The Illinois senator lends himself to white America's idealized, less-than-real black man.
By David Ehrenstein
Los Angeles Times
AS EVERY CARBON-BASED
life form on this planet surely knows, Barack Obama, the junior Democratic senator from Illinois, is running for president. Since making his announcement, there has been no end of commentary about him in all quarters — musing over his charisma and the prospect he offers of being the first African American to be elected to the White House.
But it's clear that Obama also is running for an equally important unelected office, in the province of the popular imagination — the "Magic Negro."
The Magic Negro is a figure of postmodern folk culture, coined by snarky 20th century sociologists, to explain a cultural figure who emerged in the wake of Brown vs. Board of Education. "He has no past, he simply appears one day to help the white protagonist," reads the description on Wikipedia.
He's there to assuage white "guilt" (i.e., the minimal discomfort they feel) over the role of slavery and racial segregation in American history, while replacing stereotypes of a dangerous, highly sexualized black man with a benign figure for whom interracial sexual congress holds no interest.
As might be expected, this figure is chiefly cinematic — embodied by such noted performers as Sidney Poitier, Morgan Freeman, Scatman Crothers, Michael Clarke Duncan, Will Smith and, most recently, Don Cheadle. And that's not to mention a certain basketball player whose very nickname is "Magic."
Poitier really poured on the "magic" in "Lilies of the Field" (for which he won a best actor Oscar) and "To Sir, With Love" (which, along with "Guess Who's Coming to Dinner," made him a No. 1 box-office attraction). In these films, Poitier triumphs through yeoman service to his white benefactors. "Guess Who's Coming to Dinner" is particularly striking in this regard, as it posits miscegenation without evoking sex. (Talk about magic!)
The same can't quite be said of Freeman in "Driving Miss Daisy," "Seven" and the seemingly endless series of films in which he plays ersatz paterfamilias to a white woman bedeviled by a serial killer. But at least he survives, unlike Crothers in "The Shining," in which psychic premonitions inspire him to rescue a white family he barely knows and get killed for his trouble. This heart-tug trope is parodied in Gus Van Sant's "Elephant." The film's sole black student at a Columbine-like high school arrives in the midst of a slaughter, helps a girl escape and is immediately gunned down. See what helping the white man gets you?
And what does the white man get out of the bargain? That's a question asked by John Guare in "Six Degrees of Separation," his brilliant retelling of the true saga of David Hampton — a young, personable gay con man who in the 1980s passed himself off as the son of none other than the real Sidney Poitier. Though he started small, using the ruse to get into Studio 54, Hampton discovered that countless gullible, well-heeled New Yorkers, vulnerable to the Magic Negro myth, were only too eager to believe in his baroque fantasy. (One of the few who wasn't fooled was Andy Warhol, who was astonished his underlings believed Hampton's whoppers. Clearly Warhol had no need for the accouterment of interracial "goodwill.")
But the same can't be said of most white Americans, whose desire for a noble, healing Negro hasn't faded. That's where Obama comes in: as Poitier's "real" fake son.

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Posted by: asdad | Wednesday, June 13, 2007 at 11:04 AM
Oh, no honey. You're talking about the OLD SCHOOL "safe" negro. That one NEVER acknowledged anything.
Now, the NEW SCHOOL "safe" negro does ackknowledge these things. EVERYBODY DOES. It's just that the NEW SCHOOL "safe" negro keeps it real for "right thinking" White folks by JUST SKIMMING the topic.
The NEW SCHOOL "safe" negro can hang out and make appearances at Black churches and organizations to show that he is still "hip" and one of us.
But YOU know who is paying the bills. And for that the NEW SCHOOL "safe" negro" can be all things to all people. As long as he can SKIM any topic and NEVER tells it like it REALLY is.
The point is the same as always: pretend that you don't know about any of that deeper "Black" stuff, do not appear interested in White women, and most of all----do not scare White people under ANY circumstance.
Posted by: ChicagoChild | Monday, March 26, 2007 at 09:07 PM
dna
You are right.
Omaba success would make many unhappy.
On the African-American it would burn the revolutionaries-chick flag.
Posted by: Deocliciano Okssipin Vieira | Saturday, March 24, 2007 at 05:15 PM
Here's the problem: Obama IS the result of interracial sexual congress. He can't exactly be "safe" in that area.
Posted by: dna | Thursday, March 22, 2007 at 03:18 PM
I am growing weary of the ' why do White people like Obama' stories.
How about the ' I don't like Obama because of his stance on issue w, x, y, z' stories?
I'd appreciate those stories more.
I get that White people like him. If they didn't, he wouldn't have a shot in hell at the Presidency.
Next.
Posted by: rikyrah | Wednesday, March 21, 2007 at 03:09 PM
I think Mr. Ehrenstein is mixing his metaphors. A 'safe' negro and a 'magic' negro are 2 entirely different ideas, primarily because the 'magic' negro is a fictional stereotype on film, designed to dehumanize. This doesn't jibe with Obama because he is a flesh and blood human being, not a character.
A 'safe' negro is as one write put it "not THAT black" - meaning not angry, never brings up discrimination, civil rights, do not think Obama fits that bill either, or in my view, he would not run for president, lest he strike fear in the hearts of white voters.
Posted by: Kristasphere | Monday, March 19, 2007 at 05:35 PM