The End of the Black American Narrative

A new century calls for new stories grounded in the present, leaving behind the painful history of slavery and its consequences

Decades after the 1965 march from Selma to Montgomery, black America has become richly diverse. (Peter Pettus/Library of Congress)
Decades after the 1965 march from Selma to Montgomery, black America has become richly diverse. (Peter Pettus/Library of Congress)

On June 30, 2020, the English department at my alma mater, Virginia Tech, held a virtual event titled Black Matters: A Teach-In On Language, Literature, Rhetoric, Writing and Verbal Art, opening with a reading and remarks from renowned poet and University Distinguished Professor Nikki Giovanni. This essay was one of the writings featured that evening, a complete list of which can be found here. –Jayne Ross

It is ambition enough to be employed as an under-labourer
in clearing the ground a little, and removing some of
the rubbish that lies in the way of knowledge.

—John Locke, An Essay Concerning Human Understanding

Back to the things themselves!
—Edmund Husserl

As a writer, philosopher, artist, and black American, I’ve devoted more than 40 years of my life to trying to understand and express intellectually and artistically different aspects of the black American narrative. At times during my life, especially when I was young, it was a story that engaged me emotionally and consumed my imagination. I’ve produced novels, short stories, essays, critical articles, drawings, and PBS dramas based on what we call the black American story. To a certain degree, teaching the literature of black America has been my bread and butter as a college professor. It is a very old narrative, one we all know quite well, and it is a tool we use, consciously or unconsciously, to interpret or to make sense of everything that has happened to black people in this country since the arrival of the first 20 Africans at the Jamestown colony in 1619. A good story always has a meaning (and sometimes layers of meaning); it also has an epistemological mission: namely, to show us something. It is an effort to make the best sense we can of the human experience, and I believe that we base our lives, actions, and judgments as often on the stories we tell ourselves about ourselves (even when they are less than empirically sound or verifiable) as we do on the severe rigor of reason. This unique black American narrative, which emphasizes the experience of victimization, is quietly in the background of every conversation we have about black people, even when it is not fully articulated or expressed. It is our starting point, our agreed-upon premise, our most important presupposition for dialogues about black America. We teach it in our classes, and it is the foundation for both our scholarship and our popular entertainment as they relate to black Americans. Frequently it is the way we approach each other as individuals.

As a writer and a teacher of writing, I have to ask myself over and over again, just what is a story. How do we shape one? How many different forms can it take? What do stories tell us about our world? What details are necessary, and which ones are unimportant for telling it well? I constantly ask my creative writing students two questions: Does the story work, technically? And, if so, then, what does it say? I tell them that, like a work of philosophy (which is the sister discipline to storytelling among the interpretive arts), a narrative vision must have the qualities of coherence, consistency, and completeness. The plot of a modern story must be streamlined and efficient if it is to be easily understood. And, like Edgar Allan Poe in his 1842 essay “On the Aim and the Technique of the Short Story,” I argue that a dramatic narrative should leave the listener with “a certain unique or single effect” that has emotional power. For the last 32 years, I’ve stressed to my students that a story must have a conflict that is clearly presented, one that we care about, a dilemma or disequilibrium for the protagonist that we, as readers, emotionally identify with. The black American story, as we tell it to ourselves, beautifully embodies all these narrative virtues.

The story begins with violence in the 17th-century slave forts sprinkled along the west coast of Africa, where debtors, thieves, war prisoners, and those who would not convert to Islam were separated from their families, branded, and sold to Europeans who packed them into the pestilential ships that cargoed 20 million human beings (a conservative estimate) to the New World. Only 20 percent of those slaves survived the harrowing voyage at sea (and only 20 percent of the sailors, too), and if they were among the lucky few to set foot on American soil, new horrors and heartbreak awaited them.

