Griffin Men In Black Quotes

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How can you render the duties of justice to men when they may destroy you?
John Howard Griffin (Black Like Me)
He was one of those young men who possess an impressive store of facts, but no truths.
John Howard Griffin (Black Like Me)
someone in a high place - the mayor, chief of police, or other official - would receive information that a neighboring city was already in flames and that carloads of armed black men were coming to attack this city. This happened in Cedar Rapids when Des Moines was allegedly in flames. It happened in Ardmore, Oklahoma, and in Fort Worth, Texas, when it was alleged that Oklahoma City was in flames and carloads were converging on those cities. It happened in Reno and other western cities, when Oakland, California, was supposed to be in flames. It happened in Roanoke when Richmond, Virginia, was supposed to be in flames.
John Howard Griffin (Scattered Shadows: A Memoir of Blindness and Vision)
We led strange, hidden lives. We were advocating one thing: that this country rid itself of the racism that prevented some citizens from living as fully functioning men and as a result dehumanized all men. We were advocating only that this country live up to its promises to all citizens. But since racism always hides under a respectable guise - usually the guise of patriotism and religion - a great many people loathed us for knocking holes in these respectable guises. It was clear that we would have to live always under threat.
John Howard Griffin (Black Like Me)
What fragmented individualism really meant was what happened to a black man who tried to make it in this society: in order to succeed, he had to become an imitation white man - dress white, talk white, think white, express the values of middle-class white culture (at least when he was in the presence of white men). Implied in all this was the hiding, the denial, of his selfhood, his negritude, his culture, as though they were somehow shameful. If he succeeded, he was an alienated marginal man - alienated from the strength of his culture and from fellow black men, and never able, of course, to become that imitation white man because he bore the pigment that made the white man view him as intrinsically other.
John Howard Griffin (Black Like Me)
Many otherwise decent men and women could find no other solution. They are willing to degrade themselves to their basest levels to prevent the traditional laborer from rising in status or, to put it bluntly, from “winning,” even though what he wins has been rightfully his from the moment he was born into the human race. I
John Howard Griffin (Black Like Me)
I knew, and every black man there knew, that I, as a man now white once again, could say the things that needed saying but would be rejected if black men said them.
John Howard Griffin (Black Like Me)
My revulsion turned to grief that my own people could give the hate stare, could shrivel men’s souls, could deprive humans of rights they unhesitatingly accord their livestock. I
John Howard Griffin (Black Like Me)
After the first difficulties in Rochester, New York, I was asked to consult with community leaders. I went and spoke for quite a long time. The leaders were concerned and sincere men. The first question one of them asked after I talked was: “Well, Mr. Griffin, what is the first thing we should do now?” I told him that I had been asked to come and consult with community leaders, and yet I was sitting in a room full of white men. The white man who had asked the question slapped his forehead in real chagrin. “It never occurred to me to ask any of them," he said apologetically.
John Howard Griffin (Black Like Me)
How can you render the duties of justice to men when you're afraid they'll be so unaware of justice they may destroy you? ...especially since their attitude toward their own race is a destructive one.
John Howard Griffin (Black Like Me)
Eventually, some black thinkers believe, this "separation" may be the shortest route to an authentic communication at some future date when blacks and whites can enter into encounters in which they truly speak as equals and in which the white man will no longer load every phrase with unconscious suggestions that he has something to "concede" to black men or that he wants to help black men "overcome" their blackness.
John Howard Griffin (Black Like Me)
I believe that before we can truly dialogue with one another we must first perceive intellectually, and then at the profoundest emotiomal level, that there is no Other - that the Other is simply Oneself in all the significant essentials. This alone is the key that can unlock the prison of culture. It will neutralize the poisons of the stereotype that allow men to go on benevolently justifying their abuses against humanity.
John Howard Griffin (Black Like Me)
He told me how all of the white men in the region craved colored girls. He said he hired a lot of them both for housework and in his business. “And I guarantee you, I’ve had it in every one of them before they ever got on the payroll.” A pause. Silence above humming tires on the hot-top road. “What do you think of that?” “Surely some refuse,” I suggested cautiously. “Not if they want to eat - or feed their kids,” he snorted. “If they don’t put out, they don’t get the job.
John Howard Griffin (Black Like Me)
The real story is the universal one of men who destroy the souls and bodies of other men (and in the process destroy themselves) for reasons neither really understands. It is the story of the persecuted, the defrauded, the feared and detested.
John Howard Griffin (Black Like Me)
A couple of years ago I was seated in an auditorium in Detroit where Reverend Cleage was explaining to a conference of priests that what they called “black separatists” were in reality men who recognized the implacability of a white-imposed separation.
John Howard Griffin (Black Like Me)
It was now pointed out that the black male child, even in a black school using white textbooks, could early come to the conclusion that all the heroes in history were white men. Furthermore, with the exception of nationally known black civil rights leaders like Martin Luther King, Roy Wilkins, James Farmer, and others, the black male child frequently saw the adult black male as ineffectual and defeated. The old picture of the white man leading the black man by the hand toward the solution to his problems again gave the black male child a view of the adult black male as something not worth becoming, and killed his spirit and his will to become an adult, problem-solving individual.
