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The motif of blindness reoccurs throughout the whole novel and the most recent example would be when the men are talking to Ras the Exhorter. While they are in the middle of a street fight between the Brotherhood and Ras the Exhorter's boys, Ras decides that he can not kill Clifton because of his blackness. He then goes on a whole vituperation about how they are blind. Ras says that both the narrator and Clifton need to "open their eyes" and see that the 'white folk' are just using them to get what they want. He continues to refer to the white men as "the white enslaver" and that "They white, they don't have to be allies with no black people. They get what they wahnt they turn against you."  Also, during the whole fight the men are in the dark when the lights were knocked out. They do not get back into the light until after Clifton punched Ras. This symbolizes how the man are 'in the dark' about the whole situation. I think that they do not know the true intentions of the Brotherhood and that the organization is using them so that they can spread their influence and message. Earlier in the chapter, the Narrator says "I see" to Brother Jack's comment about how he will have freedom and strict discipline. Brother Jack then replies to the Narrator by saying "No, you don't quit see". This shows that the Narrator is blind to the Brotherhoods true plan and their ideas. He may think that he has it all figured out, but he does not. Ras believes that if they were back in Africa, then they would be kings and not treated like rapists.  He also says that he is their brother, not the brotherhood, because of their skin color. This shows the difference between the men and their beliefs. I agree with Paula that the bull picture in the bar correlates with the fight in the street and Ras' 'bull-like' anger. Brother Jack calls this "sheer barbarism" and later he says that the Brotherhood is "against all forms of violence."
https://www.huffingtonpost.com/nadege-seppou/if-african-americans-retu_b_9352574.html

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During the "Back to Africa" movement in the 1920s Marcus Garvey argued that African Americans could only attain social equality by moving back to Africa, and saw the continent as the only place in which self-emancipation could be attained. The idea of sending an oppressed group of people to find equality in a place where the individuals to whom the land belong face systematic oppression (by way of colonialism) doesn't make much sense, and could only exist in the realm of idealism and romanticism.

Some African Americans have constructed for themselves a utopia image of Africa. The afrocentric rhetoric with which some discuss the continent often conceptualizes a glorified heritage. Such rhetoric romanticizes Africa, likening the continent to a sort of unblemished and innocent woman, "Mama Africa" as some often say.

As a result, many envision an "African" experience that, I believe, greatly differs from the reality they should expect. And so I ask, If African Americans were to move back to Africa today (and actually settle, not a six week study abroad adventure or a one week safari trip) how would these romanticized expectations compare to the reality that exists in most African countries? Would some be disappointed that the continent of "queens and kings" isn't as regal as imagined?

When some African Americans envision going to Africa, they expect to have an exuberant and overwhelming feeling of belonging. The desire to reconnect with one's ancestral past is only natural and cannot be disputed. However, expecting a heaven-like welcoming and effortless instatement into the country is quite a stretch. This idealism will be shaken once the individual comes to the solemn realization that belonging isn't as instantaneous or as natural.

Furthermore, racial homogeneity is the norm throughout the continent, which leads many to expect a gargantuan level of umbuntu and kumbaya-ness amongst the brethren. In reality racial homogeneity holds little significance amidst ethnic diversity. Ethnic diversity is wonderful, however, the level at which it exists in most African countries makes the search for belonging much more difficult to resolve. I often wonder how African Americans would react to the fact that ethnic diversity is too often the root of many political conflicts, and that tribalism, more often than not, acts as a threat to progress in many African societies? So how does one begin to truly feel they belong in places where unity has sadly been snatched away by the conflict breeding hands of colonialism?

Many African Americans view Africa through a very traditionalist perspective, a place filled with men and women wearing dashikis and batik printed head wraps dancing in circles to the beat of drums. They expect to be immersed in the same cultural experiences their ancestors participated in. But what happens when the level of traditionalism and cultural expression found differs from what was envisioned? How does one begin to feel connected when Western culture dominates several aspects of life throughout the continent? Would African Americans be shocked to find Africans having a greater appetite for Western culture than their own? How would they react to those adopting foreign phonetics never having crossed national borders; when the colonial master's tongue continues to be esteemed higher than their own?

