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320 pages, Kindle Edition
First published January 1, 2011
How Racism Takes Place argues for the importance of acknowledging the degree to which our society is structured by a white spatial imaginary and for confronting the serious moral, political and social challenges mounted against it by a black spatial imaginary. The white spatial imaginary portrays the properly gendered prosperous suburban home as the privileged moral geography of the nation. Widespread, costly, and often counterproductive practices of surveillance, regulation, and incarceration become justified as forms of frontier defense against demonized people of color. Works of popular film and fiction often revolve around phobic representations of Black people unfit for freedom. These cultural commitments have political consequences. They emerge from public policies that place the acquisitive consumer at the center of the social world, that promote hostile privatism and defensive localism as suburban structures of feeling. they encourage homeowners to band together to capture amenities and advantages for themselves while outsourcing responsibilities and burdens to less powerful communities. [13]
This requires a two-part strategy that entails a frontal attack on all the mechanisms that prevent people of color from equal opportunities to accumulate assets that appreciate in value and can be passed down across generations, as well as a concomitant embrace of the Black spatial imaginary based on privileging use value over exchange value, sociality over selfishness, and inclusion over exclusion. [61]
'The white spatial imaginary has cultural as well as a social consequences. It structures feelings as well as social institutions. the white spatial imaginary idealizes 'pure' and homogenous spaces, controlled environments, and predictable patterns of design and behaviour. It seeks to hide social problems rather than solve them'. [29]
the powerlessness of black people to control their own fat or that of their families in capitalist America where race is place, white is right, and money makes and defines the man. (quoted from 'A Critical Reevaluation: A Raisin in the Sun's Enduring Passion')
Without a systemic analysis of how housing discrimination creates the ghetto, The Wire is left with the default positions inscribed in the white spatial imaginary: that people who have problems are problems, that social welfare programs produce only "poverty pimps" and hustlers who take advantage of the poor, and that social disintegration has gone so far it simply cannot be stopped. These values "hail" certain kinds of viewers: knowing cynics who enjoy having their worst fears confirmed, passive voyeurs who think of themselves as noble because they feel sorry for others from the safety of their living rooms, and self-satisfied suburbanites who use portrayals of Black criminality to absolve themselves of any responsibility for the inequalities that provide them with unfair gains and unjust enrichments.