[2 of 5 - Group B] Long Division, Book One, pages 50-102 by Kiese Laymon (2013)
Author: Kiese Laymon
Laymon, Kiese. “Book One, Pages 50-102,” Long Division, Scribner Book Company, 2013, 2021.
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1 THICCCC PARTS.
this an interesting and funny title
Genealogy and ancestry is an important theme in "Long Division pages 50-10 for many reasons.For example,we know that City is very close to his mom,grandmom,and his Uncle Relle.His grandfather passed away,but it seems like City’s grandmom wants him to know something about his grandfather even though he has passed away.When City gets to grandma’s house in Melahatehie,Mississippi,she starts telling City stories about his grandad.City said that “the stories alway started different,but every one of them except the one that ended with him disappearing in Marathon Lake,ended with grandad acting like a demon and destroying something before Grandma intervened.” City’s grandma told him a story about his grandad beating up somebody for calling him crazy in which the book states “Tom Henry commenced to beat the clothes off Cherry and Shank” (page 55) and grandma was laughing.I think she tells the stories in order to entertain City and keep his grandad’s memory alive.This shows how genealogy and ancestry is an important theme in the book.
“Long Division” has a significant theme involving genealogy and lineage. City’s grandmother shares tales about his grandfather with him, one of which involves him beating up a person who called him crazy. This demonstrates how a major theme in the novel is ancestry and genealogy.
3 As soon as I stepped off the Greyhound bus in Melahatchie, Grandma hugged my neck, but I was straight zoned out. That Long Division book had me feeling weird, new weird, like I was a character in a book or video game and someone was writing or controlling all the craziness around me.
4 Grandma interrupted my new weird. “My baby’s still husky,” she said, and kissed both of my jaws. Then she grabbed my shoulders and took a step back. “You look so intelligent. I don’t care what none of them folks say.”
5 Whenever I went down to Melahatchie, I always felt younger than I was. Mainly, it was because Grandma had really never talked to me or treated me any different between the ages of five and four-teen. I had to trim the hedges, crack open walnuts, and get the okra out of the bottom of the deep freezer now just like I did when I was five years old.
List:
Word: “okra”
Sentence: “I had to trim the hedges, crack open walnuts, and get the okra out of the bottom of the deep freezer now just like I did when I was five years old.”
Phrase: “Grandma had really never talked to me or treated me any different between the ages of five and four-teen.”
Poem:
I couldn’t get over the smell, of fresh-cut grass and okra shell
I heard the laughter as I worked, happily cracking walnut shells
I tasted the sweetness of Grandma’s love, like no matter the age, it’s enough
My skin felt the sun on my back, and the ancient memories now come back
I saw in Grandma’s eyes acceptance, no expectations to meet no exemption
Your Turn:
So come on, let your creative juices flow, use your senses and the words in this story to create your own poetic show! Now create your own six line poem, making use of all that you see and know!
6 I threw my stuff in the back of her Bonneville and thought about how besides being the thickest grandma in Mississippi, I would have bet my original wave brush that Grandma was probably the thick-est, finest grandma in all of Mississippi, Alabama, Arkansas, and Louisiana. I’m not saying Grandma was perfect, either, but even the annoying stuff about Grandma, like how she was completely swinging from the scrotum sack of the Lawd, was– well, kinda… thick.
Laymon touches upon pivotal moments in American history, such as the Civil Rights Movement, and examines the progress made and the challenges that remain. He highlights the ongoing struggle for racial equality, portraying the complex relationship between progress and the persistence of systemic racism. By engaging with the historical context, Laymon underscores the significance of understanding the past to comprehend the present.
7 Grandma was probably six feet tall, and every part of her body and face was so thick that nothing looked thick. But her stuff was symmetrical, too. Sometimes you’d see folks with all thick parts, but half of their body weight was all up in their ass or all in that gut, or one of their eyes was way bigger than the other one, or maybe there was too much distance between their eyes and where their hairline started.
It sounds like City is admiring his grandmother’s unique beauty and build, and he wants to emulate her in some way. He’s pointing out her strong, balanced physique, and likely looking up to her as a source of inspiration and strength. Every person is unique and beautiful, and City’s appreciation for his grandmother’s symmetrical body speaks volumes about how he sees her, and how he appreciates her for who she is.
This sentence is important to this paragraph because it provides a vivid description of Grandma, contrasting her from other folks who had thick parts without symmetry. It demonstrates how City’s admiration of his grandmother’s physical heavy features is out of the ordinary.
This sentence is important to this paragraph because it highlights City’s unique appreciation for his grandmother’s appearance, and explains why being symmetrical matters. It also suggests that City appreciates more than just physical features, indicating that there is more to Grandma than just her physical appearance.
This sentence is important to this paragraph because it reveals that Grandma was much more than just her physical weight and shape. It implies that she has other aspects of her that City admires such as her spirit, love, and kindness.
This sentence is important to this paragraph because it indicates that Grandma was more than just her physical appearance, suggesting that her physical features did not define her existence. Rather, Grandma was a complex individual with many attributes that City appreciated.
The background knowledge needed to understand this text more deeply is the internal dynamics of the relationship between City and his grandmother. Information such as how they interacted on a daily basis, the experiences they shared, his memories of her, and how her physical characteristics impacted his perception of her would help gain further insight into the text.
Re-reading this text is a great way to explore more deeply the unique and complex relationship between City and his grandmother. It also offers an opportunity to understand the power of city’s admiration of her physical features and how this impacted the way he saw her and how he viewed the world.
City is inspired by and draws power from his grandmother because of her exceptional beauty and physique. The movie “Long Division” examines racial inequality’s impacts, profiling, and police violence in the modern era. It also looks at how media and technology can support or undermine racial dynamics.
In exploring contemporary race relations, “Long Division” tackles issues such as racial profiling, police violence against black communities, and the ways in which racial disparities manifest in various aspects of life, including education and economic opportunities. Laymon portrays the challenges faced by black individuals and communities in navigating systemic racism and the enduring effects of racial inequality.
The novel also examines the role of media and technology in perpetuating or challenging racial dynamics. Laymon critiques how narratives are constructed and disseminated, shedding light on how media representations can reinforce stereotypes or contribute to a more nuanced understanding of race.
8 For example, my mother had this rounded, thick, mushroom-style nose and she looked like the early version of Weezy on that old Nick at Nite show, The Jeffersons. Mama looked like Weezy, but Mama’s lips were kinda… well, I hate to talk about my own mama like this, but Mama had lips like the white folks on Jersey Shore. There was no thickness or pinkish hang to Mama’s lips. You saw thin poofy lines and you saw teeth. Snake lips, I called the fat beneath her nose. I still don’t know how in the hell that happened to Mama since she came out of the vagina of someone as thick and perfect-looking as Grandma. You wouldn’t even know Grandma was six feet tall or the finest, thickest Grandma in the region until you walked right up on her.
In the novel, genealogy and ancestry serve as powerful tools to examine the legacy of slavery and its ongoing impact on individuals and communities. City embarks on a journey that takes him both through time and space, blurring the lines between reality and fiction. As he delves into his family’s past, he discovers connections that transcend generations, revealing how the actions of his ancestors continue to shape his present reality.
9 Anyway, of all the different kinds of people in the world, Grandma was the last person I wanted to watch me act a fool at the contest. But I also knew, even though she couldn’t say it, that she was one of the only people who would know what it was like to be up there on that stage and not know if there was a difference between being right and doing wrong.
It was a moment when the instinct of my heart and the caution of my mind were competing; the need to feel accepted by her and the fear of disappointing her were knocking heads inside my body. It was similar to a boxing match – the adrenalin rushes, the butterflies, and the tunnels of thoughts that can’t reach an end. It was taking everything inside me to take this leap of faith and just do what I loved despite the environment, which of course was my mother’s home. In the end, I stepped up and performed my best, and I was rewarded with the approval of my classmate and grandmother.
In short, when we care about someone, the pressure to perform can be strong and our natural instinct to please that person can cloud our decisions. The good news is, if we can push through the anxiety we can often gain the approval and support of that person which allows us to take pride in our accomplishments.
10 Grandma had a bag with two pork-chop sandwiches in her hands and her eyes were twitching like a hummingbird while she sat in that driver’s seat.
11 “Them folks is just evil,” Grandma said. She never mumbled or slurred her sentences and her voice was deep, heavier than cane syrup. “Plain devilish. You hear me?” Grandma thought the man who worked in the bus station restaurant hadn’t given her enough change back on purpose.
12 “Well, did you tell him how evil he is, Grandma?”
13 “Naw, City. No telling what that man could’ve put in our food.”
14 She pulled all the way out of the bus station. “You gotta be careful with them folks if you stay with me the next few days. You hear me?” I nodded. “If you learned anything after messing with them folks on that stage, should be that you don’t never know-” She looked me right in the eye.
The themes of genealogy and ancestry in “Long Division” also reflect the broader search for identity and belonging. City’s quest to understand his family’s history becomes intertwined with his own journey of self-discovery. By examining his lineage, he confronts questions of identity, heritage, and the complexities of racial identity in America. The novel explores the notion of storytelling and its role in shaping personal and collective narratives. Through City’s encounters with time travel and parallel universes, Laymon challenges traditional storytelling conventions and questions the authority of historical accounts. He emphasizes the power of narrative to shape our understanding of the past and present, highlighting how stories can be distorted, manipulated, or silenced to uphold certain ideologies.
