Ukraine: A Conflict Soaked in Contradictions and New Patterns in War and Media

Cancel This Book: The Progressive Case Against Cancel Culture, by Dan Kovalik (Hot Books: New York, 2021)

Academic and activist Dan Kovalik’s new book, Cancel This Book: The Progressive Case Against Cancel Culture, was written on the frontlines of the twin struggles of our time, the class struggle and the fight for Black liberation. Reading it brought me back to so many magical and contradictory movement moments that I could not resist writing a review.

‘White People Go to the Back of the March’

On the Rev. Dr. Martin Luther King, Jr., Day in 2017, thousands of protesters took to Fifth Avenue and the frigid streets of New York City to demand criminal charges against the police who murdered Alton Sterling in Baton Rouge; Philando Castile in Falcon Heights, Minnesota; and hundreds of other unarmed Black and brown men. Some Black Lives Matter march marshals had determined that Black and brown families and activists—presented as the only real victims and fighters—would march in the front. White people—presented as all equal benefactors of white supremacy and white privilege—were assigned to march in the back, separated from the youthful, militant front. It was a strange scene. Forty-nine years after the U.S. state assassinated Dr. King for risking his life to organize a multiracial movement against white supremacy—and in his final months, a Poor People’s Campaign against the capitalist system—surely he would find it curious we no longer needed outright white supremacists like Bull Connor or George Wallace; we were now capable of segregating our own marches.

So many questions leapt into my mind as my eyes traced the 10-block-long protest. Where did poor whites belong? Veterans? Whites who had been through the prison system? How about Black students who had both parents in a position to pay their tuition out of pocket at NYU or Columbia? They had all earned the front? Then there was my Ernesto Rafael, my son, half Dominican, half poor-white, harassed by the police too many times in the Bronx. Where did he “belong,” according to the marshals?

This was but one example of the new racial dynamics on display across the country in the BLM movement from Oakland to Boston, and everywhere in between. For class conscious revolutionaries throwing down in the heart of this mass movement, it represented a series of fresh, unique challenges.

When I picked up Kovalik’s new book, I was intrigued by his biting class analysis of the similar experiences he had. In chapter 2, “Cancellation of a Peace Activist,” he writes directly about being a participant on the frontlines of the BLM movement in Pennsylvania, ducking and dodging police batons as organizers collectively figured out their next strategic moves. Kovalik, a union and human rights lawyer and professor, based out of Pittsburgh, dives deep into the contradictions he and so many others experienced. Kovalik slams both the arrogance of isolated white anarchists whose faux militancy puts all protesters at risk, as well as the bullying tactics and racial reductionism of some radical liberals. This took me back to the explosion of protests following the police murders of Eric Garner and Michael Brown in 2014, which brought millions of people into the streets to denounce the epidemic of police terror in Black and brown communities. Millions were in motion and different political tendencies vied for leadership. Kovalik examines key lessons to be drawn from the almost decade of collective experience we have as a movement in what came to be known as “Black Lives Matter.” This is but one must-read chapter in Kovalik’s exciting new book.

Woke Capitalism

Kovalik’s book is an expose of Woke Capitalism and the cancer of cancel culture.

While millions took to the streets to stop President George W. Bush from invading Iraq, the peace movement was eerily silent when Barack Obama, the country’s first Black president, became “the drone-warrior-in-chief, dropping at least 26,171 bombs in 2016 alone.” (pg. 109) He critiques the peace movement for going quiet every time a Democrat is (s)elected to the oval office.

