Fanon #6

In the final section of Fanon, we hear once more from John Wideman's brother, this time about his philosophies on life. Rob's view of things is that all people are the same. We all want the same things in life and any other view only over complicates things. He comments, "We's all one person, all the same body. Fuck color and countries and religion...that's all bullshit. Seems like a lotta us, but we's all the same one, doing the same thing" (176). Rob Wideman does have a point in that we are all human and we all, in essence do want happiness in life. This is kind of a broad view of things, but is also true. He goes on to talk about how this means that when we commit acts of violence, we are only hurting ourselves. Rob states, "That's what this world situation's about. What this terrorism shit's about. One hand trying to outhurt the other. Stone confusion. People scared of their own damn selves. We done forgot we the same person" (177). The pointlessness of terror and violence is well summed up in this statement. When we seek to hurt others, often we really only end up hurting ourselves and having more problems then we started with.

In my first post, I talked about how the fictitous author of this book, Thomas, recieved a severed head in the mail and only now do we find what became of it. Thomas had once written a story involving a severed head and thought the ending he devised for it would be appropriate. He rationalizes, "Why not recycle a good thing. Thomas had invented the ending, the boy, the head. They belonged to him. Couldn't he do with them as he pleased. Off with the head" (184). Thomas realizes how similar his situation is to the one he created, showing how cyclical life is and how true it is that what goes around comes around. After throwing the head into the Thames, Thomas reflects on how this act relates to writing and to life. He thinks, "You are who you are, Thomas, until you think you are not. So what. Let it go. Heave-ho. Splash. That's what happens to the head. An ending, if an ending's needed. As good as any other" (187). It is in this manner that Thomas ends his dialogue in the story, by comtemplating the mysterious workings of life. And so I find an ending for myself as well, by finishing my last blog post.

Fanon #5

In this section of Fanon, Thomas finally seems to have once again taken the narration, now telling us more about our legendary Fanon. As a revolutionary who is relatively unknown in our country, the assumption is generally that, since one has never heard of him, he must have been a tragic martyr. This is not the case with Franz Fanon, who, "unlike most of his fellow dreamers and revolutionaries of the sixties, Fanon was neither gunned down, nor served time in prison" (163). The idea we have of people who fight for their causes getting killed or arrested is not one without a solid foundation, perhaps implying that Fanon was cleverer or at least luckier then others. Thomas (the fictional writer of the book), goes on to say that this is something that effectively sets Fanon apart from others. He writes that, "thus his life evades those myths so handy for settling accounts" (164). Thomas sees Fanon as an individual who shouldn't be cast aside so quickly into meaningless and categorical stereotypes. When we take the time to delve into the lives of others, we can see better who they truly are.

Another way that John Wideman and Thomas write of Fanon's individuality is through his childhood. Shipped to a small village on the French controlled country of Martinique, the country in which he was born, he was a "stranger in a strange land. Fanon a city kid exiled to the country. The only one of his race in classes and extracurricular activties" (165). His parents' idea of rescuing him and his brother from the place they grew up was to send them away to somewhere totally alien where they were outcasts. He saw this sort of rejection again, later in life in Algeria and was moved to action. Thomas writes that he "must have remembered...when he decided to write about how some groups of people control the lives of other groups of people" (165). His childhood experiences helped to make Fanon an individual and shape his future.

Fanon #4.5

Now, in this section of Fanon, we again enter the writer's (Not Thomas', not the writer's moms', not Fanon's) perspective. He shares his thoughts on writing and wonders at how mysterious language itself is. As he is "sitting here thinking about how slowly the light leaves the sky this far west and north in France, fades reluctantly" (139). John Wideman, the author, then goes on to ponder the strangeness of the way words form in one's mind and how we came to use certain sounds and symbols to express ourselves and become civilized. But then his thinking becomes much more grounded as he exclaims to himself, "many thoughts like these, so many they must be flying faster than the speed of light, or at least enough to...rescue me from this one screaming thought: this thinking's all fine and dandy but it's not the book, where the fuck's the book" (143).This passage makes the author a relatable person, one who like all of us, wonders about the mysteries of the universe, only to remember themselves and face reality once more.

