Sublime

Du Bois believed in both the antiracist concept of racial relativity, of every racial group looking at itself with its own eyes, and the assimilationist concept of racial standards, of “looking at one’s self through the eyes” of another racial group—in his case, White people. In other words, he wanted to liberate Black people from racism but he als

(An Asian friend of mine refers to Asians as “Schrodinger’s minority”; they’re white if you test them, but if you don’t test them, they’re still people of color.)

submit that this is what the real, no‑bullshit value of your liberal arts education is supposed to be about: how to keep from going through your comfortable, prosperous, respectable adult life dead, unconscious, a slave to your head and to your natural default setting of being uniquely, completely, imperially alone day in and day out.⁠6 Wallace’s p

Believing it to be the oldest variety of man, he puts it in “the first place.” His reckoning includes a large dose of aesthetic reasoning, led by the blush.*

He conducts an ongoing interrogation about what it all means. What’s black culture? What’s hip-hop? What are the responsibilities of a society and the people in it? And his inquiry isn’t bloodlessly academic, either; there’s something very consequential about his approach.

“He attended school, where he was taught what every white child was taught; but the moment he went through the door of the school into life he knew that the white boy went one way and he went another. School stimulated and developed in him those impulses which all of us have, and then he was made to realize that he could not act upon them. Can the

Wilson proposed that a booklet of Sonny’s notes be included with the record—a very unusual practice then or now, as musicians are seldom trusted to explain their own work—and he took full advantage of it, filling it with his poetry and various musings. Yet when Sonny suggested the notes be titled “Preparation for Outer Space,” Wilson thought he was