three interconnected non-white women, who, despite some of their similarities, remain divided by class. Iris and Gabriella are poor women who are domestic workers in suburban homes. Iris is employed as a childcare worker for a Jewish family, while Gabriella works in the home of a middle-class Jamaican woman named Mira. When the story opens, Mira is yet again confronted with the racism that surrounds her in the suburbs when another mother at the bus stop assumes she is a nanny. She resents her white friends and neighbors who say nothing: “You’re the one wearing whiteface after all. Fuck you, fuck off, fucking moron, and of those would do. I don’t need the potluck or the block party, just give one flying fuck. Say it loud and clear” (131).
Iris, alternatively, rises early in the morning, leaving her children to prepare for school on their own, so that she can cross town to care for someone else’s children. When her son gets in trouble at school because he is frequently late due to having to care for his younger siblings, Iris’s employer, Chana, treats her emergency as an annoyance and disruption to her more privileged life.
Iris’s fellow nanny, friend, and neighbor leaves her own children to care for Mira’s. Her eldest son, Luis, attends an elite prep school on scholarship, and she rarely sees him. Although his father works in the school, they do not speak. When Luis visits the home where she works, as a guest and friend of Mira’s son, he pretends he does not know her, ashamed of his background. Though each of the women in the story has faced racial or ethnic discrimination, class lines divide them.
Each of these contributions to Tales of Two Americas critiques privilege. Eula Biss’s essay tackles the moral obligation that white people have to use their white privilege not only to denounce white supremacist institutions but to dismantle structural racism. The paralysis of white guilt, like Jessalyn’s in “Leander,” is not an option.
“Leander” centers white saviorism and shows the white guilt Biss writes about in action. Leander, the young man who walks her to her car, symbolizes Jessalyn’s guilt and reminds her of her white saviorism. After returning to her upscale suburban home from her visit to the inner-city Hope Baptist Church, she thinks of Leader and is filled with regret at her interactions with the youth and congregation at the church. Though she donated to the church’s activist movement, she did nothing more. Jessalyn’s whiteness and class privilege stand in stark contrast to the world she enters in inner-city Hammond.
The short story “Fault Lines” likewise confronts class privilege but in a different context. Neither of the non-white women who employ Iris and Gabriella particularly respect or value them as anything other than domestic workers there to make their suburban lives more comfortable. Similarly, “Leander” is about Jessalyn’s comfort/discomfort. When she attends a predominantly Black church, she appears not as an ally but as a selfish character who is intent on relieving her white guilt through her money. Readers witness her guilt when Jessalyn thinks back to the way she locked the doors to her car when entering the neighborhood, stereotyped as dangerous. The experience at Hope Baptist Church is not really about the racial justice movement she intends to support but about Jessalyn herself.
Chana and Mira, too, think primarily of themselves and their personal satisfaction in “Fault Lines.” Both Iris and Gabriella sacrifice connections to their own families because of their jobs. Iris’s son ends up in trouble because of his perpetual lateness to school, caused by his responsibility to care for his younger brothers in his mother’s absence, an absence necessitated by her work obligations. Gabriella’s son is away from home and rejects his mother, ashamed of her service work. Lower-income people appear as instruments for rich people’s comfort.
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