Curator's Note
Angel’s “Are You Now or Have You Ever Been” (2.2) takes us back to the second Red Scare of 1952 when Angel is living in the Hyperion Hotel amongst blacklisted writers and actors, closeted gay men, and a variety of other folks with secrets to keep and suspicions to bear. This historical interlude about McCarthyism metaphorically exaggerated by a paranoia demon is a complex exploration of race, passing, and lynching.
This episode situates the show within a history of passing in American culture and literature in which “anxiety over the unstable meaning of ‘race’” manifests in a variety of ways (Bennett 30). The episode’s destabilization of race extends to an exploration of the racist logic of blood purity, as demonstrated by Angel and Judy's conversation about blood. Judy’s blood prevents her from being “white,” and Angel’s desire for blood separates him from humanity. The power of blood links these two liminal figures, but it is also the catalyst of their rejection of each other: Judy uses the blood Angel keeps in his room to drink as evidence of his deviancy, leading to his lynching. The racist logic of blood purity is challenged, yet its power proves unsurmountable for Judy.
Jacqueline Goldsby argues that “anti-black mob murders [are] a networked, systemic phenomenon indicative of trends in national culture” and are “tool[s] of domination meant to coerce...to deny...and to subjugate...black people” (5,18). By placing Judy’s near-lynching and Angel’s actual lynching in the historical context of McCarthyism, Angel is presenting racial violence as a systemic policing of racial boundaries intimately bound to larger social and political events. However, this is done through the lynching of a white man, further complicating this episode’s exploration of race.
What are the implications of a white man allowing himself to be lynched in order to save a black woman who has been passing and thus violating the dominant racial order? Charges of racial paternalism and expressions of white guilt are not unfounded. Furthermore, Angel’s vampirism means that the hanging will not kill him. Does this allow for a metaphorical recuperation of the violence of lynching by allowing the victim to survive? If so, can we (should we?) reconcile this exploration of anti-black racism and lynching with its representation through a white subject? And finally, how might this exploration of race and racism in Angel inform conversations about race across the Whedonverse?
Comments
Taylor, your questions at the
Taylor, your questions at the end of this post do a great job of pointing to the limitations of of the use of metaphor in supernatural shows. Despite vampirism serving as a metaphor (and thus something "different than" but also "similar to"), I do think it works best when the two subjects being compared are more closely aligned. Buffy gave us so many great stories about American middle class teenagehood and the difficulties we associate with that experience (love, sex, friendship, high school rivalries, parent-child and teacher/principle-student conflict), and its use of metaphor more often than not hightened them. This example from Angel, however, is careless both formally (it doesn't do that much to inform the viewer of Angel's experience) and in terms of content as it does not give viewers any substantial insight into racism but instead ultimately appropriates the affects of some of its most awful traditions for the benefit of the show's white protagonist.
The Whedon/Race Question
Thanks for the post, Taylor! And Roxanne, great comment about the pervasive use of metaphor in The Whedonverse. I'm not going to have any brilliant insights on this question, but I just want to draw attention to the (generally known) fact that one of the biggest critiques of Whedon's work is a lack of diversity in terms of racial representation. Whenever people throw that one at me, I never have a good response. Of course, there are some great characters of color in The Whedonverse, but they are rarely if ever central figures. When watching the pilot of "Agents of S.H.I.E.L.D." (wow, it sure is annoying to type out that show title), I couldn't help but see the shot of J. August Richards and the unity mural at the train station as a way-too-obvious gesture towards this issue. What say we about representations of race in The Whedonverse?
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