15 “Never know what?” I asked her.
16 “How far they’ll go to get you.”
17 Grandma told me that we had to stop by Walmart before we went home. She said Walmart had a sale on her new favorite brand of wig, Wigs4Blax, and that she might as well get the wig today since this was her half-day off.
18 My grandma had three jobs. She worked as a housekeeper at the Island View Casino. She washed and ironed clothes for three white families in town. And she sold pound cake and fruit salad every other Saturday afternoon.
19 When we pulled into the lot of the Walmart, a green pickup truck flew past us and damn near knocked the front end off the Bonneville. Grandma stuck out her arm and secured my chest while slamming on the brakes. “Jesus give me strength,” she said. “What in the world is wrong with your children?”
Grandpa shook his head and looked out the window, sucking in his bottom lip.
Ayee! This excerpt from the text is lit AF. It’s so real and raw. You can feel the emotion off the page as they let out those words. Grandma saying “Jesus gives me strength,” and Grandpa shaking his head and looking out the window— it paints a vivid picture in our heads and gets us right there in the moment. It’s actually kinda crazy how a few words can make you feel like you’re actually there. My grandma used to say the same thing all the time.
All this to say, it’s worth stopping to appreciate how the author uses language in this excerpt. They capture the emotions of the characters in a few well-placed words. It’s what made me keep reading: I wanted to know all the details of what was happening and why Grandma and Grandpa acted like that. To really recognize how this language was used in this one paragraph, I think it’s best to reread it aloud. Engage with the gruff tone of Grandma and the frustration of Grandpa. As you read it again, try to imagine yourself in that moment, when you hear those words come out of their mouth. Really get into it and understand what it means to them— and what it means to you.
Genealogy and ancestry play a crucial role in “Long Division” as the protagonist navigates the complexities of his family’s history and the larger historical context of racial oppression. Kiese Laymon skillfully intertwines themes of identity, storytelling, and the lasting impact of slavery to create a thought-provoking narrative that invites readers to confront the painful truths of the past while envisioning a more just future.
20 It was the middle of the day, so most folks who worked hard and sweated for a living were still at work. Grandma was getting ready to park next to this orange and gray Cadillac sitting on 22-inch rims.
21 “Young folks ain’t got nothing better to spend that money on except long cars and crazy tags?”
22 “What?”
23 “What a nigga do in the dark will damn sure come to the light somehow.”
24 “Grandma?”
25 “Yes, baby?”
26 “I appreciate how it sounds when you say ‘nigga’ and I’m sorry about acting a fool at the contest.”
The 45-second video opens with a close up of a young Black woman looking into the camera with a softened filter and dreamy music playing in the background. The woman has a smile on her face as she begins to lip sync the lyrics “I appreciate how it sounds when you say ‘nigga’ and I’m sorry about acting a fool at the contest” whilst she looks intently into the camera. The camera then cuts to a mid-shot of her standing in a sunlit bedroom, which is decorated with a mix of modern and boho decor. She resumes her lip sync, now moving and pouting her lips to emphasize the words. The next shot jumps to a wide-angle view of the same scene but with her rocking her head back and forth in time to the music and making quirky hand movements to mimic the syllables of the song. On the last word, she freezes with a sass; a glitter filled background shifts and the soundscape changes. The camera zooms in for a tight shot of her face and she winks to the camera and passes on the mic. She then looks away from the camera and the video fades with a question appearing on the screen “How does this relate to race and stereotypes?”. A sticker emoji is added and her username flashes at the bottom of the screen to invite us to give our thoughts in the comments and to continue the conversation.
We can use this text to analyze the dynamics of the power struggle between various social classes as experienced by the speaker. From a Social Power/Marxist Critical Lens, the speaker appears to be trying to use language to bridge the gap between two social classes – the affluent speaker and the “nigga,” who is from a lower economic class. This quote implies that the speaker is sorry for acting “a fool” and acknowledges the power and influence of being able to speak in a certain way (using the term “nigga.”) It also implies that the speaker has an understanding of “the power of language” in bridging class divides and the power of belonging to a certain social class. The use of the term “nigga” can also be seen as a form of stereotype – that of people from lower social classes – reinforcing ideas of class differences that can cause tension and conflict. Re-read this text and explore how it reflects class conflict through the lens of social power/Marxist theory. What other dynamics are at play in this text? How has language been used to bridge or reinforce class divisions? Are there any different interpretations of this text that you might consider to better understand the conflicting dynamics between different social classes?
27 “Shhhh.” Grandma said and parked the car. “And leave your little brush in the car. Folks in here likely to steal everything that ain’t nailed down.”
28 The Melahatchie Walmart was always packed. Always. I never had anything stolen the hundreds of times I’d been in there and folks always looked so happy walking around, especially in the electronics section. I walked with Grandma to the wig section of the store and this old white woman with wrinkly skin, a maroon scarf around her pudgy neck, and her hair in a ball came up on us.
29 The woman’s name tag said “Louise Ellington.” She had gold for days draped on the outside of her scarf, and on her fingers were the shiniest rings I’d seen in real life. She walked up onto us lightweight fast, with one hand on her hip and the other on her chin.
30 “Hey. Hellooo here!” she said. “We want y’all to know’ew that today, we’ve got a special on our Wigs4Blax brand.” She pointed to the raggedy-looking wigs on the sale rack. “We sure do’ew.”
31 I could tell that the lady was from Jackson and had probably worked in the outside malls in Jackson before taking a job at the Melahatchie Walmart. At the outside Jackson malls, all the older white ladies with hair in a ball and penny loafers always said “o” sounding words like “o’ew” sounding words, but in Melahatchie the “o” sounded like “o” no matter who said it.
32 “So’ew,” she said, “if you buy one of those Gary curl wigs, y’all get a free year subscription to the new Ebony magazine..” She trailed off, and just looked at me. I tried to look away, then look back, but she was still watching. “Y’all got a talkative little devil there, don’t y’all?” she said to Grandma. “Were you the one doing all that talking on TV yesterday?”
As a Marxist, this text raises some interesting questions about class, power, and economics. Grandma and the woman at the beauty supply store demonstrate a clear difference in economic and social power. Despite this difference, the woman at the beauty supply store is still trying to control the dialogue and sell Grandma something. This is an example of how the wealthy class can exploit the working class by forcing their values and beliefs upon them. Let’s become critical readers and ask: Who in this text is representing the wealthy class, and who is representing the working class? How is the wealthy class exploiting the working class in this text? What are the implications of this exploitation?
Through its editorial content and interviews, it shines a light on family roots and how family histories influence one’s current experiences.
33 “Yes, ma’am,” Grandma said. “My baby does love to talk. Don’t pay him no attention.” She patted me on the back. “Now how much did you say the Gary curl wig was?”
34 I couldn’t believe Grandma was talking like that in front of that lady. Her voice, her body, everything shrunk. It was like she wasn’t even Grandma anymore. I never heard Grandma say “ma’am” to someone who was younger than her. The rumor was that Grandma actually brought the Jheri (not “Gary”) curl to Melahatchie from Milwaukee back in the early ’80s. Now she was acting like she couldn’t even pronounce it right, all because she was talking in front of a weird-looking white woman who couldn’t even pronounce “so” and “do.”
I think she gets uncomfortable around white people because they’re still racist in melahatchie and that’s why she’s so cautious
I can attest to the fact that I act differently around particular people, altering my voice, having trouble walking straight, and acting erratically.
We can see from this text that Grandma’s behavior changes when she is in the presence of the white woman. This might suggest that Grandma feels a need to adjust her behavior to conform with the expectations of the dominant culture. It’s also possible that this change in behavior is a form of self-protection. We might consider how this moment in the text highlights the power dynamics between people of color and those in the majority culture, and how those relationships can be influenced by gender roles. We might ask ourselves, in what ways might Grandma have expressed herself differently if she had been in a different environment? How do expectations of gender roles and expectations of race shape Grandma’s behavior in this moment? Let’s reread the text and consider these questions in relation to the “Gender/Feminist” Critical Lens.
We can see from the text that City’s grandmother’s behavior changes drastically when in the presence of the white woman. This suggests that perhaps City’s grandmother is trying to accommodate and perform a particular kind of gender role expected by the white woman. Grandma’s sudden change in behavior shows that gender roles and expectations can be socially constructed and enforced by those with power.
From a gender/feminist perspective, this begs the question of why might City’s grandmother feel the need to perform in such a way and how do these traditional gender roles limit who she is and what she is able to do? Understanding the reasons behind City’s grandmother’s performance of traditional gender roles can help us see the way that gender and power are intimately connected.
Grandma’s behavior is at odds with her identity and past character, which further informs our critical understanding of the text through a feminist lens.
Grandma’s attitude change in front of the white woman, in my opinion, emphasizes the effects of systemic racism and the challenges marginalized people confront in negotiating unjust power structures. She might be proud of him or concerned about how white people will react, but it could also be a result of what she saw on television.