John Howard Griffin (Black Like Me)
Phew!” His small blue eyes shone with repugnance, a look of such unreasoning contempt for my skin that it filled me with despair. It was a little thing, but piled on all the other little things it broke something in me. Suddenly I had had enough. Suddenly I could stomach no more of this degradation - not of myself but of all men who were black like me.
John Howard Griffin (Black Like Me)
The music consumed in its blatant rhythm all other rhythms, even that of the heartbeat. I wondered how all this would look to the casual observer, or to the whites in their homes. “The niggers are whooping it up over on Mobile Street tonight,” they might say. “They’re happy.” Or, as one scholar put it, “Despite their lowly status, they are capable of living jubilantly.” Would they see the immense melancholy that hung over the quarter, so oppressive that men had to dull their sensibilities in noise or wine or sex or gluttony in order to escape it? The laughter had to be gross or it would turn to sobs, and to sob would be to realize, and to realize would be to despair. So the noise poured forth like a jazzed-up fugue, louder and louder to cover the whisper in every man’s soul. “You are black. You are condemned.” This is what the white man mistook for “jubilant living” and called “whooping it up.” This is how the white man can say, “They live like dogs,” never realizing why they must, to save themselves, shout, get drunk, shake the hip, pour pleasures into bellies deprived of happiness. Otherwise, the sounds from the quarter would lose order and rhythm and become wails.
John Howard Griffin (Black Like Me)
when the riot controls had been put into effect, and a nervous white population was waiting, it took little to set it off. In Wichita, a few white youths drove down into the black area and simply fired off guns. This brought black people out of their houses; in rage at seeing the harassment, they hurled stones or sticks at a passing car, and the battle was on. In that particular instance the police arrested the five whites who were armed and twelve young black men who had only rocks and sticks. All were jailed. The next morning, all were released on bail, but the bail set for the five armed whites was only one-fifth the amount set for the twelve unarmed black students.
John Howard Griffin (Black Like Me)
I think the general public has never understood the “special” kind of life that civil rights advocates had to lead in those years. Racists showed high ingenuity in developing schemes to destroy a man’s reputation as a means of nullifying his work. For example, many civil rights advocates, white and black, traveled and lectured extensively. In the early days, a number of effective men were entrapped in situations that either damaged them personally or ruined their reputations. Those who were with lecture bureaus were particularly vulnerable. Anyone could write the lecture bureau for the travel schedule of its speakers. If a man made a long flight to fulfill a speaking engagement, the chances were at least fair that when he landed at the distant airport he might make use of the rest room. It would be enough to plant one or two men in the rest room and accuse him of some indecency. This happened to a Mississippi white attorney in a case that was given maximum publicity in white newspapers. He had to fly to Los Angeles for an appearance. His travel schedule was known. At the end of this flight he went to the men’s rest room, and when he emerged, he was arrested because two men claimed he had indecently exposed himself. He was tried in absentia and found guilty in Mississippi. He was publicly labeled a pervert and his career in civil rights was effectively quashed.
John Howard Griffin (Black Like Me)
It gives him a view of the white man that the white can never understand; for if the Negro is part of the black mass, the white is always the individual and he will sincerely deny that he is 'like that,' he has always tried to be fair and kind to the Negro. Such men are offended to find Negroes suspicious of them, never realizing that the Negro cannot understand how - since as individuals they are decent and 'good' to the colored - the whites as a group can still contrive to arrange life so that it destroys the Negro's sense of personal value, degrades his human dignity, deadens the fibers of his being.
John Howard Griffin (Black Like Me)
Though not all, by any means, were so open about their purposes, all of them showed us how they felt about the Negro, the idea that we were people of such morality that nothing could offend us. These men, young and old, however, were less offensive than the ones who treated us like machines, as though we had no human existence whatsoever. When they paid me, they looked as though I were a stone or a post. They looked and saw nothing.
John Howard Griffin (Black Like Me)
One can scarcely conceive the full horror of it unless one is a parent who takes a close look at his children and then asks himself how he would feel if a group of men should come to his door and tell him they had decided - for reasons of convenience to them - that his children’s lives would henceforth be restricted, their world smaller, their educational opportunities less, their future mutilated
John Howard Griffin (Black Like Me)
Griffin’s narrative, by contrast, seems more steeped in indignities. Some of the scenes he endures are stomach-turning: being shooed away from white restaurants, as if his race will taint the food; hearing from Blacks about the difficulty of taking even brief trips away from home due to the scarcity of “coloured” bathrooms and drinking fountains, effectively confining them to their own neighbourhoods; being constantly questioned by white men about his sexual prowess and where they themselves could find loose Black women. Most painful to Griffin is what he refers to as the “hate stare.” He writes: “Nothing can describe the withering horror of this. You feel lost, sick at heart before such unmasked hatred, not so much because it threatens you as because it shows humans in such an inhuman light. You see a kind of insanity, something so obscene the very obscenity of it terrifies you.” It is this, beyond everything, that starts to get to him: not racism’s physical threats, but the way it distorts the mind and dehumanizes everyone it touches, both the hated and the one who hates.
Esi Edugyan (Out of The Sun: Essays at the Crossroads of Race)