![]() ![]() It doesn’t matter what is produced, but rather who produced it. Hennessy Youngman notes how the world perceives art depending on the origins of the artist. Rankine shows how art, too, broadens the border between races. How do seemingly meaningless encounters speak volumes louder than outright racism? The “real estate woman” (51) exemplifies how biassy is rooted in society, breaking through politeness. The narrator cannot escape sentiments of discomfort, for micro-racism is always present and non whites are always treated differently than whites. ![]() This discomfort is imbedded in the subtle ways in which people interact. “She” (54) embodies citizenship, while the narrator does not. An action as simple as buying a sandwich, for instance, has underlying connotations of racial inequality. Narrators in the stories constantly compare their own treatments to those of their friends, acknowledging the disparities between how they are perceived. Touching on everyday interactions, Rankine places them in a new light. She insinuates that citizenship is a fallacy, merely open to those who hold social status. ![]() Claudia Rankine challenges the idea that citizenship equates to human rights for all. ![]()
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