Someone once told me, "It would be dope to live in a place where black people made all the political decisions, like it is in Africa". This is an expectation those who romanticize Africa hold. Unfortunately, a black ruling class isn't as idealistic as it may sound. I wonder how African Americans would react to black leaders who sign contracts selling the livelihood of their brethren to outsiders? What might they think of black governors and ministers who would much rather pocket millions than provide clean water and electricity to the masses?

Africans in the diaspora who return after several years hold similar expectations as African Americans. They too look forward to that feeling of belonging and connection. However, the reality that they will never be able to interact and relate to their land of origin in the same way quickly confronts them. These expats reluctantly realize that a resume button does not exist. In fact, they now possess a level of elitism that prevents them from ever reaching that state of "belonging" they once felt but now crave. African Americans will also be confronted with such complexities.

So I ask again, if African Americans returned to Africa and were exposed to these realities, would Africa still appear to be unblemished and ideal or would Africa be better experienced from afar?

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During the "Back to Africa" movement in the 1920s Marcus Garvey argued that African Americans could only attain social equality by moving back to Africa, and saw the continent as the only place in which self-emancipation could be attained.

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Throughout the novel, the narrator has used blindness to represent the black community. I agree with Courtney as she discussed chapter 17 showing this motif through Ras the Exhorter's when he says the blacks need to "open their eyes." I also liked her connection with the 'in the dark" scene and how she connected that to blacks being "blind" tot eh oppression of their community. In chapter 16 this idea is also touched on when the narrator takes the stage to say his speech. As he took the stage he said "I could see the rows of blurred faces- then suddenly I was blinded and felt myself crash into the man ahead of me."  This shows how a blind leader is leading a blind crowd. He also says in that statement that he saw "rows of blurred faces..." This represents the disconnection between the black community like when the narrator is disappointed at Trueblood, because he was proving that the whites perception of blacks were correct. These blurred faces show how the narrator doesn't know these people that he is trying to encourage to come together and unite. That's why he uses words like "they" and "we" to bring more unity to the black community.  The blindness mentioned in this chapter was more ironic than a direct allusion. This irony was used to scale how blind the blacks truly are to oppression, because of how even the leaders of the black community who are trying to lift them up from suppression do not fully understand the extent of the oppression. While the narrator was being blinded as he walked onto the stage the crowd was chanting a song and i found a website discussing the origins of the song.
http://www.loc.gov/teachers/lyrical/songs/john_brown.html

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A prominent symbol in the last few chapters of IM is the coin bank that the narrator finds in Mary's house. He breaks the bank and the coins contained inside scatter across the floor and he scrambles to gather them all up. This connects back to the battle royal scene in the first chapter when the black men are attempting to grab the coins from the electrified rug. This scene from the first chapter portrayed the dominance white men held over the black men and the coin bank represents this as well. The discriminatory nature blacks still face is evident through the IM’s interaction with a “short yellow woman” when he is attempting to throw the coin bank away. She becomes extremely aggravated and disparaging towards the narrator. "Never mind your impertinence', she said. 'I'm sick and tired of having you southern Negroes mess up things for the rest of us!" This shows the negative attitude society still has towards blacks. The IM tries once again to be rid of the broken coin bank by dropping it into the snow but it comes back to haunt him a mere two blocks later. This represents how the oppression blacks face follows the narrator wherever he goes. The narrator attempts to destroy the bank once he realizes it is of racist nature. The IM's depiction proves this by using phrases such as "very black" and "red-lipped and wide-mouthed" to show the exaggerated features of the bank. The IM is part of the Brotherhood and believes that he can help to fight for equality by taking part in this organization by making his speeches at rallies and other various events such as the scene on the street in chapter seventeen. However, he is still not rid of the broken coin bank and he keeps facing obstacles, such as Ras the Exhorter. I agree with what Laney said about the shift in the narrator's dream. He is starting to realize what he wants instead of following instructions given by a white man.

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There's a conservative counter-outrage to the Trayvon Martin outrage whipping around the blogosphere that suggests that racism no longer exists in America. But after visiting a flea market in North Carolina last week, I disagree.

