The editorial value of code switching?

When I first picked up Americanah over a year ago, I put it back down after page 10. It was yet another African turning on Black Americans by pretending to both know and despise Black America. When my book club picked it last month, I was more curious this time around. As a Black American in Africa, maybe I wanted to find hints for how to navigate the reverse world. Alas, I found no hints. And I really didn’t find many bursts of wisdom, just a strong  sense that Ngozi was telling us all that where we are from is truly where we belong – no matter how many lives we wreck in the going and coming. I disagree with that sense (which may be more strongly felt because I absolutely disagree with extramarital affairs). But, when I picked up Autobiography of an ex-Colored Man, I realized that becoming what you aren’t to become who you think you deserve to be is a timeless human challenge.

The 1912 book by James Weldon Johnson focuses on a mulatto who spends his whole life wondering which color is more advantageous to him – Black or White. When it is in his best interest, he code switches. He plays that part and lives that side of life’s dream, until it no longer becomes the winning card. He trades all that Blackness has to offer, by using remnants of Black music to make a living entertaining Whites all over the world. He eventually marries a White woman who, after some shock and horror, accepts that he is of Black heritage. While I was pretty disgusted with the book’s content, it took me back to an America that’s only 100 years gone from today. It was an America where the popularity of the Cotton Club co-existed with the highest rates of lynching of Black men in history.

It brought me back to the counterintuitive-ness of today, where similar extremes seem to be so ever-present. Where our Black president ground-breakingly declares immigration reform and gives us December 26th off AND a laundry list of young Black males are gunned down with impunity by police. There is no ‘but’ here… this is not abnormal and this is not an aberration. These things co-exist and make code-switching both necessary and useless. Our times have always been odd. And that oddity has always made me seek the shores of elsewhere, where the odd isn’t for lack of giving a damn about another person’s life. But, it’s deeper. It’s older.

Difference and hatred can be a colonial and aristocratic being. That being is a being I understand. I can see how centuries of human chattel and land grab combine to create indivisible barriers between people. And I can also see how those who experience it in vastly different places can be brought together by the similarity of that experience. So, when I grabbed Half A Life, by V.S. Naipul, it was finally a text I could understand. The code switching Indian who traveled the world reinventing himself to escape his farce of a family, finds himself in a new country. This unnamed place must be the country in which I reside today. He speaks of living someone else’s life – the life of his wife who was born in what is clearly Mozambique. Their initial attraction was born out of recognizing the code-switching in one another and finding relief in no longer having to pretend. Better yet, they don’t even feel the burden of admitting which parts of themselves are lies – old and new. This brings them together and it is what tears them apart decades later. One day he wakes up and feels that he hasn’t really been living a life of his choosing. But, if not his, then whose?

These three texts brought me full circle to wondering what wandering is all about. Has my life been a long tale of serial code switching – becoming someone who everyone believes you already are? And if so, why? For me, it’s about finding a place where I’m comfortable being uncomfortable. There are situations of discomfort that we can tolerate and others that we can’t. I’ve never been able to tolerate code switching close to home. It’s why I don’t take photographs of New York City and very rarely, if ever, in my hometown. It’s why I don’t stop cursing when I go work. It’s why I wore a kurta in India for all of 5 times in 2 years.  Take me far, far away from what matters to me and I’ll be whomever I must, but get within 10 feet of something that matters to me and I must be myself. It is an automatic and involuntary reality.

Code switching is a survival tool, not a way of life. It isn’t sustainable over the long-term. In fact, over the long-term, it is parasitic. It eats away at the soul, casting doubt and promoting amnesia. What being in Mozambique has brought me is an undying sense of self. So far from what I know, I find the familiar in me – even when I am not looking for it. The routines come back. The fish and grits on weekends. And the soul music on Saturdays. They say you can run, but you can’t hide. I disagree. I think that’s only true if who you’re running from is you.

From others, you can live a series of lifetimes playing the part that curries the most favor.

Whether it be a Nigerian woman in 2013, an African-American man in 1912, or an Indo-Trinidadian in 2001, great writers seem to cling to that conundrum. They do more than explore it, they dissect it – as if trying write an obituary for someone who they met a lifetime ago and only now realize that they’ve never really known.