As has been documented time and again, the life of a slave—our not-so-distant ancestors—was one of thinghood. Former languages, religions, and cultures were erased, replaced by the Peculiar Institution, in which the person of African descent was property, and systematically—legally, physically, and culturally—denied all sense of self-worth. A slave owns nothing, least of all himself. He desires and dreams at the risk of his life, which is best described as relative to (white) others, a reaction to their deeds, judgments, and definitions of the world. And these definitions, applied to blacks, were not kind. For 244 years (from 1619 to 1863), America was a slave state with a guilty conscience: two and a half centuries scarred by slave revolts, heroic black (and abolitionist) resistance to oppression, and, more than anything else, physical, spiritual, and psychological suffering so staggering it silences the mind when we study the classic slave narratives of Equiano or Frederick Douglass. Legal bondage, the peculiar antebellum world, ended during the Civil War, but the Emancipation Proclamation did not bring liberation.

Legal freedom instead gradually brought segregation, America’s version of apartheid. But “separate” clearly was not “equal.” Black Americans were not simply segregated; they were methodically disenfranchised, stripped of their rights as citizens. From the 1890s through the 1950s, the law of black life was experienced as second-class citizenship. In the century after the Emancipation Proclamation, members of each generation of black Americans saw their lives disrupted by race riots, lynchings, and the destruction of towns and communities, such as the Greenwood district of black homes, businesses, and churches in Tulsa, Oklahoma, on May 31, 1921. The challenge for black America and the conflict for its story, then, was how to force a nation that excluded black people from its promise of “Life, liberty and the pursuit of happiness” after the Revolutionary War, and failed to redress this grievance after Reconstruction, to honor these principles enshrined in its most sacred documents.

What I have described defines the general shape of the black American group narrative before the beginning of the Civil Rights Movement, the most important and transformative domestic event in American history after the War Between the States. The conflict of this story is first slavery, then segregation and legal disenfranchisement. The meaning of the story is group victimization, and every black person is the story’s protagonist. This specific story was not about ending racism, which would be a wonderful thing; but ending racism entirely is probably as impossible for human beings as ending crime, or as quixotic as President Bush’s “war on terror.” No, the black American story was not as vague as that. It had a clearly defined conflict. And our ancestors fought daily for generations, with courage and dignity, to change this narrative. That was the point of their lives, their sacrifices, each and every day they were on this earth. We cannot praise enough the miracle they achieved, the lifelong efforts of our leaders and the anonymous men and women who kept the faith, demonstrated, went to jail, registered black people to vote in the Deep South, changed unjust laws, and died in order that Americans of all backgrounds might be free. I have always seen their fight for us as noble.

Among those I pay special tribute to is W. E. B. Du Bois, one of the founders of the NAACP, who deeply understood the logic and structure of this narrative as it unfolded from Reconstruction through the 1950s. It was a sign of his prescience that he also could see beyond this ancient story while still in the midst of it and fighting mightily to change it.

In 1926, Du Bois delivered an address titled, “Criteria of Negro Art” at the Chicago Conference for the NAACP. His lecture, which was later published in The Crisis, the official publication of the NAACP, which Du Bois himself edited, took place during the most entrenched period of segregation, when the opportunities for black people were so painfully circumscribed. “What do we want?” he asked his audience. “What is the thing we are after?”

Listen to Du Bois 82 years ago:

What do we want? What is the thing we are after? As it was phrased last night it had a certain truth: We want to be Americans, full-fledged Americans, with all the rights of American citizens. But is that all? Do we want simply to be Americans? Once in a while through all of us there flashes some clairvoyance, some clear idea, of what America really is. We who are dark can see America in a way that white Americans cannot. And seeing our country thus, are we satisfied with its present goals and ideals?…

If you tonight suddenly should become full-fledged Americans; if your color faded, or the color line here in Chicago was miraculously forgotten; suppose, too, you became at the same time rich and powerful;—what is it that you would want? What would you immediately seek? Would you buy the most powerful of motor cars and outrace Cook County? Would you buy the most elaborate estate on the North Shore? Would you be a Rotarian or a Lion or a What-not of the very last degree? Would you wear the most striking clothes, give the richest dinners, and buy the longest press notices?