From the perspective of the Gender/Feminist Critical Lens, let’s explore the ways this text reinforces, critiques, or challenges definitions of masculinity or femininity. We can start by asking: What does this text suggest about the way Grandma interacts with the white woman differently than how she usually interacts with people? Here, we can see that Grandma’s behavior changes when she’s around the white woman. Through her limited resources, Grandma shows the woman deference that she wouldn’t usually show, ultimately changing her entire behavior in order to interact in a way that the woman might expect. This implies that Grandma feels a pressure to conform to the white woman’s expectations in order to be accepted or respected, a behavior which is typical of many people of color who feel the need to shrink in order to survive in white spaces. Thus, this text reinforces stereotypes about gender roles and expectations — namely, the idea that white people expect to be deferred to — and highlights the injustice of having to change one’s behavior just to fit in.
I suggest we reread the text and then write about these questions: What is the power differential between Grandma and the white woman? How do Grandma’s behaviors illustrate how people of color often feel the need to shrink in order to survive in white spaces?
35 Grandma and I held hands as we walked back to the Bonneville.
36 “If Tom Henry coulda seen you raising hell on TV, he woulda swore up and down that he was looking through his red eyes at himself”
37 “Why?” I asked her.
38 Grandma started getting comfortable in the driver’s seat chair. I could tell she was about to go into one of her Granddaddy stories. The stories always started different, but every one of them, except the one that ended with him disappearing in Marathon Lake, ended with Granddaddy acting like a demon and destroying something before Grandma intervened.
39 “I remember one Saturday we got to fighting ’bout money or something like that,” she started. “He was tired of me working all these jobs, you know? Anyway, Tom Henry claimed he was going for a walk to get his mind right. I knew that meant he was ’bout to get that damn stuffed monkey and walk off in them woods across the road from the house.
40 “Anyway, while he was gone, his friends Cherry and Shank come over here looking for him to go fishing. All three of us, we out there on that porch, you know? ‘Course I ain’t tell Cherry or Shank he was over in them woods with no fake monkey, so I just said he wasn’t nowhere to be found. Soon as I said that, here comes your granddaddy prancing out them woods with that monkey in his hands and one of those shit-eating grins on his face. Tom Henry walks up on the porch and tries to hide the monkey behind his back.
41 “Cherry says, ‘Tom, what the hell you doing holding on to a ugly little fake monkey off in them woods, man? Ain’t you done outgrown dolls and hide-and-seek?’ Like I told you before, I reckon your granddaddy reacts like a demon when somebody stands on his own porch and calls him crazy. So Tom Henry commenced to beat the clothes off Cherry and Shank. Off! You hear me?” Grandma was laughing hard as she could and smiling ear to ear. “And when the police came, Tom Henry was still beating both of them to the white meat until I calmed him down. He spent two nights in jail for that.”
42 Grandma got busy when it came to her sentences. With Grandma’s at-home sentences, it was like there was no screen between her mind and your ears. You got all of her, all of her voice. She could destroy anyone in the region in a sentence contest, including LaVander Peeler and me, as long as the judges were fair. I realized then, though, that Grandma’s at-home sentences and her in-the-car sentences were completely opposite of her at-the-mall sentences.
It sounds like Grandma had a different way of speaking at home than she did in the car or at the mall. Could it be that, by observing her and hearing her different ways of talking, City got an appreciation for the power of language and different ways of communicating? What do you think, City? How have Grandma’s words and style of speech inspired you?
The 45-second viral video starts off with a wide panning shot that follows City as he enters Grandma’s home. She greets him with a warm hug, and he motions towards spelling and grammar workbooks, his enthusiasm showing on his face. She smiles and takes the books off the shelf. The scene then fades to a montage of snippets of the two of them discussing and correcting various sentence constructions. The montage is rimmed by a colorful gradient filter, further highlighting the bond between Grandma and City.
The video then cuts to City entering a spelling and grammar bee competition, LaVander Peeler mentioning City’s inspiring grandmother as the audience cheers and swells. The video concludes with Grandma watching proudly as City takes the stage and flashes a winning smile. The video has a youthful, inspirational feel to it, with upbeat music throughout and a variety of shots and angles. As the last tones of the music fade away, the audience fades to a blank screen with the question that serves as the hook: Does City’s grandmother play a role in his interest in spelling and grammar? The words form slowly and fade away, with a timer and the hashtag #grammarbee appearing at the bottom of the screen, inviting viewers to comment their thoughts.
In this 45-second viral-worthy TikTok video, we follow a young woman as she delves into her Grandma’s conflicting approaches to language when she is in the car, at home and at the mall. We see her Grandma’s reaction to people of different racial backgrounds and observe her Grandma’s struggle to conform to harmful stereotypes and her question about how City navigates the disparities on a daily basis. The video starts with a title card that reads: “Grandma’s peculiar behaviors around white people.” We then hear a voiceover by City instructing us to listen to what Grandma has to say.
Grandma is then seen in different settings, conversing with people of different racial backgrounds. We quickly observe her quickly shifting from a hostile demeanor when she is out in public to a warm and understanding demeanor when she is in her car or at home. Through the use of different camera angles, visual effects, editing and creative music, this viral-worthy TikTok video conveys a powerful message about conformity and stereotypes and its effect on real-life people.
At the end of the video, City poses a thought-provoking question to viewers: “How does Grandma’s uncomfortable around white people relate to conformity and stereotypes?” This serves as an invitation to reflection on the themes of the video and prompts the viewer to comment their reactions, sparking an open conversation about this important topic.
43 “Hey, Grandma,” I said. “Would you tell that story at the mall in front of that white lady, with the same dynamic sentences?”
44 “First of all, that wasn’t no story. And I don’t know nothing about no dynamic sentences,” she told me. “That’s the truth. And the truth ain’t got a thing to do with that damn white woman, City.”
Race and Inequality plays an important theme in “Long Division” pages 50-10 for many reasons.An example of this is when City gets sent to grandma’s house for snapping out at the competition. City goes to Melahatehi,Mississippi and he has a few racial situations to deal with.First,City runs into a coach he knows named Coach Stroud. Coach Stroud gets mad at City for asking him for some watermelon.He tells City that some things he just shouldn’t do and that “you don’t see how they love seeing us do things like fighting and acting a fool on TV and dancing and eating watermelons.” (page 69) City does not see where Coach Stroud is coming from and so he brought it up to Grandma.Grandma basically told City that Coach Stroud was just trying to protect him and that Coach Stroud wants him to “keep his guard up.” (page 77) This basically shows the theme that as a Black man you have to carry yourself a certain way in order to survive. City also gets into a confrontation where gets beat up by a group of white boys.This is how race and inequality plays a part in Long Division.
45 “Oh. Okay,” | said, knowing Grandma was lying through her teeth.
46 THAT WIRELESS.
48 Grandma and I walked up on the porch of her house. Hurricane Katrina tore up Grandma’s old shotgun house eight years earlier, but within a year, she’d gotten a new shotgun house built in the same spot. The house was raised off the ground about a foot and a half by some cinder blocks. The porch led to the front door, which opened to the living room, and from there, depending on what angle you looked in the house, you could see through the bedroom, the dining room, and the kitchen.
49 Grandma didn’t have a hall, either, like the houses on TV and in books. Grandma’s house had a living room with an old floor-model big-screen TV, a glass table with some Bibles and photo albums on it, a played-out stereo that only ever played Mahalia Jackson, and my uncle Relle’s sleeping bag right in the middle of the floor. Uncle Relle stayed with Grandma probably four times a week. Anyway, pictures of our family, the ones live and dead, were all over the living room. Walk ten more feet, there was a dining room with a plastic chandelier over a round wooden table. On one side of the table were two big deep freezers full of dead animal parts and food from her garden. On the other side of the table were a washing machine and a basket filled with the white folks’ clothes Grandma washed to make a little more money. Fifteen more feet and there was a tiny kitchen. Four more feet and you were out the back door, under a clothesline, where there was a scary work shed I was never allowed to go in and a chinaberry tree.
I often consider how Laymon uses particular things, like the old floor model TV, deep freezers, and washing machine, to give Grandma’s house a distinctive and outlandish atmosphere. This adds authenticity and originality to the plot by going against the conventional notion of a house with a hall.
Grandma lived a simple life, but she was a wise woman full of faith and wit. She taught us to put God first, to be honest, and kind, to take care of each other, and to take care of our bodies. She showed us how to be brave and to face our fears head-on. She showed us how to be generous, welcoming people in our home, no matter their station in life. Grandma was a big believer in redemption, fairness, and justice even when the world was cruel. She taught us patience when things didn’t go our way, and to never take more than our share.
Introducing myself as a Marxist, I think it could be helpful to examine this text closely from a social power/Marxist perspective as it offers us a lot of insight into class conflict. In particular, I am drawn to the description of Grandma’s living room with the “floor-model, big- screen TV,” and then in stark contrast, the “dining room with a plastic chandelier over a round wooden table” and the deep freezers with dead animal parts and food, and the washing machine with the “white folks’ clothes Grandma washed to make a little more money.”