This page-turner exposes today’s liberal establishment, which touts “racial equity” without ever questioning the underlying structure that intensifies white supremacist control of society’s institutions. David Remnick, the editor of The New Yorker, is but one example of a liberal who bloviates over the U.S. Capitol rioters and their violent methods. Yet, he advocated for the bombing, sacking and recolonization of Iraq. (pg. VIII) The book exposes corporate and campus departments that pay hefty salaries to “experts” to lecture on “racial justice” without ever touching the structures that buttress white supremacy and racial and class segregation. These defenders of racial capitalism—from the academy to the pressroom—give political cover to hucksters, who make a killing by bullying white liberals into forking over money, lest they be labeled racist. As one class-conscious scholar sarcastically asks in Black Agenda Report: Do we really “wonder why these rural voters didn’t just go to their local Barnes and Noble to purchase a copy of How to Be an Anti-racist before the election?” Are all of the books that have emerged from the White Privilege Industrial Complex reaching that mass of “deplorables,” whom Arlie Hochchild refers to in her monumental sociological exposé as “strangers in their own land”? (“Own land” as in stolen Indigenous land).

Kovalik takes on the Frankenstein-esque outgrowth of cancellations in academic institutions and beyond, asking what are the political forces behind them? He offers the real-life example of the canceling of Molly Rush, an octogenarian peace activist who reposted a quote that took on a life of its own. Instead of speaking with her face to face to clear the air, internet activists dragged her down and expelled her from the movement, like a group of pre-teens playing a game of Telephone. (pg. 13) Kovalik surmises that many keyboard warriors who have never stared down police lines or even handed out a flyer don’t want dialogue and growth. They want to score woke points and “likes” to the detriment of other comrades.

Liberal bully politics short-changes us all. Kovalik takes a big leap to the international realm to examine the West’s arrogant dismissal of Cuban medical internationalism, the Russian Sputnik V COVID-19 vaccine and China’s success controlling the COVID-19 pandemic. China had two deaths in 2021. Kovalik concludes:

“It simply boggles the mind how the mainstream media and the Democratic Party elite are willing to compromise world peace and public health all in the interest of political gain. In so doing, they have taken ‘cancel culture’ to the very extreme, and they may get us all canceled, permanently, in the process…” (pg. 139)

We Never Give Up on Our People

It’s a new era. One tweet-turned-Twitter-game-of-telephone can ruin a comrade’s life.

How does the state operate online? How do anarchists operate online? When do they intermingle? Any anonymous account can start a smear campaign against any public figure.

This book invites us to ask: If we cancel every last screw-up, addict and lumpenized scroundrel, who will absorb the body blows needed to bob and weave forward in the class struggle?

When in history has another social class organized, led and defended a revolution? The petite-bourgeoisie blows with the wind. Who will be left? Who is willing to put in that work? Who knows hell well enough not to fear it? Nicaraguan national hero Augusto Sandino said, “Only the workers and peasants will make it all the way.” Kovalik is not turning his back and giving up on the potential cadre of the future. Will you?

As Marxists, revolutionaries and anti-imperialists, we believe nothing is permanent; everything is in a state of flux. The watchwords are growing through contradictions among the people, healing and restorative justice. We don’t have the luxury of discarding comrades. There has to be a path back or we risk cannibalizing and condemning our own ranks. Who would Malcolm X have been if everyone had given up on him in his 20s, when he was imprisoned? How many young Bobbies, Hueys and Assatas are sidelined right now? How can we be less judgemental and give people opportunities to learn from their mistakes?

The Other White America

Black and Brown people in the United States, and those in solidarity with the Black Liberation Movement, have every right to be angry. But angry at whom?

Most white people are not CEOs or members of the ruling class; many more are National Guard soldiers, correction officers and other reactionary rent-a-cops, the overseers of a society divided between the haves and the have-nots. But the racial portrait of state repression is more complicated. Fifty-eight percent of the Atlanta police force is Black. Over half of Washington, D.C.’s police force is Black. 

A liberal portrait of white privilege fails to tell the full class story in the United States. Seventy million people received Medicaid in 2016—43 percent were white. Of 43 million food stamp recipients that year, 36.2 percent were white. Over 100,000 overdoses took place in the past year. The overwhelming majority of opioid overdoses occur among poor whites, roughly 72 percent. Are these cast-off layers of our class our enemies?

