Part 4 (1/2)

He is very small for fifteen, with a close-shaved, perfectly round head and long, pretty eyelashes. He has the transcendental air of a child lama. Three big men bring him to us in a corner of the yard and go to fetch a chair. He stays the wrist of one of the men with a finger and shakes his head. ”It's too hot here to talk. We'll go inside.”

In a small office at the back of the school, four nervous adults supervise the interview. Lysbeth, who has teenage children herself, looks as if she might cry even before Richard speaks. It's been a long week. Richard is determined to make it easy for us. He smiles gently at the Dictaphone: ”It's okay. Are you sure that it's on?”

”My name is Richard S. Jack. I was twelve in 2003. I was living with my mother when the second civil war began. I was playing on a football field when men came and grabbed me. It was done by force-I had no desire to join that war. They called themselves the Marine Force. They took both teams of boys away. They threw us in a truck. I thought I wasn't going to see my parents anymore. They took me to Lofah Bridge. What happened there? We were taught to do certain things. We were taught to use AK-47s. I was with them for a year and a half. We were many different kinds of Liberians and Sierra Leoneans, many boys. The first one or two weeks I was so scared. After that it became a part of me. I went out of my proper and natural way. War makes people go out of their proper and natural way. It is a thing that destroys even your thoughts. People still don't know what the war was about. I know. It was a terrible misunderstanding. But it is not a part of me anymore. I don't want violence in me anymore. Whenever I sit and think about the past, I get this att.i.tude: I am going to raise myself up I am going to raise myself up. So I tell people about my past. They should know who I was. Sometimes it is hard. But it wasn't difficult to explain to my mother. She understood how everything was. She knew I was not a bad person in my heart. Now I want to be most wise. My dream is to become somebody good in this nation. I have a feeling that Liberia could be a great nation. But I also want to see the world. I love the study of geography. I want to become a pilot. You want me to fly you somewhere? Sure. Come and find me in ten years. I promise we will fly places.”

Nine.

SPEAKING IN TONGUES.

The following is based on a lecture given at the New York Public Library in December 2008.

1.

h.e.l.lo. This voice I speak with these days, this English voice with its rounded vowels and consonants in more or less the right place-this is not the voice of my childhood. I picked it up in college, along with the unabridged Clarissa Clarissa and a taste for port. Maybe this fact is only what it seems to be-a case of bald social climbing-but at the time, I genuinely thought this was the voice of lettered people, and that if I didn't have the voice of lettered people I would never truly be lettered. A braver person, perhaps, would have stood firm, teaching her peers a useful lesson by example: not all lettered people need be of the same cla.s.s, nor speak identically. I went the other way. Partly out of cowardice and a const.i.tutional eagerness to please, but also because I didn't quite see it as a straight swap, of this voice for that. My own childhood had been the story of this and that combined, of the synthesis of disparate things. It never occurred to me that I was leaving Willesden for Cambridge. I thought I was adding Cambridge to Willesden, this new way of talking to that old way. Adding a new kind of knowledge to a different kind I already had. And for a while, that's how it was: at home, during the holidays, I spoke with my old voice, and in the old voice seemed to feel and speak things that I couldn't express in college, and vice versa. I felt a sort of wonder at the flexibility of the thing. Like being alive twice. and a taste for port. Maybe this fact is only what it seems to be-a case of bald social climbing-but at the time, I genuinely thought this was the voice of lettered people, and that if I didn't have the voice of lettered people I would never truly be lettered. A braver person, perhaps, would have stood firm, teaching her peers a useful lesson by example: not all lettered people need be of the same cla.s.s, nor speak identically. I went the other way. Partly out of cowardice and a const.i.tutional eagerness to please, but also because I didn't quite see it as a straight swap, of this voice for that. My own childhood had been the story of this and that combined, of the synthesis of disparate things. It never occurred to me that I was leaving Willesden for Cambridge. I thought I was adding Cambridge to Willesden, this new way of talking to that old way. Adding a new kind of knowledge to a different kind I already had. And for a while, that's how it was: at home, during the holidays, I spoke with my old voice, and in the old voice seemed to feel and speak things that I couldn't express in college, and vice versa. I felt a sort of wonder at the flexibility of the thing. Like being alive twice.

