Claudia Rankine’s Quest for Racial Dialogue
When Claudia Rankine’s Citizen: An American Lyric arrived in the fall of 2014, shortly before a St. Louis County grand jury decided not to charge Darren Wilson for Michael Brown’s murder, critics hailed it as a work very much of its moment. The book-length poem—the only such work to be a best seller on the New York Times nonfiction list—was in tune with the Black Lives Matter movement, which was then gathering momentum. How, Rankine asked, can Black citizens claim the expressive “I” of lyric poetry when a systemically racist state looks upon a Black person and sees, at best, a walking symbol of its greatest fears and, at worst, nothing at all? The book’s cover, a picture of David Hammons’s 1993 sculpture In the Hood, depicted a hood shorn from its sweatshirt—an image that evoked the 2012 murder of Trayvon Martin. Rankine’s catalog of quotidian insults, snubs, and misperceptions dovetailed with the emergence of microaggression as a term for the everyday psychic stress inflicted on marginalized people.
In fact, Rankine was ahead of her time. was the result of a decade she had spent probing In answering that question, she deployed the same kaleidoscopic aesthetic on display in her earlier books, most notably 2004’s . Rankine’s experimental poetics drew from first-person reportage, visual art, photography, television, and. If seemed uncannily well timed, that was because our politics had finally caught up with Rankine.