Kovalik points out that similar to white people, “the top 10 percent of Black households hold 75 percent of Black wealth.” (pg. 96) Is every brother your brother?

Given the complex class and racial terrain, do we cast poor and working-class whites away as “a basket of deplorables” or do win them over to defend their class interests? Wouldn’t sticking all white protesters in the back of marches with more yuppified layers only alienate them more? Is the movement a “safe space” for them, or more importantly a revolutionizing space? 

Cancel This Book refuses to give up on the other white America—the poor, forgotten and de-industrialized “oxy-electorate” (writer Kathleen Frydl’s term for white people who live in the U.S. Rust Belt, where OxyContin addictions are on the rise). Those white people are full of disappointment and hatred for this system—between the tens of millions who refused to vote for another neoliberal Dixiecrat like Hillary Clinton, and the tens of millions of others who were duped into believing a spoiled, trash-talking, billionaire, real-estate mogul hoax and punk with infinite air time was their white knight.

As Malcolm X taught: “The truth is on the side of the oppressed today, it is against the oppressor.” We can win over workers who have only ever known the american-dreaming chauvinism they have been fed. Bursting with ideological perspicacity and revolutionary hope, this book pushes us not to get caught up in the liberal webs of identity politics and call-out culture.

Kovalik also challenges the white liberals who unknowingly acted as “masochists at the protests.” This constructive critique is not meant to take away from anyone’s hard work and real contributions. Showing Up for Racial Justice (SURJ) was one outgrowth of these liberal politics, which relegated many well-intentioned, liberal, student and petite-bourgeoisie (“middle-class”) whites to cheerleader positions. Is this the militant mass-movement that is going to stand up to the State Department, the Pentagon, the police and the intelligence agencies? When Malcolm held up white abolitionist John Brown’s life as an example of real struggle to follow, he was challenging these liberal politics.

Amidst the ever-evolving dialectics of our movement, Kovalik’s book comes as a breath of fresh air. It is a clarion call about the damage we are collectively doing to our movement if we do not center class politics next to the need for Black liberation and the liberation of all oppressed people.

Danny Shaw is a professor of Caribbean and Latin American Studies at the City University of New York. He frequently travels within the Americas region. A Senior Research Fellow at the Center on Hemispheric Affairs, Danny is fluent in Haitian Kreyol, Spanish, Portuguese and Cape Verdean Kriolu.

A scene in Nia Dacosta’s film, “Candyman” (2021), might go unnoticed, but it signifies the theme of representation appearing throughout the film. Representation refers to oppressed people being seen in media and politics, but it does not mean they wield power in those sectors.

Actor Yahya Abdul-Mateen II plays the central character “Anthony McCoy,” whom we aren’t sure can be called a protagonist or an antagonist, even by the movie’s end. In the aforementioned scene, he stands at the intersection of a long-abandoned neighborhood, which is composed of former row-house apartments that used to surround the high-rise tower of Cabrini-Green, a public-housing project in Chicago. The street he is facing is empty of typical neighborhood life—adults going to and from work or errands, kids playing, teens hanging out. But remnants of their neighborhood, including the doorless, windowless apartment units that offer nothing but a foreboding darkness, stand as empty, haunting reminders of a people who used to live there but are long gone. The street is marked by a sign for “Mohawk St.”, and as he walks around the corner, another street sign reads “Locust St.” These are actual streets in the Cabrini-Green neighborhood in Chicago, lending credibility to the storyline by anchoring the tale in the actual remains of the infamous neighborhood, whose residents had been long displaced through gentrification.

