Evil White

[Douglas Mercer]

Douglas Mercer
March 18 2023

Not that long ago an art gallery exhibit (in Manhattan of all places!) made (on the thinnest of evidence) a big hoopla and ballyhoo that the statues of the classical world were not white, but all the colors of the gay rainbow. Not white! Got that? For something seemingly so innocent white paint is really being hit hard of late, it took it in the teeth from the Jews of New York City in that exhibit, and then some White Norwegian freaks and lunatics railed against it too. They bemoaned and bewailed the fact that it was some Norwegian scientists who created a pure kind of White paint and so they felt it incumbent on themselves (as good White Norwegians) to take that guilt upon themselves. They said that White paint promoted "hegemonic structures" and if you don't really understand what that means not to worry, neither do they, it's just one of their fancy hifalutin twenty-dollar buzz words by which they buffalo the public into submission. Anyways these insane academics were clear about one thing; white paint equals whiteness and whiteness is evil. They want more dead Whites.

Now a black lady mediocrity has joined this fray with a book called A Dead White. She means dead here in the sense of "dead eye"--empty vacant and sinister and ominous. But the subtext is dead as in dead as door nail. That is they like to conjoin the words dead and white. The black lady is another of those who have been feted and celebrated by the cultural insects who rule the "intellectual" world in this country, she has the requisite degrees and awards and books. She also from a tender age found herself disgusted by white paint, of all things. That alone qualifies for a PhD and a book contract in today's disgusting world.

***

Wendy S. Walters is a mulatto looking black lady who is supposedly one of those cultural and intellectual powerhouses who blow the lid off Whiteness. The fact that they are so obsessed with Whiteness is incontrovertible--and thereby hangs a tales. When you hear them rant and harangue and incessantly analyze Whiteness you can't help but feel that amid the horror there is a kind of unadmitted fascination and even awe of Whiteness. It's not surprising really. Anyone who thinks long and hard on the subject will begin, at least secretly, to revere and be mesmerized by it. How could you not after all? It's the most perfect thing in the world.

"A Dead White by Wendy S. Walters is a book-length polemic against the use of white paint in both interior and exterior spaces. The argument will wind through a wide selection of works in architecture, manufacturing, art history, and consumer culture, engaging narratives related to its effect in the lived environment."

That is, it is an argument against white paint which is tantamount (and not even below the surface) to a polemic against White people. It's the unbearable Whiteness of the world they can't stand, when she sees a beautiful white house it reminds her of those classical abodes on the Plantation with their upright white pillars--and she thinks about Whiteness and hegemonic structures. When she sees the White House or the pure white of the Washington obelisk she seethes inside and she thinks about the insidious nature of Whiteness and how it works to oppress the blacks. When she sees the paradisiacal suburban neighborhood with its white picket fences she thinks about redlining and how the black man both could not get a break and never stood a chance. Like a maddened Ahab she is floored by Whiteness with its crystalline rightness and she has to turn away lest she be turned in to a white pillar of salt.

By her own admission Walters has a genuine and visceral dislike of white paint, it gets under her skin and always has. This hatred is a seat of her pants kind of thing, a bar room hatred of the color white, though she lets the ridiculously pompous academic jargon get the better of her when she says that what white paint represents is a "system of erasure." By that she means that white paint betokens the White race's supposed limiting of the visibility of "black bodies" and their marginalization from mainstream "discourse." This is of course all the kind of batty nonsense that you get when you give lunatics tenure, it's like emptying an insane asylum and giving them access to footnotes and bibliographies and limitless dollars with absolutely no accountability or consequences whatsoever. They are playing White Genocide with the nets down.