Even as you visualize such ideals you know in your heart that these are not the things you really want. You realize this sooner than the average white American because, pushed aside as we have been in America, there has come to us not only a certain distaste for the tawdry and flamboyant but a vision of what the world could be if it were really a beautiful world; if we had the true spirit; if we had the Seeing Eye, the Cunning Hand, the Feeling Heart; if we had, to be sure, not perfect happiness, but plenty of good hard work, the inevitable suffering that comes with life; sacrifice and waiting, all that—but, nevertheless, lived in a world where men know, where men create, where they realize themselves and where they enjoy life. It is that sort of world we want to create for ourselves and for all America.


This provocative passage is, in part, the foundation for my questioning the truth and usefulness of the traditional black American narrative of victimization. When compared with black lives at the dawn of the 21st century, and 40 years after the watershed events of the Civil Rights Movement, many of Du Bois’ remarks now sound ironic, for all the impossible things he spoke of in 1926 are realities today. We are “full-fledged Americans, with the rights of American citizens.” We do have “plenty of good hard work” and live in a society where “men create, where they realize themselves and where they enjoy life.” Even more ironic is the fact that some of our famous rappers and athletes who like “living large,” as they say, seem obsessed with what Du Bois derisively called “the tawdry and flamboyant” (they call it “bling”). Furthermore, some of us douse the freedom paid for with the blood of our ancestors to pursue conspicuous consumption in the form of “powerful motor cars,” “elaborate estates,” “striking clothes,” and “the richest dinners.”

To put this another way, we can say that 40 years after the epic battles for specific civil rights in Montgomery, Birmingham, and Selma, after two monumental and historic legislative triumphs—the Civil Rights Act of 1964 and the Voting Rights Act of 1965—and after three decades of affirmative action that led to the creation of a true black middle class (and not the false one E. Franklin Frazier described in his classic 1957 study, Black Bourgeoisie), a people oppressed for so long have finally become, as writer Reginald McKnight once put it, “as polymorphous as the dance of Shiva.” Black Americans have been CEOs at AOL Time Warner, American Express, and Merrill Lynch; we have served as secretary of state and White House national security adviser. Well over 10,000 black Americans have been elected to offices around the country, and at this moment Senator Barack Obama holds us in suspense with the possibility that he may be selected as the Democratic Party’s first biracial, black American candidate for president. We have been mayors, police chiefs, best-selling authors, MacArthur fellows, Nobel laureates, Ivy League professors, billionaires, scientists, stockbrokers, engineers, theoretical physicists, toy makers, inventors, astronauts, chess grandmasters, dot-com millionaires, actors, Hollywood film directors, and talk show hosts (the most prominent among them being Oprah Winfrey, who recently signed a deal to acquire her own network); we are Protestants, Catholics, Muslims, Jews, and Buddhists (as I am). And we are not culturally homogeneous. When I last looked, West Indians constituted 48 percent of the “black” population in Miami. In America’s major cities, 15 percent of the black American population is foreign born—Haitian, Jamaican, Senegalese, Nigerian, Cape Verdean, Ethiopian, Eritrean, and Somalian—a rich tapestry of brown-skinned people as culturally complex in their differences, backgrounds, and outlooks as those people lumped together under the all too convenient labels of “Asian” or “European.” Many of them are doing better—in school and business—than native-born black Americans. I think often of something said by Mary Andom, an Eritrean student at Western Washington University, and quoted in an article published in 2003 in The Seattle Times: “I don’t know about ‘chitlings’ or ‘grits.’ I don’t listen to soul music artists such as Marvin Gaye or Aretha Franklin….I grew up eating injera and listening to Tigrinya music….After school, I cook the traditional coffee, called boun, by hand for my mother. It is a tradition shared amongst mother and daughter.”