But the street names seem to also juxtapose the disappearance of Indigenous tribes, like the Mohawk. They are relegated to outposts that are out of sight, out of mind for the rest of us. The impetus behind the mass displacement of both the Black and poor residents of Cabrini-Green and Indigenous people is the locust-like swarm of gentrification, which could be argued is a modern day form of settler-colonialism. It might be a stretch to make this kind of observation of this scene. It might not have been one that DaCosta might have been intending to make. But it is a connection I couldn’t help making, considering “Candyman” is less of a horror film than an indictment of white supremacy and the terror that it inflicts upon the communities it ravages.

I will try not to provide many spoilers in this review. I will say seeing the first “Candyman” (1992) is critical to understanding the expansion of the story and themes in the current iteration. But those themes that are outside of the conventional horror narrative are as important to the experience as continuing the urban legend of “Candyman.”

Abdul-Mateen is convincing in his portrayal of “Anthony,” a young Black aspiring artist struggling to make his mark on the art world. Ebulliant actor Teyonah Parris plays McCoy’s partner, “Brianna Cartwright,” also a young Black up-and-comer working as a curator at the gallery where her partner’s work is being shown. 

The characters live together in one of the trendy, expensive apartments in the gentrified Cabrini-Green neighborhood, long after the towers had been torn down. Brianna and Anthony appear to have a loving, committed relationship, a lovely expression of Black Love that we all enjoy seeing so much, and we need to see more of. That is until Anthony learns about the legend of Candyman from Brianna’s brother, “Troy,” played by actor Nathan Stewart-Jarrett. Anthony is fascinated with the legend and pursues inspiration for new art by visiting what is left of the old Cabrini-Green neighborhood. He meets one of the last remaining residents, seemingly neighborly “William Burke,” portrayed by veteran actor Colman Domingo. 

Here is where I’ll leave off describing the timeline of the movie, because how things happen almost take a backseat to what some of those things seem to represent. 

Anthony slowly transforms into… something, and his physical transformation coincides with what seems like the fraying of his mental state. Anthony attempts to protect his partner, Brianna, in a pivotal scene that exposes something far more sinister in real life than a horror movie boogeyman: The horrifying and lasting effects of trauma and the unaddressed mental illness among Black people, particularly how Black men are misunderstood or ignored when they suffer mental health crises and trauma.

The tendency for many of us to dissociate ourselves from mental illness and trauma is touched on in a seemingly disconnected flashback that Brianna has of a traumatic childhood experience with her father. No, it’s not sexual abuse, but it is traumatic. But because she never confronts what happens, when her partner, Anthony, begins to display behavior that suggests his mental health is fraying, Brianna responds with less and less understanding, and more and more hostility. Focusing more on moving up in her career than her partner’s obvious growing difficulties, she ultimately leaves Anthony alone to face whatever he is experiencing.

Brianna’s brother, Troy, is also pointedly critical of Anthony as the Black Man Living Off a Black Woman. But Troy himself is settling into a relationship with his new partner, “Clive” (played by Brian King), who Brianna accepts and notes is a welcome change from her brother’s usual unsavory choices. It is another interesting play on the trope of listless Black men being leeches on successful Black women that doesn’t sting any more or less because the one employing it in this case is a gay man. Rather it seems that this represents the pervasiveness of the deadbeat Black man stereotype—even other marginalized Black men believe it.

Much of the first third of the film revolves around Anthony’s transformation. That is where the trauma of centuries of racist violence against Black men emerges.

Much of Anthony’s transmogrification occurs in front of mirrors. That is obvious to the storyline and the myth of Candyman, but it doesn’t quite apply to Anthony because he isn’t sure if he is hallucinating or not. When he realizes that what he is seeing is real, the scene conveys less horror movie scare than a deep reflection into what happens to Black men’s souls living in a white supremacist system that loves their culture, their swag, their art and anything else from which society can profit. But this society doesn’t love them, and it will not hesitate to express its disregard for Black men in the most violent, inhumane ways possible.