Then Walters come back down to earth for a quick visit and notes that white paint is the choice de jure of all hate crimes. She notes that the Rothko Chapel was splattered with white paint and White Power symbols. Now the Rothko Chapel is one of those ecumenical meeting places of the artsy and the "spiritual" which caters to a mind numbing love and harmony ethos, if surrender can be said to be an ethos. The place is full of batty ideas like coexistence and peace and love and subscribes to pretentious tag lines like "a stillness that moves" or "a quiet eruption" so much so you think you got lost at Esalen when Werner Erhard blew in, except this is multiracial Houston and that guy on the mat isn't doing yoga but praying in an indecipherable language to a strange middle eastern God. So assuming that it was not a hate hoax our brothers in arms chose wisely.

"The Rothko Chapel — an inclusive space for prayer, meditation and introspection located near the Menil Collection in Montrose — was the target of what executive director David Leslie describes as a hate incident early Friday morning. According to Leslie, white paint was spilled near the Chapel's entrance and in the reflection pool surrounding the Barnett Newman sculpture, The Broken Obelisk, which is dedicated to Martin Luther King, Jr. Leslie also describes handbills strewn around the grounds and pool that read, It's okay to be white."

As art and cultural criticism this is exemplary. The kind of people who frequent this Rothko place are the spiteful mutants of the world combined with the upper crust capitulation mongers who would never take their own side, let alone their people's side, in a million years. Safe to say at the Rothko Chapel all is serene in the certainty that racism stalks the land but its abiding faith is that the universe (the vibrations of which they sense in their solar plexuses) has an arc of justice which is always bending towards the coloreds.

Walter then says that at a Wall Street New York gallery in memoriam for the 100th Anniversary of the Tulsa Race Massacre (not to be confused with that other fiction the Texas Chain Saw Massacre) some presumably self respecting White man splattered (yes, you saw it coming from miles away) white paint.

"A New York City art gallery featuring tributes to those who were killed in the Tulsa Race Massacre of 1921 was vandalized with white paint in what owners have described as hate speech. Black Wall Street Gallery in SoHo said that either late Sunday or early Monday morning, someone smeared white paint on the gallery's glass facade, covering up its name. Detective Denise Moroney, a New York City Police Department spokesperson, said in a statement that no arrests have been made in the investigation and that the Hate Crime Task Force was notified."

You can be very sure that whenever an atavistic upsurge of White racial pride rears what they deem its ugly head they wheel in the big guns to take it down. Now it's possible that the Tulsa Hoax was hit by a Tulsa Hoax but if not you can see why they wanted to hit it: Tulsa being one of the biggest lies they perpetuate and Manhattan being ground zero of the lie.

And then Walter notes that in New Brunswick Canada white paint was splattered on a rainbow cross walk. She notes that the rainbow crosswalk meant tolerance and inclusion while the white paint meant hate and violence. Of course one could easily see the rainbow sidewalk as graffiti or a public nuisance or a civilizational threat itself and the white paint purveyors as concerned and informed citizens; and then lastly she mentions that in Atlanta some anarchists splashed white paint on a business they deemed to be part of the process of gentrification; presumably this is some white paint she can finally endorse because it represents the enveloping Whiteness when it comes in and undermines and destabilizes (ie, improves) the communities of color.

But whatever it is white paint has her full attention and has got her goat.

"Visiting Associate Professor Wendy S. Walters was recently awarded the prestigious Creative Capital award, given in support of innovative and adventurous artists. The lucrative prize will allow Walters to finish her long-term book project (A Dead White), a nonfiction work investigating white paint in aesthetic contexts that explores the social and cultural implications of its uses."

Hard as it is to believe they pay for this crap they do, and good money too. These academics can fling their crazy shit all over the place and not only will no one clean it up they will queue up and scramble all over themselves to subsidize more of it. That's because they want her to explore and explore the "implications" of this white paint, implications that you know ramify every time she sits at her keyboard, they are vast and wide and all encompassing, extending from the departure point of slaves in Africa, to white out, to white picket fences, to white school houses, and white street markings, to white classical columns, to the white paint you find at the store without thinking that you are unwittingly passing on the germ of Supremacy.