No matter which angle we use to view black people in America today, we find them to be a complex and multifaceted people who defy easy categorization. We challenge, culturally and politically, an old group narrative that fails at the beginning of this new century to capture even a fraction of our rich diversity and heterogeneity. My point is not that black Americans don’t have social and cultural problems in 2008. We have several nagging problems, among them poor schools and far too many black men in prison and too few in college. But these are problems based more on the inequities of class, and they appear in other groups as well. It simply is no longer the case that the essence of black American life is racial victimization and disenfranchisement, a curse and a condemnation, a destiny based on color in which the meaning of one’s life is thinghood, created even before one is born. This is not something we can assume. The specific conflict of this narrative reached its dramatic climax in 1963 in Birmingham, Alabama, and at the breathtaking March on Washington; its resolution arrived in 1965, the year before I graduated from high school, with the Voting Rights Act. Everything since then has been a coda for almost half a century. We call this long-extended and still ongoing anticlimax the post-civil-rights period. If the NAACP is struggling these days to recruit members of the younger generation and to redefine its mission in the 21st century—and it is struggling to do that—I think it is a good sign that the organization Du Bois led for so long is now a casualty of its own successes in the 1960s.

Yet, despite being an antique, the old black American narrative of pervasive victimization persists, denying the overwhelming evidence of change since the time of my parents and grandparents, refusing to die as doggedly as the Ptolemaic vision before Copernicus or the notion of phlogiston in the 19th century, or the deductive reasoning of the medieval schoolmen. It has become ahistorical. For a time it served us well and powerfully, yes, reminding each generation of black Americans of the historic obligations and duties and dangers they inherited and faced, but the problem with any story or idea or interpretation is that it can soon fail to fit the facts and becomes an ideology, even kitsch.

This point is expressed eloquently by Susan Griffin in her 1982 essay “The Way of all Ideology,” where she says, “When a theory is transformed into an ideology, it begins to destroy the self and self-knowledge….No one can tell it anything new. It is annoyed by any detail which does not fit its worldview….Begun as a way to restore one’s sense of reality, now it attempts to discipline real people, to remake natural beings after its own image.”

In his superb book In My Father’s House, philosopher Kwame Anthony Appiah writes, “There is nothing in the world that can do all we ask race to do for us.” We can easily amend or revise this insight and apply it to the pre-21st-century black American narrative, which can do very little of the things we need for it to do today.

But this is an enduring human problem, isn’t it? As phenomenologist Edmund Husserl revealed a hundred years ago, we almost always perceive and understand the new in terms of the old—or, more precisely, we experience events through our ideas, and frequently those are ideas that bring us comfort, ideas received from our parents, teachers, the schools we attend, and the enveloping culture, rather than original ones of our own. While a story or model may disclose a particular meaning for an experience, it also forces into the background or conceals other possible meanings. Think of this in light of novelist Ralph Ellison’s brilliant notion of “invisibility,” where—in his classic Invisible Man—the characters encountered by his nameless protagonist all impose their ideologies (explanations and ideas) on the chaos of experience, on the mysterious, untamed life that forever churns beneath widely accepted interpretations and explanations of “history” and “culture,” which in our social world, for Ellison, are the seen. I know, personally, there is value in this Ellisonian idea because in the historical fictions I’ve been privileged to publish, like “Martha’s Dilemma” in my second collection, Soulcatcher and Other Stories, I discovered that the most intriguing, ambiguous, and revealing material for stories can often be found in the margins of the codified and often repeated narrative about slavery. In this case, I dramatized a delicious anecdote about what happened to Martha and her slaves right after the death of George.

What I am saying is that “official” stories and explanations and endlessly repeated interpretations of black American life over decades can short-circuit direct perception of the specific phenomenon before us. The idea of something—an intellectual construct—is often more appealing and perfect (in a Platonic sense) than the thing itself, which always remains mysterious and ambiguous and messy, by which I mean that its sense is open-ended, never fixed. It is always wise, I believe, to see all our propositions (and stories) as provisional, partial, incomplete, and subject to revision on the basis of new evidence, which we can be sure is just around the corner.