 

Cult Movie Classics

I am not what you might call a “movie person.” The thought of a theatre experience reminds me of paying goo gobs of cash to sit in a cushy seat probably infested with bodily fluids from strangers. Needless to say, I’m not often moved by the images on the big screen, unless there are a lot of things blowing up. Yet Netflix has been my homeboy for some years now, shipping cult classics and obscure foreign titles to wherever in the world I may be. In honor of the 28 year anniversary of one of my absolute faves, “She’s Gotta Have It,” here’s my top ten list of must-see movies that you probably haven’t seen (or at least not in a long time):

1.

Gomorrah is a 2008 film from Italy, based on a Robert Saviano book. This is not your typical mafia movie. In every form and fashion, it’s better.  It weaves five individual stories of people trying to make their own connections with the Casalesi clan, a crime syndicate within the Camorra.

2.  Borders Frontieres is a 2002 film from France/ Algeria that focuses on African clandestine immigration to southern Europe. Comedic and tragic, the film charts the journey of seven people traveling from Senegal through Algeria and onward to Spain.

3. Woody Allen’s 1977 classic Annie Hall is the pre and post-mortem tale of a relationship between two seemingly incompatible people, who once fell in love. It’s romantic and whimsical, and also shows scenes of back when NYC was gritty.

images-44. First of all, “Dilwale Dulhania le Jeyenge” stars my absolute fave Bollywood actress, Kajol and, second, it involves a young woman traveling on her own. What’s not to love (maybe SRK’s hair cut)?

This is the story of two kids who, against their own wishes, fall in love while taking the Eurorail. Both are non-resident Indians, raised in Britain, and both are struggling to meet their parents’ expectations for adulthood. But, when they first meet, neither knows this about the other… and hence, the comedic elements of this 1995 romantic comedy.

5.

In the 2003 drama, 21 Grams, an accident brings together three people who couldn’t be more unrelated or disconnected. The words love, faith, guilt and revenge all crop up, a lot. The movie stars Benicio del Torro, Naomi Watts and Sean Penn, and is directed by the Mexico City native Alejandro González Iñárritu.

6. Mexico’s 2008 Sleep Dealer has to be one of the most engaging sci-fi movies I’ve ever seen. (Sci-fi is not my genre of choice.) The plot is not as blatantly transparent in its allusion to specific political events as South Africa’s District 9, but it definitely made me think – how far away are we from this being a reality? The long and short of it is that technology has developed such that people’s bodies can be in one place and through the use of a physical attachment, they can use robotics to operate machinery and perform tasks that are actually located in another place. The dynamics of immigration being the same, this dynamic interestingly means that there is migrant work with no workers, but at what cost?

7.

Leon is probably one of the most gangster movies I’ve ever watched and enjoyed. A hitman teams up with a little girl, and they start whooping ass! Natalie Portman + Jean Reno / circa 1994 = You’ll have to just watch it.

8. Alfred Hitchcock’s The Man Who Knew Too Much, made me appreciate that Hitchcock isn’t only about scare and gore. In this mid-century tale, an American family travel to Morocco, only to get caught up in a murder mystery, an assassination attempt, and a kidnapping. There’s drama and travel, mixed in with politics and music. Apparently there are two versions of the film, from 1934 and 1956, and I don’t remember which version I saw.  So, have your pick!

9. Dirty Pretty Things is based in modern-day UK, and tells the story of a clandestine African immigrant who is a trained doctor by profession and a Turkish woman whose visa to the UK allows her to stay, but not work. Both are tied by mutual interest and genuine affection, and they are only brought closer together when Senay considers harvesting an organ on the black market in order to get a fake passport to travel to the U.S.A.

10.

The Gods Must be Crazy is to South Africa what Coming to America is to the United States. Released in 1980, it is said to be the most commercially successful film from South Africa (but maybe that’s changed since the release of District 9). The movie is set in the desert of Botswana, where Xi, a Sho of the Kalahari Desert (played by Namibian San farmer Nǃxau) lives with his tribesmen. None of them are conscious of the world outside of or different from the desert they know, until Xi stumbles upon a Coca Cola bottle.

Out of curiosity, how many of you have actually seen any of these?