They say that beauty is only
skin deep, but can the same be said of hatred?
Mat Johnson, primarily an
author of African-American literature, continues his exploration of race in the
hard-hitting graphic novel “Incognegro.”
Released by Vertigo in 2008,
the narrative provides a scathing look at injustice in 20th century America
through the use of historical fiction.
During the late 1800s and
early 1900s, racial violence was commonplace in the United States, particularly
in the South. In an area of the country where the social convention of
segregation was culturally acceptable and later institutionalized by Jim Crow, such
actions constituted efforts to maintain white supremacy and disenfranchise
blacks. Attempts were made specifically to deny them the rights granted by the
Civil War Amendments (13th, 14th and 15th).
Lynching was a form of white
man’s “justice” for violating this social code. For offenses both alleged and
actual, countless individuals suffered the brutality of mob action during this era.
According to the Tuskegee
Institute, nearly 4,800 people were lynched in the U.S. between 1882-1968,
a statistic considered “conservative” by most historians.
Several courageous
African-American journalists who had light skin and were able to “pass” as
white went undercover to bring national awareness to these atrocities, a
dangerous process known as going “incognegro” – hence the title of the work.
Besides the period context,
Johnson provides further realism to the comic by using a real-life individual
as inspiration for his protagonist.
Walter Francis White was a prominent
civil right activist, novelist and spokesperson. He is perhaps most remembered
for his work with the National Association for the Advancement of Colored
People, NAACP, which he joined in 1918. White, who had blond hair and blue eyes
due to his European ancestry, was the organization’s chief investigator of
lynching.
During his 10 years of undercover
work, he chronicled 41 lynchings and eight race riots, providing candid details
of both the events and the perpetrators. His writings were featured in numerous
publications across the country, including the Chicago Daily News, American Mercury and The Nation, among others. His exposés help turn the tide of public
opinion against lynching and resulted in increased federal legislation to
combat the practice.
The story of “Incognegro”
follows the work of Zane Pinchback, a 1930’s reporter who works for the New
York-based newspaper, the New Holland Herald. Pinchback, like the aforementioned
White, investigates lynchings. His experiences are published under an alias in
a widely read syndicated weekly column.
The book begins with Pinchback
planning to retire from his clandestine work, having barely escaped with his
life on his last story after his identity was exposed. However, fate intervenes
in the form of a personal assignment — his brother, Alonzo, has been arrested
and falsely charged with the murder of a white woman in Tupelo, Mississippi.
Thus, embarking on the
infamous “last job,” Pinchback, once again goes “incognegro” to prove his
brother’s innocence. Further complicating the situation is the impromptu
tag-along of Pinchback’s fellow light-skinned friend Carl, who, despite his
inexperience, aspires to take over Pinchback’s job.
With the looming threat of a
lynch mob and the rising suspicions of the townspeople, the story becomes a
frantic race against the clock as Pinchback endeavors to uncover the true
killer, maintain his cover and “get the hell out of Dodge.”
Johnson’s writing style
provides a riveting detective story, complete with many unexpected twists and turns.
The setup of the plot is similar to the classic Sidney Poiter film “In the Heat
of the Night” – a black man trapped in an isolated community, attempting to
solve a crime while also dealing with the escalating tension of the racist
townsfolk.
The overarching theme of
“Incognegro” is one of identity — particularly poignant is how Pinchback and
Carl are treated differently by Southern whites based solely on an outward
element, which we the reader know, is a fabrication.
Pinchback himself recognizes
the superficial nature of the actions:
“That’s one thing that most of us know that most white
folks don’t… [R]ace doesn’t really exist. Culture? Ethnicity? Sure. Class, too.
But race is just a bunch of rules meant to keep us on the bottom. Race is a
strategy. The rest is just people acting.”
The opening scenes of the
book hold nothing back – the first three pages show a lynching in progress in
graphic detail, complete with a voiceover description of the process.
This harsh, no-holds-barred presentation, which continues with copious uses of the "n-word" and other derogatory terms, provides the necessary shock value to forcefully immerse the reader in the
world.
These arresting images are
different from other instances of violence in comic books. Unlike other intense
visuals in comic books by writers such as Garth Ennis and Mark Millar, the
shock of these scenes cuts deeper, due to the knowledge that events like these
actually happened in a previous era of our nation’s history.
The appropriately
black-and-white art of Warren Pleece perfectly exemplifies the time period — he
has a very subdued grounded, simplistic style of drawing, focusing on tight
shots of his characters to emphasize their expressions and dialogue. His inking
utilizes shadows, giving the story a noir-like feel. Large images are used
sparingly, specifically only when to highlight a moment.
“Incognegro” is a fantastic
graphic novel that brings new life to an important time in our history via an engaging medium. It is a must-read for those who appreciate the
past and the advancements made in both African-American and the general
culture.