That long history of racist violence against Black men is told in cleverly laid-out shadow puppetry, which simultaneously removes the physical gruesomeness of the acts portrayed while delivering their inhumane brutality. Each shadow-puppet story relates to a different iteration of Candyman, and the collective trauma of centuries of violent racist brutality against Black men turns the Candyman figure into something other than a villain. Terrifying in his visage and actions, certainly, but the question emerges as the connections are made between this history and the urban legend come to life: Is Candyman the monster, or is the monster what created Candyman?

As viewers hopefully make this connection, they are invited if they are thinking further to ask a larger question: Are Black men, who lash out at a society that finds every way imaginable to destroy them, the monsters society says they are, or is the monster really society?

Indictments of white supremacist society and privilege, and the impact of the trauma of community having been erased, are woven throughout the film, reflecting ways Black people are either dismissed or used before being discarded.

The contempt and condescending paternalism of society’s gatekeepers is represented by the gallery owner and the art critic—and even the Black major-gallery curator—as they have little regard or use for Anthony as he struggles to produce content that will elevate his profile. They do not hesitate to disregard him when he is no longer of use to them.

The ease with which an oblivious white society appropriates Black culture, traditions and even urban legends—believing no consequences exist for that appropriation because they have no connection to the community those things come from—is reflected in a scene that is on the surface typical horror-movie, high-school kid hijinks.

The crushing trauma of surviving the systematic eradication of one’s community, and the desire to get back or revive what was taken or destroyed, is an underlying aspect of the actions of neighborly-seeming sole survivor/resident of Cabrini-Green, William Burke. 

The way society is more accepting of a Black women’s efforts to climb the ladder, and how easily they dismiss Black men as they fall down it—even as they watch—can be extrapolated as we witness Anthony’s growing instability as it manifests itself when he and Brianna are trying to court a renowned gallery owner.

The way that our parents may have been doing the best they thought they could by moving their children out of the ‘hood and into “better” neighborhoods, encouraging them to forget where they came from in an effort to give them a better life, seeps through the cracks as Anthony confronts his mother about a past she has kept from him. The toll of keeping that secret trauma seems to have weighed heavily on his mother, as well, as family secrets are wont to do…  

The running theme of racist police violence in the film—from beginning to end—is reminiscent of… well… every story we know about racist police violence. Brianna is ultimately put in a horrific situation, and then cynically used against Anthony in a way that shouldn’t be unfamiliar to our real-life experience with racist police terrorism. Brianna realizes then who she is, who Anthony is, and that he is the only one who can save her.

I have noticed among online fan reviews wildly divergent reactions to this movie, almost strictly along racial lines. If the reviewer is a white person, they almost unanimously and unequivocally hate this movie. I see these people as those who do not want to face the traumas and horrors of the history and continuing legacy of racist violence against Black people, which I believe this film effectively expands upon from the original “Candyman.” Although, I find it odd some who have seen this film say they loved the original, but hate this one because it’s “too political,” because they clearly missed the political history of Candyman in the original. They’re mad Candyman only kills certain people, but aren’t bothered at all by the historical track record and legacy of the broken bodies and souls of Black men, women, and children that created Candyman. So they do not see the connection between real life reflected in the film’s themes. But selective memory is what this society is great at, so this response is actually not a surprise at all.

But for others who understand what DaCosta’s “Candyman” is trying to say and why, it may not be scary in the traditional slasher/spine-tingler sense, so it’s hard to say whether or not the movie is “good” as a traditional horror film. However, the real-life nightmares and horrors reflected in this film are what many Black viewers will be all too familiar with.  

As Brianna’s brother, Troy, says early in the movie, “Black people don’t need to be summoning shit.” 

We don’t have to summon supernatural boogeymen. The horrors we live are real.

Jacqueline Luqman is a radical activist based in Washington, D.C.; as well as co-founder of Luqman Nation, an independent Black media outlet that can be found on YouTube (here and here) and on Facebook; and co-host of Radio Sputnik’s “By Any Means Necessary.”