Claudia Rankine

And though your joined personal histories are supposed to save you from misunderstandings, they usually cause you to understand all too well what is meant.

The beautiful thing is that a group of men began to stand behind me like a fleet of bodyguards, she says, like newly found uncles and brothers.

On the bridge between this sellable anger and “the artist” resides, at times, an actual anger. Youngman in his video doesn’t address this type of anger: the anger built up through experience and the quotidian struggles against dehumanization every brown or black person lives simply because of skin color. This other kind of anger in time can prevent, rather than sponsor, the production of anything except loneliness.

Yes, and the body has memory. The physical carriage hauls more than its weight. The body is the threshold across which each objectionable call passes into consciousness

A man, a novelist with the face of the English sky—full of weather, always in response, constantly shifting, clouding over only to clear briefly—stands before you, his head leaning against the same wall as the torn-up girl. You begin discussing the recent riots in Hackney.

You don’t speak unless you are spoken to and your body speaks to the space you fill and you keep trying to fill it except the space belongs to the body of the man next to you, not to you.

Where he goes the space follows him. If the man left his seat before Union Station you would simply be a person in a seat on the train. You would cease to struggle against the unoccupied seat when where why the space won’t lose its meaning.