This text clearly illustrates the economic differences between Grandma’s family and the white people she does the laundry for. From a social power/Marxist perspective, the questions that arise are: 1. What economic inequities are revealed in this text? 2. How do the depictions of the different rooms in Grandma’s house comment on the power dynamics of the class system? 3. How might the characters or context in this text be further explored in terms of economic differences?
Would you please reread this text and expand on this list of questions by writing about them in a reply.
50 I kept looking at Relle’s sleeping bag, wondering when he was coming home. I wanted to know what he thought of what I’d done at the contest the night before. I figured he was going to be the only person in my family who was actually proud of me.
51 “Grandma, do you get wireless yet?”
52 “Wireless? Wireless what?”
53 “Internet!”
54 “Naw, we ain’t got none of that mess, and you ain’t gonna be hooking up no wireless to my TV.”
55 “It ain’t got nothing to do with the TV,” I told her. “It’s so people can check their email. What does Uncle Relle do if he wants to check his email?”
56 “He heads up the road to the library like everybody else, I reckon.”
57 I wanted to push it more but I didn’t want Grandma getting mad at me. I know Melahatchie was only a bus ride away, but it felt like a time warp. It always felt like it was behind whatever time we were in up in Jackson, but after Hurricane Katrina, it’s like time went fast in reverse instead of just slowing down.
58 “Why you sweating, City?” Grandma asked me. “Go in the bathroom and wipe your face off.” I turned to open the screen door and half-stepped in the door when Grandma finished her sentence: “… and go get my switch.”
59 “What?!”
60 I stared at Grandma’s face, not hardcore like I had the power to shoot liquid heat from my eyes, but more like I had X-ray vision and I was looking at the raggedy spinal cord that held the skull, that held the mouth, that held the tongue that formed those terrible words, go get my switch.
61 “You remember where it is, don’t you? Go on and get my switch now,” Grandma said. “You can’t be acting a fool like that in front of them folks. You know we can’t have that.”
62 Man, she said it so calm. Like it was only a whupping. Grandma hadn’t whupped me in two and a half years.
63 But what could I do?
64 Nothing except drop my head, walk through the front screen door, through the living room, through the kitchen, out the back screen door, around the side of the house, and under the chinaberry tree. I had just matured to a point where I could get nice with myself in places other than the shower and the bathroom at school, and here I was about to get a beating like a child.
65 I almost hated this part of the beating way more than the actual beating. The anticipation and fear of all those lashes builds and builds, and then you realize how shameful it is that you’re about to get your ass and back beaten by the same switch you’re about to pick. And the whole time you’re thinking that you don’t wanna mess up on purpose and pick a little thin switch. You also don’t wanna pick one that’s too big to leave welts, because that means Grandma is gonna take her fine ass out there to pick the switch herself. And it didn’t matter how deep in that bush the perfect switch was, Grandma would always find it.
66 I narrowed my choices to a slender one with a lot of leaves on it, or a big one that wouldn’t wrap around my fat back too well.
67 Now, I had to hand it to her.
68 Should I smile or cry?
69 Grandma was out on the porch scaling the nasty big fish we were going to eat for dinner when I finally made it back.
70 Should I smile or cry?
71 I opened the screen door and waited for her to extend her hand.
72 “Here you go, Grandma.” I acted like I was going to hand the switch to her, but when she reached for it, I dropped it on the ground and took off through the screen door, through the TV room, through the kitchen, and out the back screen door.
73 And Grandma came flying after me.
74 I ran on the other side of the clothesline and tried to use one of her yellow fitted sheets as protection. “Boy, put down my damn fitted sheet,” she yelled. “Put it down!”
75 I threw the yellow fitted sheet on the ground and ran and ran. And Grandma ran and ran, too. Then she stopped by my granddaddy’s work shed, right next to the chinaberry tree. She threw down that wack switch I gave her and then dove right in the bush and pulled out a switch that looked like a six-foot whip with a handle.
76 I understood right there that I wasn’t simply running away from the greatest whupper in our family. Hell, I was running away from the greatest whupper in the history of Mississippi whuppings.
77 Grandma started running after me again. When I reached the back of the house, she was in the switch’s reach, but she tried to turn the corner too sharp, and slid into a split.
78 Damn.
79 I knew Grandma would no longer just beat me for acting a fool at the contest. In the fourteen years that I’d known Grandma, she’d whupped me about six times, and the crazy thing was how she never looked at me like she wanted to rip the spine out of my back when she was whupping. You could tell that it was just regretful work for her.
80 Five minutes later, I was sobbing and balled up on the ground like a greasy, burnt-brown cinnamon roll with good waves. To tell you the truth, I felt honored to be whupped by Grandma. And I felt proud that during the entire whupping I never let go of my new brush.
81 After the beating and bath, Grandma prayed for me while I sat on the bed. Then we ate. I got so full off nasty-looking, good-tasting catfish and fries, sweet iced tea, and thick pound cake that I couldn’t breathe. I helped Grandma do the dishes, then we jumped in her bed to take a little nap before The Bernie Mac Show and Meet the Browns came on. I asked Grandma if it was okay for us to sleep on top of the sheet in our underwear with the fan directly on us.
82 Even though I was lying there in my underwear, Grandma looked at me in a way that made me feel like I was wearing something top-notch like a leather tuxedo with matching Jordan 6s. And even though my mama had seen me naked way more times, I felt less weird about Grandma seeing me. Grandma had a way of looking at you when you were naked that didn’t make you feel terribly fat and soft. Most other folks, especially my mama, looked at me naked and made me feel like the fattest, softest ninth grader out of all the states in the Southeastern Conference. My mama tried not to look like that, but you could tell that she was trying too hard by the way she kept cutting her eyes away from me and saying stuff like, “We should probably start buying Diet Mountain Dew, Citoyen.”
To determine what messages the book is conveying regarding gender roles, one can apply the Gender/Feminist Critical Lens. The protagonist’s mother’s response might be interpreted as imposing gendered expectations, in contrast to Grandma’s acceptance of the protagonist in their undressed state. Why did the author decide to set up the situation in this manner if there are no messages?
The 45-second, viral-worthy TikTok video would begin with a close-up shot of our protagonist, Citeoyen, lying in his underwear on the couch. He has a mostly bemused, slightly embarrassed look on his face. As the camera zooms out we see his grandma in the background, wearing her Sunday best, looking over at him. She has a mixture of surprise and amusement in her expression. The light is somewhat golden, giving the scene an air of nostalgia and comfort, and the sound of chirping birds can be heard in the background.
We then quickly cut to a sequence of close-up shots explaining the situation: Citeoyen’s mama used to give him funny looks when she saw him naked, and how most other people used to make him feel fat and soft. Grandma, however, had a unique way of looking at him that made him feel different.
The visual style then takes on a more cinematic feel with wider shots, highlighting the different locations of the video. It follows Citeoyen walking around his house, looking a bit awkward, until he eventually finds his own bit of comfort back in his safe place, the couch. The visuals are interwoven with a variety of effects and transitions, a mixture of video and still shots, filters that give the otherwise mundane look of his house a surreal feel, and clips of subtle yet varied emotions expressed by his grandma in the background.
The video ends with an aerial closing shot of Citeoyen relaxing in underwear on the couch, looking comfortable amidst the stillness of the day, as a perplexed, yet pure expression appears on his face. The scene fades as a title card appears, with the words “Why does City not mind his grandma seeing him naked?” in response to the original question asked at the beginning of the video. The video closes to a comment section, engaging the viewer to discuss their theories and share their experiences.
We can wonder how the author represents the Grandma’s reaction to the protagonist’s nudity. Is it possible to represent the human body in a respectful way without objectifying it? How can the text challenge gender stereotypes that influence how the body is viewed? What is the significance of the contrast between how the protagonist’s mama and Grandma respond to nudity? Is there a way to break down and challenge gender stereotypes related to body positivity? When we reread the text, let’s explore these questions further and think about how the text reinforces, critiques, or challenges definitions of masculinity or femininity.
The connections between personal identity and family history are deeply intertwined. The novel explores how one’s understanding of themselves is shaped by the stories, experiences, and legacies of their ancestors. Throughout the book, the protagonist experiences a journey of self-discovery that is heavily influenced by his family history. As he unravels the mysteries of the book he discovers, he begins to uncover the complex web of relationships and experiences that have shaped his identity. City’s personal journey becomes intertwined with his exploration of his family’s past, revealing the profound impact that family history can have on an individual’s sense of self.
83 But with Grandma, whether I was naked or not, she looked at me the same way. To tell you the truth, if Grandma was trying to get the hem right on my slacks, she could have accidentally bumped into my scrotum sack and I wouldn’t have cared because I knew that Grandma wouldn’t have cared. If anybody else bumped into my scrotum sack like that, I’d probably act like I was dead or paralyzed until they left.
84 Grandma just looked at me without talking for about fifteen seconds. That’s a long time to look at someone who is right in front of you. She smiled real thick and slung her arm across my chest. “Them folks is millions and millions of miles away from here today, you hear me? Million miles away,” she said. “I want you to read the Bible every day you’re here. You trying to get free, but you can’t do it by yourself. We gotta get you to that water, City. That’s why your mama sent you here.”