But flexibility is something that requires work if it is to be maintained. Recently my double voice has deserted me for a single one, reflecting the smaller world into which my work has led me. Willesden was a big, color ful, working-cla.s.s sea; Cambridge was a smaller, posher pond, and almost univocal; the literary world is a puddle. This voice I picked up along the way is no longer an exotic garment I put on like a college gown whenever I choose-now it is my only voice, whether I want it or not. I regret it; I should have kept both voices alive in my mouth. They were both a part of me. But how the culture warns against it! As George Bernard Shaw delicately put it in his preface to the play Pygmalion, Pygmalion, ”many thousands of [British] men and women . . . have sloughed off their native dialects and acquired a new tongue.” Few, though, will admit to it. Voice adaptation is still the original British sin. Monitoring and exposing such citizens is a national pastime, as popular as s.e.x scandals and libel cases. If you lean toward the Atlantic with your high-rising terminals, you're a sellout; if you p.r.o.nounce borrowed European words in their original style-even if you try something as innocent as ”many thousands of [British] men and women . . . have sloughed off their native dialects and acquired a new tongue.” Few, though, will admit to it. Voice adaptation is still the original British sin. Monitoring and exposing such citizens is a national pastime, as popular as s.e.x scandals and libel cases. If you lean toward the Atlantic with your high-rising terminals, you're a sellout; if you p.r.o.nounce borrowed European words in their original style-even if you try something as innocent as parmigiano parmigiano for for parmesan parmesan-you're a fraud. If you go (metaphorically speaking) down the British cla.s.s scale, you've gone from c.o.c.kney to ”mockney” and can expect a public tarring and feathering; to go the other way is to perform an unforgivable act of cla.s.s betrayal. Voices are meant to be unchanging and singular. There's no quicker way to insult an expat Scotsman in London than to tell him he's lost his accent. We feel that our voices are who we are, and that to have more than one, or to use different versions of a voice for different occasions, represents, at best, a Ja.n.u.s-faced duplicity, and at worst, the loss of our very souls. Whoever changes their voice takes on, in Britain, a queerly tragic dimension. They have betrayed that puzzling dictum ”To thine own self be true,” so often quoted approvingly as if it represented the wisdom of Shakespeare rather than the hot air of Polonius. ”What's to become of me? What's to become of me?” wails Eliza Doolittle, realizing her middling dilemma. With a voice too posh for the flower girls and yet too redolent of the gutter for the ladies in Mrs. Higgins's drawing room.

But Eliza-patron saint of the tragically double-voiced-is worthy of closer inspection. The first thing to note is that both Eliza and Pygmalion Pygmalion are entirely didactic, as Shaw meant them to be. ”I delight,” he wrote, ”in throwing [ are entirely didactic, as Shaw meant them to be. ”I delight,” he wrote, ”in throwing [Pygmalion] at the heads of the wiseacres who repeat the parrot cry that art should never be didactic. It goes to prove my contention that art should never be anything else.” He was determined to tell the unambiguous tale of a girl who changes her voice and loses her self. And so she arrives like this: Don't you be so saucy. You ain't heard what I come for yet. Did you tell him I come in a taxi? . . . Oh, we are proud! He ain't above giving lessons, not him: I heard him say so. Well, I ain't come here to ask for any compliment; and if my money's not good enough I can go elsewhere. . . . Now you know, don't you? I'm come to have lessons, I am. And to pay for em too: make no mistake. . . . I want to be a lady in a flower shop stead of selling at the corner of Tottenham Court Road. But they wont take me unlessI can talk more genteel.

And she leaves like this: I can't. I could have done it once; but now I can't go back to it. Last night, when I was wandering about, a girl spoke to me; and I tried to get back into the old way with her; but it was no use. You told me, you know, that when a child is brought to a foreign country, it picks up the language in a few weeks, and forgets its own. Well, I am a child in your country. I have forgotten my own language, and can speak nothing but yours.

