To this day it is all but impossible for me to actually stop and think of my parents as white and black or to think of myself, therefore, as half and half.
Shelby SteeleRead
You know, one of the ways we adapted to not being free was to think that our group identity was again, the way we were being black, and being down with the cards. That was the way we were going to get it. Unity was everything.
Interpretation
The quote emphasizes the importance of group identity and unity in the context of overcoming oppression.
Shelby Steele reflects on how individuals within a marginalized group can adapt to a lack of freedom by fostering a strong sense of group identity. He suggests that embracing their shared experience and unity allows them to navigate the challenges they face, presenting solidarity as a vital means of resilience and empowerment.
In practice
This quote can be used in a speech about social justice to emphasize the importance of unity among marginalized groups.
To this day it is all but impossible for me to actually stop and think of my parents as white and black or to think of myself, therefore, as half and half.
Through protest - especially in the 1950s and '60s - we, as a people, touched greatness. Protest, not immigration, was our way into the American Dream. Freedom in this country had always been relative to race, and it was black protest that made freedom an absolute.
Well, protest is central to the evolution of black American culture. It was protest that really finally won our freedom for us. Beyond that, it's always interesting to note that it expanded the idea of democracy.
The 'safe spaces' for minority students on university campuses are actually redemptive spaces for white students and administrators looking for innocence and empowerment.
The evil of slavery and colonialism was that these oppressions kept their victims out of history, disconnected them from the evolutionary struggle.
Emmitt Till had walked into a cultural narrative in which his role was already tragically written. It was a narrative designed to preserve white supremacy. So it gave power - the right to kill - to any white claiming to defend the honor of white women.
If he is infinitely good, what reason should we have to fear him? If he is infinitely wise, what doubts should we have concerning our future? If he knows all, why warn him of our needs and fatigue him with our prayers? If he is everywhere, why erect temples to him? If he is just, why fear that he will punish the creatures that he has filled with weaknesses?
Finally, I began to write about becoming an older woman and the trepidation it stirred. The small, telling "betrayals" of my body. The stalled, eerie stillness in my writing, accompanied by an ache for some unlived destiny. I wrote about the raw, unsettled feelings coursing through me, the need to divest and relocate, the urge to radically simplify and distill life into a new, unknown meaning.
We used to say poor people had lousy genes. Then we decided that wasn't OK, but we transferred the prejudice to upbringing. We said, 'You were neglected as a child, so you'll never make it.' That's just as pernicious.
Coming of age in a fascist police state will not be a barrel of fun for anybody, much less for people like me, who are not inclined to suffer Nazis gladly and feel only contempt for the cowardly flag-suckers who would gladly give up their outdated freedom to live for the mess of pottage they have been conned into believing will be freedom from fear.
Actors are exposed in a way that nobody else can understand. They are subject to the likes and dislikes of people their entire life, no matter how successful they are. At the same time, in order to be liked, you have to not be yourself. So it's a very complicated human exercise - an alchemy that I have never understood.
Every video I'm in, every magazine cover, they stretch you; they make you perfect. It's not real life.
Subscribe for the occasional hand-picked quote. No noise.