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Brad Watson recalls his youth in impoverished Mississippi and the differences between the lives of poor whites and Black Southerners. Watson’s mother went to work when he was a child and needed childcare. In the South, it was common for white families to employ Black women as maids, whose jobs included food preparation, cleaning, and looking after children. The term “maid” has a demeaning and insulting connotation: “[…] when you apply it to a fully grown, usually married woman with children of her own, the word takes on a particularly onerous quality” (265). There were few employment opportunities available to Black women, even those who had college degrees, so women settled for work as maids in white households, where their wages were exceptionally low.
Watson learned of the exploitative nature of this employment when he was still relatively young. One day he observed his mother writing a weekly paycheck for the home’s maid and was shocked by how low the amount was. He explains, “I knew that I could make that much money mowing three yards, and I could make it in one day. I could make, mowing yards, in one day what our maid was paid for a forty-plus-hour week” (266). When he confronts his mother, she claims it is all the family can afford, while the maid lives in a shack without running water and perhaps no electricity.
Later, his mother accused the woman of stealing underwear and fired her. Watson remembers how ashamed he felt about his mother humiliating this woman over and over. He writes, “I remember thinking, If her children don’t have underwear, she can have my underwear. I don’t care if she steals my underwear” (267). Many years later, Watson runs into the family’s former maid while waiting on a bus. She is employed in a hospital but still working for low wages. She appears happy to see him with no reason to pretend to feel so any longer.
Whitney Terrell’s personal essay reflects on his time living in a predominantly Black neighborhood in Kansas City and his friendship with a Black teen named Terry Hemmitt. The reflection also critiques the author’s own white saviorism and his previous inability to recognize his white privilege.
Most white people had left Kansas City for the suburbs in the 1960s and 1970s because the city’s schools were integrated. Property values plummeted in their former neighborhoods, where the demographics shifted to mostly Black residents, and Kansas City’s school district consequently suffered a loss of tax revenue. These were the schools that young Terry attended.
In 1998 Terrell introduces himself to Terry, who has come to live with Jackie Eason, his grandmother and the author’s next-door neighbor. The two soon strike up a friendship, with Terrell acting as Terry’s mentor. Terrell persuades Terry to consider going to college at his alma mater, the University of Kansas. Terry applies, is accepted, and is awarded an academic scholarship plus a financial aid package.
Terrell soon takes Terry to visit Lawrence, where the university is located. This trip causes Terrell to see the town and campus in a new light. As they drive down the main street, heading for the university, Terrell begins to feel a new and unfamiliar discomfort. He writes:
I’d driven down it a hundred times and always loved it, always felt at home, but then, for the first time in my life, cruising down that block with Terry riding beside me, I was looking at that street through his eyes. I was searching the sidewalks, and the bars, and the packs of laughing coeds, for somebody, anybody, who looked like him (275).
After Terry’s first semester at the university, he calls Terrell and tells him that he plans to withdraw to pursue a career in the Air Force. His choice concerns both the author and Terry’s grandmother because the United States is involved in wars in both Afghanistan and Iraq. However, pursuing a military career is a good option for Terry, who struggles to afford college even with a scholarship.
Terrell and Terry remain in touch, and Terry goes on to have a rewarding and successful career in the Air Force, flying missions over both Afghanistan and Iraq. He remains in the Air Force and lives in Washington D.C. Terrell always believed he would leave Kansas City and that his publications would facilitate his exit, but it is Terry who made that escape: “He’s not coming back, I don’t think. Which makes him a stronger man than me” (279).
Lawrence Joseph’s poem is about Detroit’s gradual urban decay. The verses begin with the city’s landscape, set against the Great Lakes, and its early history, comparing it to the Turkish city of Istanbul on the Bosporus. It was a natural place for industrialists, like Henry Ford, to set up their factories. It became the heart of the industrialized United States: “Here, in ultimate concentration, is industrial/America—Chrysler, Continental, Budd, Hudson” (280).
The city has an ugly past with a history of racist hate crimes. In 1967 riots erupted in response to police violence directed at Black residents. Joseph writes, “How many summers after that/the Motor City burned to the ground” (280).
The poem’s final lines address Detroit’s current state of economic downturn, white flight from the inner city, and the desolation that cuts through the landscape of the once bustling “Motor City.” As the auto industry cut jobs and moved production abroad, the city became a wasteland. Joseph writes, “[…] more is owed on properties in Detroit than/they’re worth (281). Mansions that once stood impressive now sit deserted.
Larry Watson’s essay looks back on the social changes that his hometown, Bismarck, North Dakota, has undergone. When he was growing up during the 1950s, Bismarck “was a classless society” (282). The town had its impoverished and wealthy citizens, but much of the populous had a traditional, middle-class existence. Working-class people lived alongside bankers and doctors in modest homes. There was little noticeable difference between the homes of Bismarck’s rich and middle class. Watson says, “When my wife moved to Bismarck with her family in 1958 they lived on the same block as the governor of the state, and I’d defy anyone who didn’t already know which house was the governor’s to pick it out from its neighbors” (282). What caused this “middling effect”? Perhaps it was the aftermath of the Great Depression or World War II military service, which had an equalizing effect. Regardless, Bismarck’s residents chose not to show off or appear more affluent than their neighbors.
By the 1970s, Bismarck’s social and physical landscapes had changed. The hills around the town were no longer absent of human habitation; instead, large and imposing homes populated the hillsides. Elites no longer resided in modest and middle-class homes alongside their lower-income neighbors. Rather, they sought out more, even when they didn’t need it. This way of living continues as homeowners choose larger and more extravagant homes to socially differentiate themselves from others through their ostentatiousness. Consumerism and materialism swept through the town, and American society more broadly, at the expense of the more modest and middle-class hometown Watson once knew.
This section of the text focuses on physical and social landscapes while also addressing white privilege. Brad Watson and Whitney Terrell both contribute essays about their interactions with Black Americans in which each author has an epiphany about his white privilege. Both Lawrence Joseph’s poem and Larry Watson’s contribution center changes to the American working class and demographic shifts in Detroit and Bismarck, North Dakota. Collectively, these contributions reflect on the recent past and interrogate social and racial inequalities.
Both Watson and Terrell acknowledge their white privilege. These acknowledgements come with a tone of guilt that each wants to assuage through his writing. Watson recognized his privilege at a young age when he saw how his mother underpaid the family’s Black maid. Terrell, alternatively, has an awakening as an adult when he brings a young Black man to visit Terrell’s mostly white alma mater, the University of Kansas. Both writers use the trope of the “Magical Negro,” a term coined by movie producer Spike Lee. The Black figures who appear in their stories appear to teach Watson and Terrell a lesson, ennoble them, and help them recognize their faults and others’ flaws. These stories are more about the authors than the subjects about whom they write and the problems they confront.
Larry Watson’s contribution about the changing social and physical landscape of his hometown says little about the town’s racial make-up. Instead, Watson focuses on the white upper-middle and working classes who once lived alongside one another but now live divided as wealthy people constructed homes on the hillsides surrounding the town. Watson says nothing about the phenomenon of white flight that Lawrence Joseph addresses when he describes Detroit’s history as one characterized by racial discrimination and abuse, urban decay, and abandonment. He writes about men dragging Black people from the cars that the Motor City built to beat them in the streets. After the riots during the summer of 1967, and in response to declining industry jobs and desegregation, many white residents left inner Detroit. Joseph describes the streets of inner-city Detroit today as a barren wasteland: “There are stalks of weeds in sunlit snow, an abandoned/ house surrounded by acres of snow. The decay apparently/ has frightened the smart money away” (281).
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