By the end of his experiment, Professor Higgins has made his Eliza an awkward, in-between thing, neither flower girl nor lady, with one voice lost and another gained, at the steep price of everything she was and everything she knows. Almost as afterthought, he sends Eliza's father, Alfred Doolittle, to his doom, too, securing a three-thousand-a-year living for the man on the condition that Doolittle lecture for the Wannafeller Moral Reform World League up to six times a year. This burden brings the philosophical dust-man into the close, unwanted embrace of what he disdainfully calls ”middle cla.s.s morality.” By the time the curtain goes down, both Doolittles find themselves stuck in the middle, which is, to Shaw, a comi-tragic place to be, with the emphasis on the tragic. What are they fit for? What will become of them?

How persistent this horror of the middling spot is, this dread of the interim place! It extends through the specter of the tragic mulatto, to the plight of the transs.e.xual, to our present anxiety-disguised as genteel concern-for the contemporary immigrant, tragically split, we are sure, between worlds, ideas, cultures, voices-whatever will become of them? Something's got to give-one voice must be sacrificed for the other. What is double must be made singular. But this, the apparent didactic moral of Eliza's story, is undercut by the fact of the play itself, which is an orchestra of many voices, simultaneously and perfectly rendered, with no shade of color or tone sacrificed. Higgins's Harley Street high-handedness is the equal of Mrs. Pearce's lower-middle-cla.s.s gen tility, Pickering's kindhearted aristocratic imprecision every bit as convincing as Alfred Doolittle's Nietzschean c.o.c.kney-by-way-of-Wales. Shaw had a wonderful ear, able to reproduce almost as many quirks of the English language as Shakespeare's. Shaw was in possession of a gift he wouldn't, or couldn't, give Eliza: he spoke in tongues.

It gives me a strange sensation to turn from Shaw's melancholy Pygmalion story to another, infinitely more hopeful version, written by the new president of the United States of America. Of course, his ear isn't half bad either. In Dreams from My Father, Dreams from My Father, the new president displays an enviable facility for dialogue, and puts it to good use, animating a cast every bit as various as the one James Baldwin-an obvious influence-conjured for his own many-voiced novel the new president displays an enviable facility for dialogue, and puts it to good use, animating a cast every bit as various as the one James Baldwin-an obvious influence-conjured for his own many-voiced novel Another Country Another Country. Obama can do young Jewish male, black old lady from the South Side, white woman from Kansas, Kenyan elders, white Harvard nerds, black Columbia nerds, activist women, churchmen, security guards, bank tellers, and even a British man called Mr. Wilkerson, who on a starry night on safari says credibly British things like: ”I believe that's the Milky Way.” This new president doesn't just speak for his people. He can speak them. It is a disorienting talent in a president; we're so unused to it. I have to pinch myself to remember who wrote the following well-observed scene, seemingly plucked from a comic novel: ”Man, I'm not going to any more of these bulls.h.i.+t Punahou parties.”

”Yeah, that's what you said the last time. . . . ”

”I mean it this time. . . . These girls are A-1, USDA-certified racists. All of 'em. White girls. Asian girls-shoot, these Asians worse than the whites. Think we got a disease or something.”

”Maybe they're looking at that big b.u.t.t of yours. Man, I thought you were in training.”

”Get your hands out of my fries. You ain't my b.i.t.c.h, n.i.g.g.e.r. . . . buy your own d.a.m.n fries. Now what was I talking about?”

”Just 'cause a girl don't go out with you doesn't make her a racist.”

This is the voice of Obama at seventeen, as remembered by Obama. He's still recognizably Obama; he already seeks to unpack and complicate apparently obvious things (”Just 'cause a girl don't go out with you doesn't make her a racist”); he's already gently cynical about the impa.s.sioned dogma of other people (”Yeah, that's what you said the last time”). And he has a sense of humor (”Maybe they're looking at that big b.u.t.t of yours”). Only the voice is different: he has made almost as large a leap as Eliza Doolittle. The conclusions Obama draws from his own Pygmalion experience, however, are subtler than Shaw's. The tale he tells is not the old tragedy of gaining a new, false voice at the expense of a true one. The tale he tells is all about addition. His is the story of a genuinely many-voiced man. If it has a moral, it is that each man must be true to his selves, plural.