Nevertheless, we have heavily and often uncritically invested for most of our lives in the pre-21st-century black American narrative. In fact, some of us depend upon it for our livelihood, so it is not easy to let go, or to revise this story. Last October, Nation of Islam minister Louis Farrakhan spoke for two and a half hours at the Atlanta Civic Center. He and his mentor, black separatist Elijah Muhammad, provided black Americans with what is probably the most extreme, Manichean, and mythological version of the black American narrative, one that was anti-integrationist. In this incomplete and misleading rendition of the black American story, the races are locked in eternal struggle. As a story, this narrative fails because it is conceived as melodrama, a form of storytelling in which the characters are flat, lack complexity, are either all good or all bad, and the plot involves malicious villains and violent actions. Back in the 1930s when Elijah Muhammad shaped his myth of Yacub, which explained the origins of the white race as “devils,” he sacrificed the credibility of both character and plot for the most simplistic kind of dramatic narrative. Farrakhan covered many subjects that day last October, but what I found most interesting is that he said successful black people like Oprah Winfrey, Senator Obama, Colin Powell, and Condoleeza Rice give black Americans a false impression of progress. In other words, their highly visible successes do not change the old narrative of group victimization. Minister Farrakhan seems unwilling to accept their success as evidence that the lives of black Americans have improved. He seems unwilling to accept the inevitability of change. He was quoted in the press as saying, “A life of ease sometimes makes you forget the struggle.” And despite the battles for affirmative action that created a new middle class, he added, “It’s becoming a plantation again, but you can’t fight that because you want to keep your little job.”


I beg to differ with Farrakhan, with his misuse of language, his loose, imprecise diction, because we obviously do not live on plantations. And wasn’t job opportunity one of the explicit goals of the black American narrative? Farrakhan’s entire life has been an investment in a story that changed as he was chasing it. So we can understand his fierce, personal, and even tragic attachment to dusty, antebellum concepts when looking at the uncharted phenomena in the early 21st century that outstrip his concepts and language.

However, it is precisely because Farrakhan cannot progress beyond an oversimplified caricature of a story line for racial phenomena that the suddenly notorious Rev. Jeremiah Wright praises him, saying “His depth of analysis…when it comes to the racial ills of this nation is astounding and eye-opening,” and, “He brings a perspective that is helpful and honest.” Recently Wright called the Nation of Islam leader, “one of the most important voices in the 20th and 21st centur[ies].” I do not doubt that Wright and Farrakhan are men who have experienced the evil of racism and want to see the conditions of our people improve, or that both have records of community service. But it is the emotional attachment to a dated narrative, one leavened with the 1960s-era liberation theology of James Cone, that predictably leads Wright to proclaim that the U.S. government created the AIDS virus to destroy blacks (he invokes the old and proven, the ghastly Tuskegee syphilis experiment, in an effort to understand a new affliction devastating black people, and thus commits the logical fallacy known as misuse of analogy); that Jesus was “a black man”; and that the brains of blacks and whites operate differently. The former pastor of Trinity United Church of Christ in Chicago has made these paranoid and irresponsible statements publicly again and again without offering the slightest shred of evidence for these claims. “A bunch of rants that aren’t grounded in truth” was how Barack Obama described his former minister’s incendiary oratory, which is clearly antithetical not only to the postracial spirit of the Illinois senator’s own speeches but also to his very racially and geographically mixed background. For in the realm of ideological thinking, especially from the pulpit, feeling and faith trump fact, and passion (as well as beliefs based on scripture) replaces fidelity to the empirical and painstaking logical demonstration.

Furthermore, such obsolete stories can also lead to serious mistakes in scholarship. I’m thinking now of Henry Louis Gates Jr., who in 1988 directed the publication of Oxford University Press’s 40-volume Schomburg Library of Nineteenth-Century Black Women Writers. In his foreword, Gates praised the lost works of these black women writers as being the literary ancestors of Zora Neale Hurston, Toni Morrison, and Alice Walker. Furthermore, he said it was the discovery of a particular lost black novel, called Four Girls at Cottage City, published in 1895 by Emma Dunham Kelley-Hawkins, that inspired him to direct this Schomburg series in the first place so, he said, “I can read them myself.”

Okay, so far so good.