Fanon #4

In this section of Fanon the narration shifts, once more, to a new perspective. This time, to the author John Wideman's mother who talks much about the bonds between families. After witnessing the murder of a young boy right outside her window, Wideman's mother relates the heartwrenching sight of, the next day, seeing the boy's family mourn at the site of his death. She remembers passionatly, "the three of them walked up just like I said and stood still a minute then they start moving, hugging one another...they danced a kind of grief jig, the little girl watching, the two grownups moving jumpy like it hurt them to move and hurt too much not to move" (128). The memory of this broken family and their overwhelming grief at losing a beloved son and brother is clear from this passage, as is its strong impression on this woman. The idea of losing a close family member is unimaginable to most of us and Wideman's mother's experience in seeing something like this happen to even a set of complete stangers is still powerful. Wideman's mother also talks about another kind of family bond, but one that creates, rather then destroys. She tells the story of Wideman's (The author, not his mother) birth. While reminising, she recalls how she knew "she must feed and cradle and comfort him in her arms, her legs belong to him, his puny limbs and blind fingers are hers, preciously, forever hers" (132). The tender love of a mother to her newborn son is something that she expresses as being something that is something unfathomable until one has become a mother and has inexplicable power, forging a connection that lasts until death.

Fanon #3.5

In this section of Fanon, viewpoints are shifted once more as now the author of the book, John Edgar Wideman, (Not Thomas, the main character who is also an author) narrates. As he shows a film executive from Paris around his hometown of Homewood, we see what kind of everyday realities the writer lives with and how this influences his book. Raised poor, Wideman bares his secrets to the reader and to Mr Godard, the executive. He tells us "I know I won't find anything I want on the bare shelves, probably not even the one or two staples - fresh milk, bread - my mother and I need to get by til the next two mile trek to the nearest supermarket can be arranged" (100). Wideman lives in conditions far from luxurious and his character, Thomas' existance isn't much more lavish. This suggests a parallel between Thomas and his author's worlds that helps us understand Wideman's motivations behind writing his story. Franz Fanon was a crusader for victims of violence concerning race and class and inspired similar leaders worldwide. Wideman's choice of subject for his book likely stems from his own experiences with these problems. In an interview within the text of his book, Wideman says "Power feels good...especially in the hood after all the shit some of us updogs must eat to gain a little power. Fifteen seconds' worth. And that fifteen seconds more than most people, particularly the ones stuck in this bareass ghetto get" (109). As a writer whose work is on the New York Times' "100 Most Notable Books of 2008" list, Wideman has certainly achieved his fifteen seconds of fame. But we can also see through this quote that his desire to rise above his class and the status he was born into that can only be achieved in a free country like one that Franz Fanon fought for.

Fanon #3

In this installment of Fanon, Thomas' novel about Franz Fanon is publicized. A French literary critic packed the house at the university Thomas teaches at and gives a stirring lecture and at first, Thomas is enthralled. He "wanted to rush home and get back to work. (On writing the novel) Shoot both arms in the air and holler, Tell it. Tell the truth, girl. I wanted to sneak onstage and sit at her feet" (84). He feels like he has met someone who truely understands his work and is inspired. The words that she uses to promote the book, enlivens its author. But alas, the moment is short and as Thomas continues to listen, his hope that he has found a soul sympathetic to his cause is dashed as he realizes just how far off they are. He recognized, as she continued to promote his book that, "We didn't share a subject - we shared a tooth in an overworked mouth and the tooth was cracking. The distance between what she knew and what I knew about the subject widened as she talked" (85). His first impression of this spellbinding speaker is one of captivation. He initially has such a powerful pull to this lady that it might almost overcome him, but then as he really listens to what she has to say, he comprehends how wrong he was and though is not happier for it, he is wiser.

Fanon #2.5

A world away, in a different man's lifetime, Thomas and his mother visit his brother in prison. It is unclear what landed him there to begin with, but what is clear is that much time has passed already since his conviction. His brother, Rob, talks of how much the visits mean to him and how he knows the pain it causes his family to come to the prison. He says "I understand how hard it is for anyone to visit this goddamn place, especially now that she's old and crippled and I hate to think about all the trouble I'm still causing youall" (54). Rob has been in prison for a long time and Thomas and their mother have been visiting for a long time as well. This is enough to put a strain on anyone and Rob recognizes and appreciates their efforts. Their mother is a recovering cancer victim as well, but her love for her younger son still keeps her able to come and see him and her hope to see him walk out jail a free man keeps her going as well. Rob tells her, "Remember, Mom. You promised me you ain't going nowhere before I get outta here" (58). Thomas, Rob and their mother all share a bond of love that helps them all support each other. Without the aid of Thomas, his sickly mother could not come to visit her son. Without his family, Rob would lose all reason to live. And the hope of Rob's return to society is a reason for both Thomas and their Mother to stick around as well.