For Obama, having more than one voice in your ear is not a burden, or not solely a burden-it is also a gift. And the gift is of an interesting kind, not well served by that dull publis.h.i.+ng-house t.i.tle, Dreams from My Father: A Story of Race and Inheritance Dreams from My Father: A Story of Race and Inheritance, with its suggestion of a simple linear inheritance, of paternal dreams and aspirations pa.s.sed down to a son, and fulfilled. Dreams from My Father Dreams from My Father would have been a fine t.i.tle for John McCain's book would have been a fine t.i.tle for John McCain's book Faith of My Fathers, Faith of My Fathers, which concerns exactly this kind of linear masculine inheritance, in his case from soldier to soldier. For Obama's book, though, it's wrong, lopsided. He corrects its misperception early on, in the first chapter, while discussing the failure of his parents' relations.h.i.+p, characterized by their only son as the end of a dream. ”Even as that spell was broken,” he writes, ”and the worlds that they thought they'd left behind reclaimed each of them, I occupied the place where their dreams had been.” which concerns exactly this kind of linear masculine inheritance, in his case from soldier to soldier. For Obama's book, though, it's wrong, lopsided. He corrects its misperception early on, in the first chapter, while discussing the failure of his parents' relations.h.i.+p, characterized by their only son as the end of a dream. ”Even as that spell was broken,” he writes, ”and the worlds that they thought they'd left behind reclaimed each of them, I occupied the place where their dreams had been.”

To occupy a dream, to exist in a dreamed s.p.a.ce (conjured by both father and mother), is surely a quite different thing from simply inheriting a dream. It's more interesting. What did Pauline Kael call Cary Grant? ”The Man from Dream City.” When Bristolian Archibald Leach became suave Cary Grant, the transformation happened in his voice, which he subjected to a strange, indefinable manipulation, resulting in that heavenly sui generis accent, neither west country nor posh, American nor English. It came from nowhere; he he came from nowhere. Grant seemed the product of a collective dream, dreamed up by moviegoers in hard times, as it sometimes feels voters have dreamed up Obama in hard times. Both men have a strange reflective quality, typical of the self-created man-we see in them whatever we want to see. ”Everyone wants to be Cary Grant,” said Cary Grant. ”Even I want to be Cary Grant.” It's not hard to imagine Obama having that same thought, backstage at Grant Park, hearing his own name chanted by the hopeful mult.i.tude. Everyone wants to be Barack Obama. Even I want to be Barack Obama. came from nowhere. Grant seemed the product of a collective dream, dreamed up by moviegoers in hard times, as it sometimes feels voters have dreamed up Obama in hard times. Both men have a strange reflective quality, typical of the self-created man-we see in them whatever we want to see. ”Everyone wants to be Cary Grant,” said Cary Grant. ”Even I want to be Cary Grant.” It's not hard to imagine Obama having that same thought, backstage at Grant Park, hearing his own name chanted by the hopeful mult.i.tude. Everyone wants to be Barack Obama. Even I want to be Barack Obama.

2.

But I haven't described Dream City. I'll try to. It is a place of many voices, where the unified singular self is an illusion. Naturally, Obama was born there. So was I. When your personal multiplicity is printed on your face, in an almost too obviously thematic manner, in your DNA, in your hair and in the neither-this-nor-that beige of your skin-well, anyone can see you come from Dream City. In Dream City everything is doubled, everything is various. You have no choice but to cross borders and speak in tongues. That's how you get from your mother to your father, from talking to one set of folks who think you're not black enough to another who figure you insufficiently white. It's the kind of town where the wise man says ”I” cautiously, because I I feels like too straight and singular a phoneme to represent the true multiplicity of his experience. Instead, citizens of Dream City prefer to use the collective p.r.o.noun feels like too straight and singular a phoneme to represent the true multiplicity of his experience. Instead, citizens of Dream City prefer to use the collective p.r.o.noun we. we.