85 “Wait.” I sat up in bed. “That’s messed up. Mama really sent me down here to get whupped and baptized?”
86 I waited for an answer, but the lids of Grandma’s eyes slowly fell down. Her breathing got all heavy again, and about six seconds later, Grandma was asleep, her thick arm still slung across my chest, protecting me from something she wanted me to believe was millions and millions of miles away.
87 MYMY, COACH STROUD, AND SOOO SAD.
In her novel Long Division, Kiese Laymon examines racial inequality, authorship, celebrity culture, violence, and religion in post-Katrina Mississippi. It contains two interconnected stories that bring attention to the existence of racist inequality as well as the effects of celebrity culture and viral popularity on Black Americans.
This title works on multiple levels to create a sense of mystery and convey complex emotions related to the story. The main characters, Mymy and Coach Stroud, are mentioned by name, and the title “Sooo Sad” hints that the story will be a sad one. The opening paragraph of the story conveys feelings of anxiety and anticipation, as well as a sense of tragedy and poignancy. Finally, when Coach Stroud “wept like he had never wept before”, this reinforces the strong emotion of sadness in the story. The narrator hoped that readers would feel empathy for the characters and their difficult situation and reflect on the courage it can take to tell difficult truths.
I think through two intertwined stories, Kiese Laymon’s Long Division examines the themes of race and inequality while highlighting the value of knowing one’s own history and the difficulties Black teenagers in America face.
We as Marxists might ask what this title implies about the power dynamics between characters based on who is being named. Is Mymy an individual of the working class or the wealthy class? Does the title indicate a power imbalance between Coach Stroud and this person? Does Sooo Sad suggest that an injustice is being done to someone? By looking at the title, we can start to explore these ideas. Let’s take a closer look and consider the implications of this title in light of the Social Power/Marxist Critical Lens. How does this title represent or suggest class conflict?
This TikTok video starts off with a humorous 30-second sketch featuring a young woman, Mymy, played by the creator of the video, a creative coach named Stroud, and a tired and sad-looking character. As the video opens with a colorful backdrop and upbeat music, the audience is immediately drawn into the scene as Mymy and Stroud banter back-and-forth.
The camera then takes the audience through different angles and filters that capture the playful and humorous nature of the story. A series of fun reactions and sound bytes from Mymy and Stroud are interspersed with witty titles and clever animations to add some quirkiness to the viewing experience.
The video culminates with Mymy linking the viral-worthy TikTok to the message of spreading info to the youth. The video ends with a creative call to action, asking viewers to “comment and share what knowledge you found that has changed your life.” This captivating TikTok captures the heart of the message it is conveying while delivering it in a fun and humorous way that speaks to its audience.
89 I grabbed my book and my brush and decided to go out and see if my Melahatchie friends had ever heard of Long Division.
90 I really only had three Melahatchie friends: Shay, MyMy, and Kincaid. Kincaid lived in the Mela-hatchie projects. Shay lived right down the road a little. MyMy lived in a trailer in the Mexican trailer park right next to Grandma’s house. The only white people in the whole trailer park were MyMy and her mama.
91 The dirt underneath the Mexican trailer park was like the dirt at a playground, except it was darker and redder and filled with lots of perfect rocks. There were paper-sack-colored flat rocks with three or four deep scrapes, rocks the shape of chicken nuggets, black rocks that looked like charcoal, and dirty white ones with sharp edges.
92 I walked maybe two steps on that dirt when four limping rat dogs starting howling and running circles around these two women who were working on this broken-down Explorer.
93 The women saw me looking at them and they stared at me like I had a smushed little foot growing out of my cheek. I didn’t know if they looked at me like that because I had a brush in one hand and Long Division in the other, or if maybe they had seen the contest and heard what I said about those Mexican kids from Arizona.
By asking this question, the author suggests there could be multiple motivations behind the women’s reaction. This leads the reader to question the nature of the relationships between the characters in this text. It also hints that deeper, perhaps unknown tensions exist between the various groups of characters. Reflection on the author’s intentional use of language helps build suspense leading to a dramatic read. Let’s join together to explore the other writing choices made by the author as we read further.
94 As soon as I stepped to her door there were MyMy’s beady eyes. She was holding her Magic Slate, and looking crazy as ever. MyMy was ten ears old and she was still in that phase where you find a detail about yourself that’s different than evervone else and vou try to make that one thing “your” thing. Her thing was trying to talk as little as possible, so she always carried this Magic Slate so she could write what she wanted to say. The only time she’d talk was if she was in the woods across the road from her house. She called those woods the Magic Woods.
95 MyMy’s Magic Slate was the old-school kind with the thin plastic over the top, the kind where you wrote with a little plastic pencil and if you wanted to erase it, you had to pull the plastic up. If you met MyMy, you probablv wouldn’t be surprised that she would communicate through a Magic Slate. Nothing about the girl was regular. Her glasses weren’t even regular glasses. They were these cheap greasy magnifying glasses that let you see every little movement her eyes made. Her eyes seemed to be back farther in her head than normal. And they were blue. But the black part in the middle of MyMy’s blue eyes was big and beady. And even when they looked at you, they kept zooming back and forth way too fast. It made me scared to look at her sometimes. One of the only regular things about her was that she always wore some Saints mesh shorts like the kind I wore to sleep back home.
96 As soon as MyMy walked down the steps of her trailer, I could tell by the way she held her head that she wanted me to hug her.
97 I didn’t hug her, though. I just said, “MyMy, did you see me on TV?”
98 She nodded up and down.
99 “What did you think?” I asked her. “You can be honest.” MyMy shrugged her shoulders. “What would you have done?”
100 She pulled out her Magic Slate and wrote, “You and Baize are Fameus.”
101 “Girl, I know you know how to spell famous,” I told her. “Did you even know Baize?”
102 MyMy just looked at me and didn’t say a word. Even before Baize Shephard went missing, everyone in Melahatchie talked about her like she was their best friend. Baize was one of those girls who had thousands of friends on Twitter and Facebook, but she wasn’t that close with anyone in Melahatchie except my friend Shay.
103 MyMy and I were headed to the Magic Woods when we saw these two big green trucks with Confed erate flags in their back windows. They were parked in the middle of the trailer park.
104 “Mean white men drive them trucks,” MyMy said.
105 “That ‘not talk’ thing you do, I’m just letting you know it ain’t cute. And how are you gonna call somebody white when you are white as a bleach stain?”
106 MyMy just laughed and said, “Bleach stain.”
107 We walked in the opening of the woods as I was rereading the beginning of Long Division. The book described a covered hole in the ground that opened with a rusty handle, and I wanted to get a sense of where it was. MyMy snatched the book from me and opened it to the first page.
“Look carefully,” he said, “It might be around here somewhere.”
Plot Point 1 – MyMy Snatches the Book: This is a significant plot point as it is the first time the protagonist interacts with MyMy and shows her willingness to take on a new challenge. Quote: “MyMy snatched the book from me and opened it to the first page” (par 2).
Plot Point 2 – Finding the Hole: This is a significant plot point as it marks the beginning of their journey and challenge. Quote: “Look carefully,” he said, “It might be around here somewhere” (par 3).
Plot Point 3 – Their Search Begins: This is a significant plot point as it demonstrates the protagonist’s determination to find the hole and embark on her journey. Quote: “We walked in the opening of the woods as I was rereading the beginning of Long Division” (par 1).
Given these plot points, it is likely that the protagonist and MyMy will continue their search for the hole in the ground. They will travel deeper into the forest and, with MyMy’s help, eventually be able to locate the hole and find out what lies beneath it.
I’m curious, what do you think might be happening next in this story and why?
108 “Your name is in this book,” she said.
109 “I know,” I told her. “Keep reading. Baize up in there, too. You see the name of the second chapter?”
110 “I don’t want to,” she said and threw the book down. “I don’t like that book.”
111 “Why? You should read it. It’s not a hard book to read.” She just looked me in the eyes and didn’t say a word. “All the time you been in these woods, MyMy, have you ever seen a rusty handle that leads to a hole in the ground in these woods?”
112 “Why?”
113 “Have vou seen one or not?”
114 “I think so.” she said. “I think it’s over here.”
115 I followed her and sure enough, hidden by some pine needles, was a rusty brown handle coming out of ground. “Oh shit. You ever pull that handle before?”
116 MyMy started walking away from me. “I don’t think we should open that.”
117 “Why?”
118 “We don’t want to know.”
119 “Girl, please. Who are you supposed to be? We don’t want to know what?”
120 “You hear something?” she asked me. I listened harder. We heard some cracked bass and a synthesizer blasting from some tinny speakers.
121 MyMy snatched my arm and we took off out of the woods and ran back onto Old Morton Road.
122 Coach Stroud, who let me play on the Melahatchie baseball team in the summer, was driving the ice cream and watermelon truck our way. No matter where you saw Coach Stroud, he always wore a Titans hat turned to the back.
123 Coach stopped his truck in front of us.
124 “Hey, Coach!” I said.
125 “Hey Wide Load,” Coach said while stretching his neck. “How you making it these days? I heard how you lost your mind on TV, but I ain’t been able to watch it on DVR.”
