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New book demands a racial reckoning with your walls.
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Everything white is a problem. Not just white people, who are obviously the worst, but also milk (“The Troubling Link Between Milk and Racism” George Washington University), white swans (“A Swan Has Been Accused of Attacking Students from Ethnic Minorities”) and now it’s time for white paint, all too ubiquitous in our racist society, to face its own long delayed racial reckoning.
The National Book Foundation has announced it’s doing its part to battle systemically racist paint by shortlisting “A Dead White: An Argument Against White Paint” for its non-fiction award.
Written by Columbia University Associate Professor Wendy S. Walters, “A Dead White” delves into the hidden racism of our walls which are white in most homes instead of black because paint was invented by dead white racist heteropatriarchal capitalist slave owners.
According to Professor Walters, there are “black transwomen murdered with alarming targeted frequency”. When she saw the walls of her children’s school, she felt “apprehension” and wrote, “I could not stop thinking about the walls. I said to myself: They are so very white.”
A less sensitive person might assume that white is the most reflective color and painting walls white maximizes the effectiveness of natural and artificial light. But that person is probably a white racist who drinks milk, lives in a house with white walls and has never even thought about the targeted campaign of mass murder against “black transwomen” by Sherwin-Williams.
After trying to convey her “disapproval of the new school’s white walls” to another black parent, only to be dismissed out of hand by a fellow black woman, Professor Walters “had a sense of foreboding, as if some kind of betrayal was imminent”. She began to weep while picking up “breakfast sausage” from the supermarket and thought “white paint is getting me down.”
Predictably, Walters claims that “white paint represents something beyond itself”. That’s just the academic version of Charles Manson believing the Beatles were telling him to kill people. White paint isn’t a symbol, it’s a function: wokeness compresses everything into a symbolic conspiracy theory which reduces its followers to conspiratorial loonies and makes everyone into the enemy.
In true intersectional fashion, Professor Walters decided that “my problem stemmed from the intersection of color and material. White paint.” The demonization of white paint rests on the demonization of all white things as symbols for white people. The familiar narrative is that white symbolizes cleanliness and purity, but is really an absence created and maintained by white supremacy so that white people don’t have to experience the messiness of diversity.