Throughout his campaign Obama was careful always to say we we. He was noticeably wary of I. I. By speaking so, he wasn't simply avoiding a singularity he didn't feel; he was also drawing us in with him. He had the audacity to suggest that, even if you can't see it stamped on their faces, most people come from Dream City, too. Most of us have complicated backstories, messy histories, multiple narratives. It was a high-wire strategy, for Obama, this invocation of our collective human messiness. His enemies latched on to its imprecision, emphasizing the exotic, un-American nature of Dream City, this ill-defined place where you could be from Hawaii and Kenya, Kansas and Indonesia all at the same time, where you could jive talk like a street hustler and orate like a senator. What kind of a crazy place is that? But they underestimated how many people come from Dream City, how many Americans, in their daily lives, conjure contrasting voices and seek a synthesis between disparate things. Turns out, Dream City wasn't so strange to them. By speaking so, he wasn't simply avoiding a singularity he didn't feel; he was also drawing us in with him. He had the audacity to suggest that, even if you can't see it stamped on their faces, most people come from Dream City, too. Most of us have complicated backstories, messy histories, multiple narratives. It was a high-wire strategy, for Obama, this invocation of our collective human messiness. His enemies latched on to its imprecision, emphasizing the exotic, un-American nature of Dream City, this ill-defined place where you could be from Hawaii and Kenya, Kansas and Indonesia all at the same time, where you could jive talk like a street hustler and orate like a senator. What kind of a crazy place is that? But they underestimated how many people come from Dream City, how many Americans, in their daily lives, conjure contrasting voices and seek a synthesis between disparate things. Turns out, Dream City wasn't so strange to them.

Or did they never actually see it? We now know that Obama spoke of Main Street in Iowa Main Street in Iowa and of and of sweet potato pie sweet potato pie in Northwest Philly, and it could be argued that he succeeded because he so rarely misspoke, carefully tailoring his intonations to suit the sensibility of his listeners. Sometimes he did this within one speech, within one in Northwest Philly, and it could be argued that he succeeded because he so rarely misspoke, carefully tailoring his intonations to suit the sensibility of his listeners. Sometimes he did this within one speech, within one line: line: ”We wors.h.i.+p an ”We wors.h.i.+p an awesome awesome G.o.d in the blue states, and we don't like federal agents poking around our libraries in the red states.” G.o.d in the blue states, and we don't like federal agents poking around our libraries in the red states.” Awesome G.o.d Awesome G.o.d comes to you straight from the pews of a Georgia church; comes to you straight from the pews of a Georgia church; poking around poking around feels more at home at a kitchen table in South Bend, Indiana. The balance was perfect, cunningly counterpoised and never accidental. It's only now that it's over that we see him let his guard down a little, on feels more at home at a kitchen table in South Bend, Indiana. The balance was perfect, cunningly counterpoised and never accidental. It's only now that it's over that we see him let his guard down a little, on 60 Minutes 60 Minutes, say, dropping in that culturally, casually black construction, ”Hey, I'm not stupid, man, that's why I'm president,” something it's hard to imagine him doing even three weeks earlier. To a certain kind of mind, it must have looked like the mask had slipped for a moment.

Which brings us to the single-voiced Obamanation crowd. They rage on in the blogs and on the radio, waiting obsessively for the mask to slip. They have a great fear of what they see as Obama's doubling ways. ”He says one thing but he means another”-this is the essence of the fear campaign. He says he's a capitalist, but he'll spread your wealth. He says he's a Christian, but really he's going to empower the Muslims. And so on and so forth. These are fears that have their roots in an anxiety about voice. ”Who is he?” people kept asking. I mean, who is this guy, really? He says ”sweet potato pie” in Philly and ”Main Street” in Iowa! When he talks to us, he sure sounds like us-but behind our backs he says we're clinging to our religion, to our guns. And when Jesse Jackson heard that Obama had lectured a black church congregation about the epidemic of absent black fathers, he experienced this, too, as a tonal betrayal; Obama was ”talking down to black people.” In both cases, there was the sense of a double-dealer, of someone who tailors his speech to fit the audience, who is not of the people (because he is able to look at them objectively) but always above them.