126 Coach had this lisp that was deep and ringing, more like Biggie’s lisp than Mike Tyson’s. When I was ten, Mama gave me this slightly illiterate book about how all humans come from Africa. The book had pictures in there of the first man and first woman. The first woman didn’t look like anyone I’d ever seen except maybe Michael Jackson, but the first man had a mouth just like Coach Stroud. I’m not saying that I didn’t look lightweight ape around the mouth area, but Coach looked pretty much full ape. That was really one of the best things about him.
Counter-Argument: While Coach had this distinctive mouth, it could be argued that the book’s portrayal of the first man and woman was a much more accurate portrait. The pictures in there showed people of different shapes, sizes, and colors, more representative of the diversity of humans today. This could be seen as challenging the idea that Coach Stroud was unique or that his lisp was a better representation of humans as a whole.
Types of Evidence: To support this counter-argument, one might use evidence from anthropology, archaeology, and genetic studies. Historical texts and artwork could also be used to provide insight into how humans have evolved over time. Additionally, surveys of current populations could provide a more accurate representation of the human form and its vast variations.
Find Reliable Sources: For evidence to support this counter-argument, one might search for scholarly articles in anthropology journals. Journal sources can be found online through sources such as JSTOR or Google Scholar. Other sources that could be helpful to consult include The National Museum of Natural History and the Smithsonian Institution. Additionally, books and articles by experts in the field could provide further insight into the topic.
Your Turn: Now reread the text with this counter-argument in mind and let me know what you think of it in your response. How does the counter-argument change the perspective of the text? How might the text be interpreted differently?
127 “That’s the little white gal you been running ’round with since you got on TV?” Coach asked and stared at MyMy. MyMy walked up looking all hungry and crazy at the pictures of ice cream on the truck.
128 “I ain’t running around with no white girl. I just got here. People spreading rumors about me running around with white girls?”
129 “You know how y’all do,” Coach said.
130 I had no idea what he was talking about. “You still suing the city, Coach?”
131 “Well, we working on it,” Coach said. He was one of those dudes who always talked about suing somebody and taking the money he won to the casino to play blackjack. “Always doing something to keep a hardworking Black man down. So I gotta handle my business.”
132 Coach Stroud smiled as he scratched the sack part of his tight red coach pants. Everyone in Mela-hatchie said that Coach Stroud was busting booties with my friend Kincaid, and when you hear that a grown coach and one of your friends are busting booties, it makes you want to run your big ass back into the woods when you see him scratch his sack.
133 I figured that one of the worst things in the world was to have folks think you bust teenagers’ booties. Nobody would ever look at you the same after that. Even when you’re just doing stuff that everybody else does, like scratching your sack, no one would look at you the same. Coach was a walking “Kindly pause,” and that was fine with me. I just hated that I ever even thought I loved LaVander Peeler. No part of me really wanted to touch his sack, but I knew you couldn’t tell people that you
134 “Why?”
135 “We don’t want to know.”
136 “Girl, please. Who are you supposed to be? We don’t want to know what?”
137 “You hear something?” she asked me. I listened harder. We heard some cracked bass and a synthesizer blasting from some tinny speakers.
138 MyMy snatched my arm and we took off out of the woods and ran back onto Old Morton Road.
139 Coach Stroud, who let me play on the Melahatchie baseball team in the summer, was driving the ice cream and watermelon truck our way. No matter where you saw Coach Stroud, he always wore a Titans hat turned to the back.
140 Coach stopped his truck in front of us.
141 “Hey, Coach!” I said.
142 “Hey Wide Load,” Coach said while stretching his neck. “How you making it these days? I heard how you lost your mind on TV, but I ain’t been able to watch it on DVR.”
143 Coach had this lisp that was deep and ringing, more like Biggie’s lisp than Mike Tyson’s. When I was ten, Mama gave me this slightly illiterate book about how all humans come from Africa. The book had pictures in there of the first man and first woman. The first woman didn’t look like anyone I’d ever seen except maybe Michael Jackson, but the first man had a mouth just like Coach Stroud. I’m not saying that I didn’t look lightweight ape around the mouth area, but Coach looked pretty much full ape. That was really one of the best things about him.
144 “That’s the little white gal you been running ’round with since you got on TV?” Coach asked and stared at MyMy. MyMy walked up looking all hungry and crazy at the pictures of ice cream on the truck.
145 “I ain’t running around with no white girl. I just got here. People spreading rumors about me running around with white girls?”
146 “You know how y’all do,” Coach said.
147 I had no idea what he was talking about. “You still suing the city, Coach?”
148 “Well, we working on it,” Coach said. He was one of those dudes who always talked about suing somebody and taking the money he won to the casino to play blackjack. “Always doing something to keep a hardworking Black man down. So I gotta handle my business.”
149 Coach Stroud smiled as he scratched the sack part of his tight red coach pants. Everyone in Mela-hatchie said that Coach Stroud was busting booties with my friend Kincaid, and when you hear that a grown coach and one of your friends are busting booties, it makes you want to run your big ass back into the woods when you see him scratch his sack.
150 I figured that one of the worst things in the world was to have folks think you bust teenagers’ booties. Nobody would ever look at you the same after that. Even when you’re just doing stuff that everybody else does, like scratching your sack, no one would look at you the same. Coach was a walking “Kindly pause,” and that was fine with me. I just hated that I ever even thought I loved LaVander Peeler. No part of me really wanted to touch his sack, but I knew you couldn’t tell people that you loved another boy, because as soon as folks heard the word “love” they would look at me the same way I looked at Coach when he had that sack itch. I wondered, for the first time, what busting booties had to do with love. Once I thought I loved Toni Whitaker and Octavia Whittington, but that was because those girls were the only two real people I thought about when I got nice. They were the people who made my privacy the hardest. As much as I thought I loved LaVander Peeler, I can’t even say that anything about him made my privacy hard. So if it wasn’t love, I just wondered what it really was, and why I felt so much of it when I saw him up on that stage.
In this text, the narrator questions the nature of their relationship with LaVander Peeler. They recall why they wouldn’t want others to think they were “busting teenagers booties,” and they compare previous relationships they had with other people. Thinking of LaVander Peeler causes the narrator to question what “busting booties” has to do with love, and why they feel so strongly for him even when he never made their privacy hard.
This text explores the narrator’s tangled emotions regarding LaVander Peeler. The narrator recalls why they don’t want to be seen as “busting teenagers booties” and remembers feelings they had for other people in the past. Through reflecting on their relationship with LaVander Peeler, the narrator questions the nature of love and discovers that the feelings they have for him defy what they have felt in the past.
Now reread the text with this summary in mind. Is there anything you would add to this summary? Please let me know what you are thinking about the text in your reply.
This 45-second viral worthy TikTok video starts with a Quick Change Scene Transition which shows Coach walking along a beach with his hands in his pockets. The camera pans out and the sun sets in the background with a colored soft focus filter. The music, a playful and humorous melody, plays softly, and Coach stops walking and turns to the camera, and speaks the word “Kindly-pause” before continuing his walk.
As the music continues, the camera follows Coach through a puddle, up and over a hill, and continuing along the beach. With each step, Coach pauses to look up and every time he does, a different change of scene is used, transitioning from a cartoon face, to a cat, to an animal, and much more. Each time he looks up, he speaks the word “Kindly-pause” until he finally reaches his destination, at the edge of a pier, pauses and looks out over the ocean and says proudly, “And scene!” The camera then pans around and reveals that he was actually on a set, surrounded by a production crew, all of whom start to clap, and a deep booming voiceover saying “Lets Hear It For Coach!”
The scene ends with a slow motion clip of Coach turning back towards the camera showing a winning smile and a wink, before repeating the phrase “kindly pause” softly. The video then zooms out and transitions to the TikTok logo with the question ‘How did Coach use Kindly Pause to make his story unique?’, fading out with a ‘swipe up to know more’ option.
151 Anyway, I was allergic to watermelon, but Grandma seemed so happy when she ate them, so I decided to use the ten dollars Mama gave me for the trip to buy Grandma a gift.
152 “Coach, lemme get one of them baby watermelons.” Coach just looked at me and started rolling his tongue underneath the inside of his top lip. “Gimme one of them baby watermelons, Coach! Why you looking at me crazy?” He still just looked, steadily rolling his eyes like he would look if you fumbled in practice or acted scared to hit someone or didn’t run a play right.
153 “Come back here with me, Wide Load.” He walked through his truck. I looked at MyMy and walked back with him. “What you doing, man?” he asked me.
154 “What you mean, Coach?”
155 “What I mean?! Wide Load, you worse than them ignorant-ass rappers grabbing hard on them dicks, selling that poison, and calling everybody ‘niggas.’ You don’t eat no watermelon in front of no white folks,” he told me. “I know them folks in Jackson taught you better. Don’t look at me like that, boy. I don’t care if she is just a little white gal. Like I told y’all during the season. Practice makes perfect. You play the game the way you live your life.”
This connects to the historical stereotype of black people liking watermelon, which was supposed to represent them being sloppy or something like that.
This relates to the historical misconception that black people enjoy watermelon, which was meant to indicate that they are careless or something along those lines.
