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• W44200316 abstract "A streetcar conductor in a 1945 cartoon in the Chicago Defender points to a sign declaring FROM HERE BACK FOR nEGROES. Beneath the sign, a Caucasian featured woman protests: ... But I'm not! I got this tan out at the beach (see Fig. 1). Playing with case and color, the cartoon shifts attention from the laws of race to their malleable surfaces. By pairing and mocking the arbitrariness of racial signifiers, graphic and somatic, the cartoon suggests that they both can be resignified, that there is some room for play. I begin with this unorthodox perspective to propose that critical interest in representations of segregation should be complemented by attention to segregation as a representation that was consequently subject, as person-to-person interactions were not, to various strategies of back talk. (1) This proposal goes against the grain in several ways. By attending to the letter of segregation's texts, I hope to challenge the assumption that segregation signs were merely transparent tools of a disciplinary technology that impressed racial distinctions on silent bodies. The cartoon offers a twist on a classic trope of African American letters, in which the inaugural encounter with a segregation sign is a defining moment of social inscription, a painful rite of passage that spells the fall into race. To learn to read the colored sign, in a scene whose variations are so frequent they have become, in James Forman's words, a cliche of the black experience, is to learn that one has already been read by a law that writes its terms on a body forever after branded and tagged and set apart from the rest of mankind upon the public highways, like an unclean thing. (Forman 20; Chesnutt 57). By shifting focus from the invisible and inaccessible source of the signs' authority to their visible and vulnerable bodies, composed like human bodies of multiple and mutable signifiers that do not cohere in a single definition, I hope (in the spirit of the cartoon) to rethink this foundational scenario in terms that allow greater space for agency. Whereas narrative accounts of encounters with segregation signs have inclined with good reason toward allegory, post-civil rights reconstructions of those moments, also with compelling albeit different reasons, have produced another formulaic structure that constitutes a more persistent foil. The cutting force of signs restricting African Americans has been replaced, for example, at the entryway to the Field to Factory exhibit at the National Museum of American History by a pair of separate-but-equal doors that attempts to bring the experience of racialization home for contemporary Americans of all races. There is an almost audible gasp as visitors confront the implications of having to choose between the White and Colored gateways to the exhibit. The exhibition context may justify reproducing the fiction of racial symmetry, since who would be willing to stoop either literally (on the Colored side) or figuratively (on the White side) to walk through unequal doors? With less dramatic effect and more conventional purpose, however, other institutions of cultural memory have similarly relied on the symmetrical White and Colored binary as efficient shorthand for segregation. Juxtaposed in textbooks and political rhetoric as the sanitized and standardized terms of a safely settled history, the formula obscures not only the variation within segregation's textual history, but also the ways that history extends into the present. The pervasive and tenacious web of segregation signage that stretched across much of the United States for three-quarters of a century constitutes one of American racism's most explicit and under-read texts. Rather than a self-enclosed historical phenomenon securely locked in a formulaic past, these signs serve as vehicles of new articulations in changing ideological contexts and contests. By tracking the social life of segregation signs as signs--that is, as dense and cryptic nodes of meaning negotiated between producers and consumers-I seek to uncover some of segregation's changing textual body at key junctures across the twentieth century: the proliferation of signs in the century's early decades, their dismantling in the 1960s and '70s, and their reproduction at the close of the century, when these tools of domination acquire both regressive and progressive functions vis-a-vis the racial politics of postmodernity. …" @default.
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• W44200316 date "2008-03-22" @default.
• W44200316 modified "2023-09-24" @default.
• W44200316 title "American Graffiti: The Social Life of Segregation Signs" @default.
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