"Incognegro" Review

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.