156 “White folks don’t like watermelon, Coach?”
157 “Naw, Wide Load. That ain’t it. It’s just some things you just don’t do. I swear before God that I don’t know what’s wrong with y’all little young boys in this generation. Black men like me fought so–“
158 “Oh Jesus,” I said.
159 “Now you blaspheming his name? We did our best so y’all could have equal opportunities and some of whatever the white man got. We got a Black president in that White House fighting to stay alive and here y’all go trying hard to act like niggas in front of the white man’s woman.” He stopped and looked at me like he’d just asked me a question. “What if Obama acted like that? You don’t see how they love seeing us do things like fighting and acting a fool on TV and dancing and eating on watermelons?”
(Laymon, 2013).
The counter-argument to the prevailing narrative in Long Division is that attempts to mimic the behavior of the dominant group are not only detrimental to the community, but that they are also exhibited by the white dominant group as a way to control and minimize black people. This counter-argument casts existing power dynamics between whites and blacks into a new light, highlighting how the behavior of one group is applauded while the same behavior of another group is discredited and denigrated. The tension and complexity this creates engages the reader, pushing them to question the meaning behind race and social class in the narrative.
Types of evidence used to support this counter-argument are textual and audience analysis. Through textual analysis, we can examine the words and symbols used in the text and the context surrounding them. This gives a better understanding of the underlying meanings and themes. Audience analysis provides insight into how readers interact with and interpret the text, differentiating between accepted and rejected ideas, as well as exploring acceptance and rejection of ideologies.
To find reliable sources to back up this counter-argument, one could search for scholarly articles on media representation of racial discourse, race and oppression, representations of black bodies, or the power of race within literature. Additionally, one could look for commentaries from literary critics on Long Division or race in literature.
Now reread the text with this counter-argument in mind and let me know what you are thinking about the text in your reply.
This 45-second viral TikTok video introduces a captivating audio sample by author Kiese Laymon. As the spoken word begins to play, we see an animation transitioning that takes us from a divided nation to a united one. This animation is accompanied by a striking combination of visuals, bright colors, and dreamy animations that quickly zoom in and out. The words of the spoken word poetry appear in writing displayed across the screen, allowing us to fully take in Laymon’s powerful words. The audio builds as the visuals become more intense, prompting us to think deeply about the themes of race and class. As the video comes to a close, the visual effects and music draw us in to the sentiment of the poem. The video ends with the question: “In what ways does Laymon explore the intersection of race and class in Long Division?” inviting us to think deeply about this theme and comment our response.
160 “That’s stuff I like to do anyway, Coach,” I told him. “Plus, I like to do other stuff, too.”
161 “Shhh. Wide Load. Shut the hell up. I’m asking vou how you think that make us feel?”
162 Coach was waiting for an answer, but you know what’s crazy? I’d never thought of Coach Stroud as being any part of the “us” he was talking about. The only time people talked about Coach Stroud was when they talked about Melahatchie’s biddy ball team. And the only time folks really talked about Melahatchie’s biddy ball team was when they were saying we might not need to be coached by someone who liked to bust booties.
163 “You ain’t answer me, boy.”
164 I opened my mouth, but he interrupted me. “It’s like this, Wide Load. I’mo say it to you one more time. White man see you acting a nigga, he liable to think we all still niggas. Niggas are less than white folks in they eyes. Look what they did to that young brother, Trayvon. If they think you less than human, you don’t deserve no respect. Period. You are a smart young man. I know you understand.”
165 “You done?”
166 “See, that’s your problem, Wide Load. You play too much. White man see your big ass acting a fool on TV, and he gon’ have a reason to take away the rights we done worked so hard for. Y’all gotta learn how to manage that freedom we got for y’all. You see what I’m saying. Ain’t enough to be free. What you gon’ do with the freedom?”
167 Coach was pissing me off even more than Principal Reeves when she gave that wack freedom speech. “Coach, you know something?” I was about to call him a half ape, half f-word in too-tight coach pants.
168 Instead, I said, “You probably should just give me the watermelon before I say something to hurt your feelings,” and went back around to the side of the truck.
169 He leaned close to me. “You act like a li’l head-buster, but don’t never forget, City, that you got a head, too.” Coach leaned back, blinked a few times, and swallowed some spit. “Here you go, boy. That’ll be six dollars.”
170 He really had a look in his eyes that told me he wanted to elbow me in the jaw. I thought about how since my friend Kincaid was known as the best young fighter in Melahatchie, there really was no telling how effective Coach Stroud was with his hands, but still I wanted him to know something.
171 “Coach Stroud.” | looked down at MyMy and thought about not saying this in front of her. “You pissed me off in the back of your truck a few minutes ago, but I guess I really don’t think you be busting Kincaid’s booty. I don’t. I just think he’s too young to have a grown boyfriend or girlfriend. And I thought about calling you an ‘f-word’ back there, too, but then I remembered how you were damn near a ninja,” | told him. “I also kinda remembered that ‘f-word’ sounds like some kind of balled-up monster made of ground-up dookie chunks, razor blades, and rotten muscadines. You ain’t no mon-ster, Coach. Not to me.”
I notice that Coach is a supporting character in Kiese Laymon’s Long Division. He is a white man who leads the spelling team at Melahatchie High School, which features the main character, City. It is implied that Coach is a racist and misogynistic figure who routinely insults Black people and women. Additionally, it is revealed that he mistreats his daughter and wife. Coach’s connections and power in the neighborhood allow him to continue coaching the spelling team despite his troublesome behavior. His persona seeks to draw attention to how persistent racism and injustice are in Mississippi as well as the difficulties Black Americans face in addressing these problems.
Coach Stroud was trying to make the reader understand that although he was initially angry, he ultimately decided not to be too hard on MyMy and Kincaid. He was trying to explain that he viewed MyMy as anything but a monster and that he was simply worried about Kincaid being too young for a grown boyfriend or girlfriend nowadays.
Coach, a supporting character in Kiese Laymon’s Long Division, assumes a prominent role in the story. He is depicted as a Caucasian man who leads the spelling team at Melahatchie High School, where the protagonist City is involved. Throughout the narrative, there are suggestions that Coach possesses prejudiced and misogynistic attitudes, frequently directing insults towards individuals of African descent and women. Additionally, it is disclosed that he mistreats his own daughter and wife. Despite his troublesome conduct, Coach’s influential connections and position within the community allow him to maintain his coaching role. Through the portrayal of this character, Laymon effectively underscores the pervasive existence of racism and injustice in Mississippi, shedding light on the challenges confronted by Black Americans in the face of such issues.
Coach, a supporting character in Kiese Laymon’s Long Division, assumes a prominent role in the story. He is depicted as a Caucasian man who leads the spelling team at Melahatchie High School, where the protagonist City is involved. Throughout the narrative, there are suggestions that Coach possesses prejudiced and misogynistic attitudes, frequently directing insults towards individuals of African descent and women. Additionally, it is disclosed that he mistreats his own daughter and wife. Despite his troublesome conduct, Coach’s influential connections and position within the community allow him to maintain his coaching role. Through the portrayal of this character, Laymon effectively underscores the pervasive existence of racism and injustice in Mississippi, shedding light on the challenges confronted by Black Americans in the face of such issues.
This 45-second TikTok video aims to subvert traditional narrative structures and expectations by challenging the idea of what it means to hold authority, while presenting a unique perspective. In the first three seconds, viewers can expect to be engaged by a catchy and upbeat hip-hop instrumental, while hearing a deep-voiced narrator introduce themselves as “Coach Stroud”. Focusing on a short sequence of a young woman wearing a powerful expression, viewers can see her walking with confidence. As the camera angles change, viewers can hear the narrator’s empowering words, enhancing each scene. Transitions between each butterfly filter are edited in a way that keep viewers on a journey, captivated by the powerful spoken-word performances. The combination of the emotional editing, creative visuals, and satisfying twist to the narrative structure surely will make this TikTok video go viral. In the final few seconds, a thought-provoking question is whispered, as the young woman looks directly in the camera as if talking to the viewers, beckoning them to comment on the video with their own answers. #ChallengeAuthority #StrongWomen #UpliftTheYouth
172 I looked at Coach and I grabbed MyMy’s hand and got a little distance from the truck. “I hear what you saying back there, but can I give you some advice? Fuck white folks,” I told him. “For real! Their eyes ain’t gotta be everywhere you are. Y’all are too old to care about them so much. They can only do as much harm as you let them, and all y’all oldheads are letting them do way too much.”
173 Saying that made me feel like Satan in a way because I knew that Coach Stroud couldn’t go up in anyone’s house in Melahatchie, including Grandma’s, and tell on me. Everybody in Melahatchie would allow Stroud to walk on their porch. And they’d sit down with him and they’d laugh loud and talk louder about the weather, the Saints, white folks, or some trifling heathen who wasn’t there to defend himself. But I didn’t know of one grown person in Melahatchie who would let him all the way in their house. Not one.
174 Coach Stroud drove his truck on down the road and MyMy and I were on our way out of the woods when that green truck that was parked in the trailer park drove slowly toward us.
