That’s the American way
i>ui lung ago m a galaxy not lar trom our
own, my path happened to cross with the
head representative of the National Real man
Association (NRA). He was about 40 years
old, and introduced himself as Ivan M.
Whyte. During our discussion, he began to
attempt to “re-educate" me about gender
issues.
“ Brother,” he said with a broad smile, “we
must begin to unify our effort — with the
way things are going today, we’re losing
ground and they’re gaining.”
“But," I asked, “isn’t that what America is
about Ivan? Aren't women supposed to be
able to pursue the same goals of life, liberty
and the pursuit of happiness?"
“Of course, of course, but you’ll find that
our forefathers who wrote that didn’t mean
at our expense. Women today won’t be
satisfied until we’re under their thumbs."
“Oh? How is that so? Isn’t the women’s
movement about the freedom to choose for
yourself?"
“Hey," I.M. said, pushing his chair away
from the table, "Don’t change this into some
abortion rally.”
“I’m not, but that’s one good example of
women’s choices being made and legislated
by men, isn’t it?"
"Heck, no. Abortion is ungodly. What
kind of choice is that?"
“Are you in favor of abortion and the
death penalty, son?"
“7 hat’s not fair. You can’t put those issues
together."
“So you say?" I.M. said with a wary eye.
/“Anyway, the point is, unless we come
together as men, we’ll lose everything.”
“How?"
“They want our jobs. Not just the busi ness
ones, but the political ones too! We let them
into the work force, isn’t that bad enough?"
out women today don’t receive equal
pay for comparable work and make up a
small percentage of high-level corporate
and political positions," I said.
I.M. shook is head.
“Not for long with wimps like Clinton in
power. It was a sad day when he turned in
his membership. After all we did for his
relationship."
“Well, I don’t know about that, but I
thought some of his Cabinet selections were
good. Who better to decide what women
want and need than women?"
“Are you saying men can’t do the job?”
I.M. asked angrily.
“No. But empowering women to make
decisions for themselves strengthens both
them and the nation as a whole. How can
we, as men, decide what is equitable pay for
beinga homemaker or when a woman takes
maternity leave?"
“That’s reverse sexism,” I.M. shouted,
beginning to turn red. “You’re just one of
those spineless liberals who’s afraid to stand
for what’s right."
“Wait. I’m not soft on women’s issues. I
just believe that there is enough for every
one. It’s kind of like the African-American
struggle. ..."
“There you go again," I.M. yelled. “You
people are always trying to turn things into
a racial issue.”
“You people?" I asked, rising to my feet.
"Well," hebegan to look flustered. “That’s
not what I meant.
“Anyway, I can see that you’re not what
our group is looking for. I think NOW is
accepting applications."
“Thanks for the tip,” I said. “You should
open your eyes. John Locke’s social contract
See ERNEST on 11
Novel shows black struggle
The contemporary African-American
novel, “Disappearing Acts,” written by Terry
McMillan, is very true-to-life and can be
understood by every black person who reads
it. McMillan writes of a love story between
a black man, Franklin Swift, and a black
woman, Zora Banks. The relationship be
tween Franklin and Zora!turns into a love
hate relationship as a result of the type of
problems that are prevalent in black male
and female relationships.
McMillan handles the interplay between
the black male and female in a manner that
can be respected and accepted by both the
black male and female. The language, style
and perspective McMillan uses to develop
the love relationship between a black man
and woman reveals her distinctiveness as a
black woman writer.
In “Disappearing Acts,” McMillan’s art
istry with the language known as black
urban speech, serves to convey clarity to the
reader. The clarity and force of black-urban
speech is highlighted in Franklin’s stinging
analysis throughout the book.
Unlike many other books, which help to
perpetuate the stereotype that black people
cannot write or speak in an understandable
way, McMillan proves to be above those
false norms.
Contrary to popular perceptions dealing
with black speech, McMillan’s usage of
black urban speech in “Disappearing Acts”
enhances her uniqueness, because it does
not detract from the quality of the novel, and
it communicates with the reader with beauty
and clarity.
Two facets of McMillan’s unique style
are shown by her portrayal of Franklin’s
growth at the end of the novel as a contrast
to the person he was at the beginning of the
novel and by her use of first-person dialogue
throughout the novel.
Our first glimpse of Franklin comes about
as he proclaims his disdain for the ways of
black women.
“All I can say is this, I’m tired of women.
Black women in particular... Want all your
time and energy. Want the world to revolve
around them. Once you give ‘em some good
lovin’, they go crazy and start hearing wed
ding bells. Start thinking about babies. And
want you to meet their damn family ...”
At the end of the novel, the reader finds
that Franklin has undergone a transforma
tion in feelings toward black women. And
McMillan easily and effectively portrays
Franklin as a black man.
McMillan renders the dialogue in the first
person, which draws the reader into the
conversation. Through the use of first per
son, the events taking place in the novel
become the contcmporai7.
McMillan writes “Disappearing Acts”
from a pragmatic and plausible perspective.
She is able to give the reader a believable
male and female perspective. Through the
use of first person, McMillan is also able to
show that the black male and female rela
tionships face many obstacles such as rac
ism.
McMillan writes both a love story and a
social commentary. She zeroes in on issues
that arc in the forefront of the lives of black
males and females in America today.
McMillan’s novel is a way in which many
who cannot relate to the black male or
female can have a belter understanding of
their struggles.
McMillan’s ability to bring together the
elements of language, style and perspective
effectively demonstrates her uniqueness as a
black woman writer in the 20lh century.
Kimberly Spurlock is a junior broadcasting, news
editorial and English major, Daily Nebraskan’s Di
versions editor and copy editor, who believes that in
order to learn more about anything, one must be
willing to learn.
■ Plus Find All Other John Serrie Titles On Sale
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