"White paint’s impact in various architectures: the built environment, community and emotional landscapes as a subject grew out of Walters’ irritation some years ago over the frequency with which the walls of educational spaces are painted in white. The work reflects her polyglot interests and leapfrogs through architecture, environmental and art history and consumer cultures, and her own personal experiences. Questions of design intersect with personal history in a number of surprising ways, and Walters also looks into why white paintings in the fine arts got named as milestones of modernism and/or minimalism."

She and the Norwegian ladies have really carved out a fine academic niche for themselves, it's narrower than a frog's behind, but that won't stop them from bloviating for all they are worth. White paint is the monolith that like the Holy Spirit is everywhere, it permeates invisibly the entire world and brings with it the corruption of its blankness. There is white paint under every bed and white paint in every classroom, on every street and in every home, there is white paint on campuses and classrooms, and in every place you look; and it is itself an unsubtle propaganda emitting its evil toxin in to the "lived" environment. White paint being the eternal canvas of evil that leads the likes of Walters to screaming in their sleep with, of all things, white knuckles.

"Among her honors, Walters has been awarded fellowships from the New York Foundation for the Arts Fellow in Poetry, the Ford Foundation, The Smithsonian Institution, and Bread Loaf Writers’ Conference. Wendy S. Walters is an author whose work blends poetry, nonfiction cultural commentary, and lyric essays to explore themes of race, gender, environment, and belonging in America."

In today's world these awards trip off their tongue, no doubt were they alive today Vladimir Lenin would be awarded greatest genocidal maniac, and Stalin as having the most genocidal fury, honors which their inheritors, if they are not there yet, are assiduously striving to live up to.

***

While this obsession with Whiteness and white paint may seem arcane or ludicrous you can be sure it has all passed the cottage industry stage of affairs and is a looming and booming big business. These people are earnest, serious, jargon laced in their rhetoric, well funded, majorly feted, and loaded for bear. If there is a white space anywhere they are sure to be on the spot to excoriate it, if there is a mediation in white they are sure to lambast it, for wherever whiteness dwells they smell the sulfur of the devil and will write a turgid tome replete with stilted language making sure it comes to ruin.

"I tried to understand why my reaction to white paint was so strong, I discovered numerous examples of the way it figured into systems of erasure, exclusion, violence, and the masking of power in the social and natural world."

Her forthcoming polemic is called A Dead White. Dead as in shell like or empty; but there is also the dead as in dead reckoning, which is the best reckoning of all, not like a racial reckoning, which is cheap and fake, but a reckoning that is pure and unadulterated, when the maladies of the present prove imaginary and ephemeral and the truth comes to the fore. Then we will paint the world white, paint the fences and the columns and the houses and the streets white, we shall let there be white paint everywhere and at all times. We will cover the colors of black with white, and the rainbow colors will be whited out, the whiteness all around will cause them to go snow blind, when they finally see what pure Whiteness is, and their cause it comes a cropper.

[Will Williams]

Douglas Mercer
March 18, 2023
... [Judaized Norwegians] said that White paint promoted "hegemonic structures" and if you don't really understand what that means not to worry, neither do they, it's just one of their fancy hifalutin twenty-dollar buzz words by which they buffalo the public into submission. Anyways these insane academics were clear about one thing; white paint equals whiteness and whiteness is evil. They want more dead Whites...

Ain't that the truth!?!

Another great essay, Mr. Mercer, but one correction, please, for us Southern readers:

Now a black lady [sic] mediocrity has joined this fray with a book called A Dead White. She means dead here in the sense of "dead eye"--empty vacant and sinister and ominous. But the subtext is dead as in dead as door nail. That is they like to conjoin the words dead and white. The black lady [sic] is another of those who have been feted and celebrated by the cultural insects who rule the "intellectual" world in this country... Wendy S. Walters is a mulatto looking black lady [sic] who is supposedly one of those cultural and intellectual powerhouses who blow the lid off Whiteness...

Like my dear mother, a White Southern lady, taught me from a young age: only White females can be ladies; Black females are women, not ladies.

[Douglas Mercer]

[Douglas Mercer]

[Douglas Mercer]