But in 2005, Holly Jackson, then a doctoral student of English at Brandeis University, was given the academically pedestrian, grunt-work assignment of writing an entry about Kelley-Hawkins for the African American National Biography. At the time very little was known about Kelley-Hawkins. After checking birth records in the Massachusetts Vital Records, and other documents, Jackson realized that Kelley-Hawkins was not black—as five decades of scholars had assumed—but white. Yet all the evidence to suggest her whiteness was clearly present in the books she wrote. Something that had always puzzled scholars, Jackson said, was “the apparent whiteness of her characters, who are repeatedly described with blue eyes and skin as white as ‘pure’ or ‘driven’ snow.” Even more fantastic are the theories that literary scholars came up with to explain why Kelley-Hawkins, supposedly a black woman, made no references to race or blackness in her two novels written in the 1890s. Jackson says, “Scholars have explained this away by arguing that the abundance of white signifiers is actually politically radical, with some even going so far as to argue that this extremely white world depicts a kind of post-racial utopia,” a modern world where, according to critic Carla L. Peterson, “racial difference no longer existed.”

Obviously, all these explanations are hogwash. Fifty years of scholarship based on these mistakes—articles, dissertations, courses in African American women’s writing that include the work of Kelley-Hawkins—turns out to be an illusion created by the blinding intentionality of those who wrote about this white author based on a tangled knot of beliefs and prejudices, their concept of her completely distorting the facts.

Once Gates learned of this research by Jackson and also investigations by Katherine Flynn, a genealogist, he immediately went into the mode of damage control. He told a reporter that the work of Kelley-Hawkins would at least be removed from future editions of the Schomburg series, and he downplayed the significance of these discoveries by Jackson and Flynn. But Jackson, being a true scholar, would not allow this intellectual scandal to be swept under the rug. Of this “enormous historical misconception,” she said, “there is so much at stake here, because of all the writing that has been done based on a false assumption about race.” She asks us to wonder, “How have her [Kelley-Hawkins’s] overwhelmingly ‘white’ texts successfully passed as black for so long in the absence of any corroborating historical data? How does this discovery change our understanding of African American literary history?” Finally, she said, “We have stretched our understanding of how black women have written in America to incorporate texts that do not fit.”

I’ve gone into great detail about the Kelley-Hawkins story because it is a cautionary tale for scholars and an example of how our theories, our explanatory models, and the stories we tell ourselves can blind us to the obvious, leading us to see in matters of race only what we want to see based on our desires and political agendas. When we confront phenomena of any kind, we are wise if we assume the position phenomenologist Herbert Spiegelberg called epistemological humility, which is a healthy skepticism about what we think we already know. When constructing our narratives, it would also help if we remember a famous and often-quoted statement by C. S. Lewis on the characteristics of the human mind: “Five senses; an incurably abstract intellect; a haphazardly selective memory; a set of preconceptions and assumptions so numerous that I can never examine more than a minority of them—never become conscious of them all. How much of total reality can such an apparatus let through?”

How much, indeed.

But if the old black American narrative has outlived its usefulness as a tool of interpretation, then what should we do? The answer, I think, is obvious. In the 21st century, we need new and better stories, new concepts, and new vocabularies and grammar based not on the past but on the dangerous, exciting, and unexplored present, with the understanding that each is, at best, a provisional reading of reality, a single phenomenological profile that one day is likely to be revised, if not completely overturned. These will be narratives that do not claim to be absolute truth, but instead more humbly present themselves as a very tentative thesis that must be tested every day in the depths of our own experience and by all the reliable evidence we have available, as limited as that might be. For as Bertrand Russell told us, what we know is always “vanishingly small.” These will be narratives of individuals, not groups. And is this not exactly what Martin Luther King Jr. dreamed of when he hoped a day would come when men and women were judged not by the color of their skin, but instead by their individual deeds and actions, and the content of their character?

I believe this was what King dreamed and, whether we like it or not, that moment is now.

We spoke to Charles Johnson in 2016—eight years after this essay was published—about how his perspective may have changed with the advent of the Black Lives Matter movement, the rise of nationalist and white supremacist rhetoric, and two terms of the Obama presidency. Listen to the interview here.

Permission required for reprinting, reproducing, or other uses.

Charles Johnson is the S. Wilson and Grace M. Pollock Professor for Excellence in English at the University of Washington (Seattle). A MacArthur fellow, he is author of the National Book Award-winning novel Middle Passage and many other works.


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