This article is from the archive of our partner .

There's a conservative counter-outrage to the Trayvon Martin outrage whipping around the blogosphere that suggests that racism no longer exists in America. But after visiting a flea market in North Carolina last week, I disagree.

The most popular argument for the End of Racism is crime stats that show very few white people are racist enough to kill black people (here they are in National Review, for example). Another popular argument is that liberals conjure up fake racism in order to advance their agenda (see Roger L. Simon at Pajamas Media, for instance). I would like to counter those arguments with some different evidence: photos. Photos of manufactured racism, sure, but not how Simon means it. The first time I visited The Depot, in Concord, North Carolina, was at Christmas, and I was surprised by the rather large variety of racist knickknacks, most of it fairly recent reproductions of old-timey racist crap. The Depot is a sort of middle-brow flea market -- it's not Antiques Roadshow or the super-expensive Brooklyn Flea, but it's not packed full of Beanie Babies and beef jerky either. (If you want to picture the average shopper, think white middle-class mom in capri pants.) Last week, I happened to be in North Carolina again and decided to go take pictures of all the racist crap. (Who knows? Maybe there would be a blog post in it?) During the car ride there, I got nervous: What if they'd sold out of all the racism? Upon arrival, I had a new fear: How could I possibly photograph it all?

I researched one of the items from the flea market -- a jug that's made to look like a scary cartoon of a black person's face. "Face jugs" are a Carolina tradition, and they're usually not racist. But sometimes they are: "I have seen face jugs that play on racial stereotypes (which of course are in extremely poor taste but there seems to be a market for them, think lawn jockeys and cigar store indians)," an unrelated pottery retailer explains. The same goes for the rest of this stuff. Some people, somewhere, are apparently willing to part with money so they can own horrendous depictions of black people. It doesn't mean they're murderers, obviously. But it does mean they're comfortable with racism expressed not just in fleeting, un-P.C. jokes, but in coffee table trinkets for family and friends to see. It's a clear sign that racism didn't end for them.

The Mammie bank above was $45. Put a coin in her hand, pull the trigger, and she throws it in her mouth. Below, the little Mammie was $9.50, the big one was $22, and the kid eating a watermelon was $9.95. The Mammie in red was apparently very popular, because she appeared in at least four booths in the flea market.

This figurine was $45.

These cloth dolls were $19.50 each.

These dolls were $22.50 each. They're made to look antique, but they're new.

This $35 cloth doll is also made to look old, but the googly eyes give it away.

This "face jug," discussed above, was $75.

This "black clown syrup canister" is $79.99.

Then we hit the jackpot: a whole case of racist stuff, including memorabilia from segregation.

The "colored waiting room" sign was from Jackson, Mississippi, the tag said, and $22.

Those signs read "Public Swimming Pool -- Whites Only -- Selma, Ala," and "American Beach Fla. -- Negro Ocean Playground."

The Mammie washing the kid in a bathtub is particularly offensive.

"Mammie Folk Art -- $15."

More Mammies.

Another entire cabinet of racist things. The racist jug in the back says " Kickapoo Joy Juice," which is a reference to the cartoon Li'l Abner, which ran from 1934 to 1977. The drink was widely considered to be moonshine.

The tag reads: "Black boy looking in outhouse. $30"

The Mammie here is a salt shaker, $18.

This $45 "black cactus planter" is crafted so the plant grows out of the figure's crotch -- a charming addition to any wholesome home.

Then there are the related racist things that are not just shocking depictions of humans. Like this George Wallace memorabilia. Wallace was the infamous Alabama segregationist. I suppose it's possible to like Wallace for some other accomplishment -- education policy, perhaps? Oh wait, that was racist, too.

This signed portrait of Wallace was $25.

This article is from the archive of our partner The Wire.

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These Racist Knickknacks Show There's Still a Market for Racism

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There's a conservative counter-outrage to the Trayvon Martin outrage whipping around the blogosphere that suggests that racism no longer exists in America. But after visiting a flea market in North Carolina last week, I disagree. This article is from the archive of our partner .