The Jackson gaffe, with its Oedipal violence (”I want to cut his nuts out”), is especially poignant because it goes to the heart of a generational conflict in the black community, concerning what we will say in public and what we say in private. For it has been a point of honor, among the civil rights generation, that any criticism or negative a.n.a.lysis of our community, expressed, as they often are by white politicians, without context, without real empathy or understanding, should not be repeated by a black politician when the white community is listening, even if (especially if) the criticism happens to be true (more than half of all black American children live in single-parent households). Our business is our business. Keep it in the family; don't wash your dirty linen in public; stay unified. (Of course, with his overheard gaffe, Jackson unwittingly broke his own rule.) Until Obama, black politicians had always adhered to these unwritten rules. In this way, they defended themselves against those two bogeymen of black political life: the Uncle Tom and the House n.i.g.g.e.r. The black politician who played up to, or even simply echoed, white fears, desires and hopes for the black community was in danger of earning these epithets-even Martin Luther King was not free from such suspicions. Then came Obama, and the new world he had supposedly ushered in, the postracial world, in which what mattered most was not blind racial allegiance but factual truth. It was felt that Jesse Jackson was sadly out of step with this new postracial world: even his own son felt moved to publicly repudiate his ”ugly rhetoric.” But Jackson's anger was not incomprehensible or his distrust unreasonable. Jackson lived through a bitter struggle, and bitter struggles deform their partic.i.p.ants in subtle, complicated ways. The idea that one should speak one's cultural allegiance first and the truth second (and that this is a sign of authenticity) is precisely such a deformation.

Right up to the wire, Obama made many black men and women of Jackson's generation suspicious. How can can the man who pa.s.ses between culturally black and white voices with such flexibility, with such ease, be an honest man? How the man who pa.s.ses between culturally black and white voices with such flexibility, with such ease, be an honest man? How will will the man from Dream City keep it real? Why won't he speak with a clear and unified voice? These were genuine questions for people born in real cities at a time when those cities were implacably divided, when the black movement had to yell with a clear and unified voice, or risk not being heard at all. And then he won. Watching Jesse Jackson in tears in Grant Park, pressed up against the varicolored American public, it seemed like he, at least, had received the answer he needed: only a many-voiced man could have spoken to that many people. the man from Dream City keep it real? Why won't he speak with a clear and unified voice? These were genuine questions for people born in real cities at a time when those cities were implacably divided, when the black movement had to yell with a clear and unified voice, or risk not being heard at all. And then he won. Watching Jesse Jackson in tears in Grant Park, pressed up against the varicolored American public, it seemed like he, at least, had received the answer he needed: only a many-voiced man could have spoken to that many people.

A clear and unified voice. In that context, this business of being biracial, of being half black and half white, is awkward. In his memoir, Obama takes care to ridicule a certain black girl called Joyce-a composite figure from his college days who happens also to be part Italian and part French and part Native American and is inordinately fond of mentioning these facts, and who likes to say: I'm not black . . . I'm multiracial. . . . Why should I have to choose between them? . . . It's not white people who are making me choose. . . . No-it's black people who always have to make everything racial. They're the ones making me choose. They're the ones who are telling me I can't be who I am. . . .

He has her voice down pat and so condemns her out of her own mouth. For she's the third bogeyman of black life, the tragic mulatto, who secretly wishes she ”pa.s.sed,” always keen to let you know about her white heritage. It's the fear of being mistaken for Joyce that has always ensured that I ignore the box marked ”biracial” and tick the box marked ”black” on any questionnaire I fill out, and call myself unequivocally a black writer and roll my eyes at anyone who insists that Obama is not the first black president but the first biracial one. But I also know in my heart that it's an equivocation; I know that Obama has a double consciousness, is black and, at the same time, white, as I am, unless we are suggesting that one side of a person's genetics and cultural heritage cancels out or trumps the other.