Piper can convey her hurt only if we take, as we say, her word for it, whereas the evidence for the receiver’s shame or insensitivity is, at least in theory, literally normative. Du Bois’s notion of a veiled world names the performative burden of this substitutability: the substitution of one’s ruination for one’s unwantedness, the substitution of a veiled life that must simultaneously hover and be irreducible to brute givenness or evasive transcendence for a life lived before any full awareness of, or any responsibility for, being shut out of the world. Putting oneself in the position of everyone else: this could easily be read as Piper’s ultimate pragmatic response to xenophobic satisfactions.
As if that were not enough, the racism that excludes Piper is also the reason she cannot be comforted: the etiquette that causes her to act is the same reason the cards cannot be taken back, and the same reason why, in her discomfort, she is not in possession of her own guilt since, in white racist language, blackness remains the referent of shame and interruption, a literal faux pas within the norms of polite white society. The etiquette in whose name the faux pas has to be denounced, even in Piper’s assumed continuity of acceptance and transformation, is not governed by the same integrity that governs the handing out of the cards as art or critical reflection. 'Identity Parade: New British and Irish Poets' (Bloodaxe Books, 2010) and will shortly appear in Jackie Kay, ed. Sign up for our newsletters and don’t miss a thing. “I am black./ I am sure that you did not realize this when you made/laughed at/agreed with that racist remark.” We can see her as the referent of these remarks only at the moment that her card is read retrospectively, as it were. Piper acknowledges this when she writes that black and white viewers often “deflect recognition of the meaning of their response to” her work (“Xenophobia” 293), and when she explains: “I try and promote viewer self-reflection in my work, but I don’t always succeed” (“Xenophobia” 293). As a media that gives form to her politics, Kantian critical philosophy is not only a body of ideas but also a vehicle and object – literally a lens, frame, or window – capable of giving form to this strategy. The convergence of the two modes is not a priori given, and their discrepancy makes the racist faux pas possible. Pencil on paper. © Adrian Piper Research Archive Foundation Berlin. Since acceptance is meant to have more value in social life than hatred does, how are we to know when we are dealing with a true hatred rather than a merely conventional one? David Marriott, Penn State professor of philosophy and African American studies, comes from the University of California Santa Cruz.He is a poet and critic who was born and educated in England and earned a Ph.D. in literature from the University of Sussex. The recognition of a racist faux pas, after all, implies its exoneration in the name of the same transcendental principle of etiquette that allowed for the certitude of having committed a faux pas in the first place. In order to preserve ourselves, it is perhaps not surprising that (despite our best intentions) “we are overridingly motivated to do and to believe what will preserve the coherence of our worldview” (“Critique” 87). Used by permission. (This picturing of blackness as an anomaly within the visible is permitted by nothing other than the conventional association of blackness with malevolent threat, one that renders it subservient to the drama of an exposed, ever fragile whiteness; nothing permits this classical racial optics more than the sense that whiteness needs protecting from the racial “convulsions” that its own relaxation solicits.) The doubling begins with Piper herself. To return to My Calling (Cards): devoid of moralism and prescription, the cards can circulate between giver and receiver, who are both called upon to attend to racism’s effects independently of the “easy trades” (or conventions) of abstraction, aesthetic evaluation, and xenophobia. Being publicly – and psychologically – responsible for what we say is supposed to be the condicio sine qua non of an acceptance that has something to do with democratic openness: “To accept something is to be receptive and vulnerable to its effects on us, to discern its value for us, and indeed to rejoice in its intrinsic character and extrinsic ramifications for us” (Piper “Xenophobia” 286). This notion of etiquette as a social duty, however, culminates strangely in a purely formal image of anti-racism.
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