55 pages • 1 hour read
Anna Deavere SmithA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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On November 20, 1991, Smith interviewed Jeffries in a conference room at CUNY. Jeffries has a bodyguard. Jeffries says that people will be surprised to learn that he personally knew Alex Haley and was a major consultant on Roots. At one point, Haley lost the manuscript in the Philadelphia airport and Jeffries had to go find it.
When they were working on the television series, Haley invited Jeffries to go down to Georgia to meet the director and potentially oversee the production. Jeffries tried to change the scripts to “keep Roots honest” (42), but eventually the production people got sick of him and told him they did not have to portray black history truthfully. Jeffries found this moment to be very traumatic. Earlier, Haley’s girlfriend/secretary had called Jeffries to explain that Haley had sold the rights to Roots for a mere 50 grand when it made much more than that, and so Haley sued them. Jeffries argues that the money made by the television series produced more media on Jewish history than onblack history. Jeffries was so upset by the producers telling him, “‘we bought your research / we bought your history’” (43), that he left for a few days.
The last scene he remembers is when they got a bunch of high school kids in to play slaves, and the scene becomes so realistic that the actors start getting very into it, and the white directors get nervous and try to anesthetize the spoken lines. Jeffries left afterwards, catching a plane with the white actor Lorne Greene, who said, “’Isn’t Roots wonderful. / It’s everybody’s history”’ (46). Jeffries goes to the church his grandfather built in Georgia, and then to his grandfather’s grave, realizing he was born the day of the 14th Amendment.
Jeffries talks about how he has had “one of the best educations on the planet” (47), and how he was branded a conspiracy theorist. He believes he has been targeted by the media, but their attempts to destroy him have only made him stronger.
The interview takes place Thanksgiving Eve, 1991, over the phone. Pogrebin talks about the scapegoating of Jewish and black communities, and the racism in America, like people who voted for David Duke. She talks about Jews paying special attention, such as when Jeffries talked about the collusion between the Mafia and Jews in Hollywood: “Only Jews listen, / only Jews take Blacks seriously, / only Jews view Blacks as full human beings” (50). Pogrebin says that in order to get media attention, “you have to attack a Jew. / Otherwise you’re ignored” (51).
The interview takes place at a restaurant in New York on a morning in April 1992. Mohammed travels with another well-dressed Muslim man. Mohammed speaks to the white devilry that robbed blacks of their humanity via slavery. He speaks to the suffering of blacks, including the rape of women, which “no crime in the history of humanity / has before or since / equaled that crime. / The Holocaust did not equal it” (54).
Mohammed admits that the Holocaust was terrible but it does not compare to slavery, which stole the lives of hundreds of millions and lasted much longer than a decade. Mohammed says that a person in an under-developed nation is better off than the black community in America because they have a “contextual understanding of what identity is” (55), which the black community does not have. He says that being cut off from their past and knowledge was a worse crime than being raped, murdered, tortured, sold like cattle, and renamed after their victimizers. He talks about how blacks are the chosen people of Allah, and how Jews are “masquerading in our garment” (58). He says that only seven verses in scripture talk about Jews as being chosen via the covenant with Abraham.
The interview takes place on a spring morning over the phone, while Pogrebin sits in her Manhattan office. Pogrebin worries “that / we’re trotting out our Holocaust stories / too regularly and that we’re going to inure each other to the truth of / them” (59), but reads from her book anyway about her uncle Isaac. Isaac passed for Aryan and was commanded to survive and tell the story, but the Germans were suspicious, so they put him in charge of herding everyone from his community into the gas chambers, including his wife and two children. When he gets to America, he has “prematurely white hair and a dead gaze within the sky blue / eye that’d helped save his life” (62). He tells the stories over and over, talking for months on end and aging until he finished telling everything he knew and died.
On a November 1991 morning, Sherman sits in his apartment, enjoying talking. Sherman speaks to how the Hasidim are a minority in Crown Heights, comprising only ten percent of the population, and how blacks, especially black, Caribbean Americans, represent the dominant culture. He says that trouble has been brewing for almost two decades, much of which revolves around bias: “There is a sort of soup / of bias— / prejudice, racism, and discrimination […] negative attitudes / that can lead to negative behaviors” (64-65). He says that the words get tangled up which can lead to a range of language associated with bias, like how Eskimos have seventy words for snow. The “very, very bad language” (66) associated with discrimination and bias in America is reflective of society’s inability to honestly deal with these subjects.
In this act, the point of view oscillates back and forth between the black and Jewish perspective. It is important to note that this collection of interviews is taken from people who are all public figures, from university professors to famous writers to political activists. In this way, there is an expectation of publicity implicit within these interviews, adding another layer. As opposed to the many other anonymous interviews, these interviewees expect a certain level of notoriety to be attached to their interviews. The audience is meant to recognize these subjects by name, and possibly even be familiar with what they are saying.
The focus of this section shifts back and forth between the American oppression faced by the black community and the historical oppression faced by the Jewish community. The concluding monologue concerns the problematic nature of bias and discrimination in general, identifying that these words fail to understand the trauma associated with oppression. This act explicitly focuses on the importance of words and stories, especially history, when looking at a specific incident. These interviews serve to set the historical context for the final section that concerns the specific incidents relevant to the Crown Heights riots. Each of these interviews tells a story, some of which, such as Pogrebin’s reading, are stories within stories. This places an added importance to the words, as they are being used to communicate experience, which Shange, among others, have already set up as being integral to an understanding of identity. The words are used as a method by which to force the audience to engage with a reality that the interviewees appear to believe is different from the lived reality of the audience; that is, the interviewees seem to believe that they are Other than the audience and are attempting to communicate what it is like to experience life as Other.