175 It stopped in front of us. Four men were squeezed into the cab. They were blasting that old Ricky Rozay song, “I’m Not a Star.” One of the dudes had crossed eyes, dimples, red hair, and a potbelly that looked far too old for his face. Something about the mix of the eyes, the dimples, and the potbelly looked so sad to me. I had a baby watermelon in one hand, my brush under my arm, and Long Division in the other hand.
176 “You the boy who was on TV yesterday?” Sooo Sad asked. “The one with that brush who done all that talking?”
177 “Yeah, that’s me,” I told him. “My name is City.”
178 “City?” He looked down at me. “What’s a boy named City doing out here in the country? You got family in New Orleans, don’t you?”
179 “I don’t believe so. I’m just visiting my grandma,” I told him. “City is just a nickname.”
180 “I see,” he said. “Let me ask you this. You fast as you is smart?”
181 “For my size, I’m alright.”
182 “You faster than this man right here?” he asked and pointed to the only boy in the truck, who wore a V-neck shirt with the arms cut off.
183 “That’s a boy,” I told them. “He ain’t no man.”
184 “City love to sass, don’t he,” Sooo Sad said to the other men in the truck. “You had plenty of sass yesterday on that TV, didn’t you?”
185 Sooo Sad whispered something to the round-faced white boy. The kid jumped out the back and stood next to me. The truck was right in front of us.
186 “Now, we gonna say ‘go,'” Sooo Sad said, “and I want y’all to run after the truck ’til we say ‘stop.””
187 “Naw, I’m good,” I told the man. “I’m tired of running. I don’t even know y’all like that.” I put the watermelon down and started brushing my waves. “Plus, my wind ain’t that good ’cause I just raced.”
188 “That’s alright, Chucker. We ain’t going that far.”
189 “My name is City,” I told him and kept brushing my hair. “You know what? I don’t like the feeling of this situation, so we’re finna go on about our business.”
190 “Mind if I look at your brush, Situation?”
191 “Why?”
192 “Never seen one up close,” he said. “Just wanna look at it.”
193 “Naw,” I told him. “I’m good.”
194 “You don’t wanna race. You don’t wanna share your brush. What you wanna do, Situation? Use some sentences. How you practice for something like that?”
195 “My name is City,” I told him again. “Not no Situation.”
196 All the men in the truck were laughing so hard at this point. One of them said, “Situation, you wanna use ‘brush’ in a sentence?”
197 “I can do that,” I told him and started walking toward them. “The next funky-ass white boy to ask me for my brush is going to get knocked out, Deebo-style, and if his friends jump in and try to help, they might get a few licks off, but I’m gonna get my revenge with my Jackson army one way or an-other. Let’s go, MyMy.” I grabbed her hand.
198 “Here,” the man said, and threw a comb on the ground. “You are so talented, Situation. I’ll let you see mine if you let me see yours.”
199 The comb wasn’t like the heavy plastic black combs Mama and them used sometimes. It had smaller edges and a thin handle. I reached down to pick it up and hand it to him, when out of nowhere, I felt a heavy foot in the center of my back. My solar plexus smashed into the ground and my lips kissed the asphalt right as my brush popped out of my hand. Then I felt another kick in my ass.
200 I looked up. One of the men picked up my brush and threw it to Sooo Sad, and they all jumped in the truck. I spit the little rocks, dirt, and blood from my lips and looked at the eyes of the other men in the car. “Use that in a sentence, you nigger son of a b—-,” Sooo Sad yelled. Red dirt started pouring out of the back of that truck and they slowly rolled away. I sat there on the ground, swallowing the taste of rocks. It felt like someone was tickling the back of my tongue with one of those square batteries.
Because she lived in a racist neighborhood and even though city didn’t do anything they still messed with him
This 45-second TikTok video starts with a close-up of a textbook page as a narrator explains the concept of critical theory. In the next three seconds, the camera pans out to reveal a diverse group of students in a classroom, looking intrigued by the term.
The video then fades to a montage of students discussing and exploring the concept, taking notes and laughing. Through the use of a split-screen effect and funky transitions, the students’ comments and reactions are combined into an engaging visual story.
At the end, the camera zooms out to show an extreme close-up of an older student shouting the phrase “Use that in a sentence, you nigger son of a b—-,” which is met with shocked reactions and confusion. The scene then fades to black as the narrator intones “Critical race theory – explore the truth and challenge the norm”, inviting viewers to think and question the issue. As the music builds, we are left with the burning question – what role does critical race theory play in Long Division?- to encourage viewers to comment, like and share the message.
201 I went in my pockets, grabbed those right-heavy rocks, and tried to break out their back windows. MyMy ran with me. She was beside me throwing rocks. Sooo Sad’s voice was still back there laughing, pointing, teasing, watching me. The young boy that he had called a man was recording it all, too, on a cell phone. “Hey girl, hey,” Sooo Sad yelled as the boy recorded it all. “You best don’t grow to be no nigger-lover. Leave all that alone.”
202 I turned around in the middle of the road, wiped the dirt off my face, and walked back into the woods. “Move, MyMy,” I told her, and spit a bloody piece of the inside of my bottom lip on some sticker bushes.
203 My mother had beaten me probably over a hundred times in Jackson, but no man and no white person had ever put their hands on me. Ever. I had lost some battles at school with LaVander Peeler and felt like I had lost on that stage yesterday, but in those situations, I always thought I could fight back. Even if I lost, I knew that the other person or other people fighting me knew that they had been in a fight.
204 This was completely different.
205 All I could do after getting my chest smashed into the ground and being called a “nigger” by those white men was hope it all stopped hurting. That was it.
206 MyMy started trying to wipe the dirt off my face. “Don’t get dirt all on your clothes,” I told her and wiped my face again with my own shirt.
207 “They called me ‘nigga’ too, City.”
208 “MyMy, you ain’t no nigga,” I told her. “And don’t say it again.”
209 “How come?”
210 “Because it hurts when you say that word.” | turned back toward the road behind us. “And I know it don’t really hurt you when you hear the word.”
211 “It does hurt me,” she said and kept trying to look me in the face. “I didn’t like it when they said it.”
212 “It didn’t really hurt you, though. It’s like the word ‘b-. My principal said boys shouldn’t ever say that word because we never have to deal with being treated like a b—-. She’s right, too. Or…
213 “But you just said it.” MyMy interrupted my thought. “You said ‘b—-.' ”
214 “I was making a point,” I told her. “Don’t say that word, either. You too young to say words like that.”
215 “City.” MyMy tugged on my shirt. “What does that word really mean?”
216 “Which word?”
217 “Nigga.”
218 “Damn, girl. Didn’t I just tell you not to say that word? Look. I know that I’m a nigga. I mean… I know I’m Black”–I thought for a few seconds of what Mama told me the word meant when I was in Jackson–“but ‘nigga’ means below human to some folks and it means superhuman to some other folks. Do you even know what I’m saying? And sometimes it means both to the same person at different times. And, I don’t know. I think ‘nigga’ can be like the word ‘bad.’ You know how bad mean a lot of things? And sometimes, ‘bad’ means ‘super good.’ Well, sometimes being called a ‘nigga’ by another person who gets treated like a ‘nigga’ is one of the top seven or eight feelings in the world. And other times, it’s in the top two or three worst feelings. Or, maybe… shoot. I don’t know. I couldn’t even use the word in a sentence, MyMy. Ask someone else. Shoot. I don’t even know.”
This 45-second viral-worthy TikTok video aims to bring to life the importance and complexities of language and dialect. It begins with a hook: two young friends discussing the meaning of the word “nigga” and the audience sees the female friend of color giving her friend a crash course on the nuanced history of the word. To add to the authenticity of the clip, the camera will be focused on the duo’s conversation with the young woman’s face and body illustrating her points, and the audience will be able to hear the dialect used. Additionally, the video will be filled with creative touches including flashy colors, distortion effects, fast motion editing, and bold typography. The clip finishes with a question -“What do you think?”-that encourages the audience to comment their own opinions and passions for this topic. By creating this video, this woman is using her voice and the platform of TikTok to spread important information about language and dialect to the youth.
219 “City,” MyMy interrupted me. She kept moving side to side, tearing leaves off little lilac clovers. “I think we can kill them. They made you sound crazy on TV.”
220 “Naw, girl. We could try to kill a few, but they had rifles in the back of their truck and they were taller than us and they could kill us a lot quicker than we could kill them. Plus, if I kill a white person, they would throw everyone in my family under the jail,” I told her. “Me and you can do bad things, hood-rat things, but we can’t ever kill white folks. How do you not know that?”
221 We started walking out of the woods when MyMy stopped and looked at me with those crazy eyes. “City, I have a brown thing on my hand. See?” MyMy held out her left hand and showed me a little brown dot in the middle of her palm. Looked like a big freckle. “I wish this thing was white and the rest of me was the color of my birthmark.”
222 “Don’t be dumb. Just be happy that you are whatever you are,” I told her. “At least the way you are, ain’t nobody kicking you in the back and making you use ‘niggardly’ in a sentence. It’s not that you’re dumb, MyMy, but you’re kinda dumb compared to me. You feel me?”
223 “City?” MyMy said.
This 45-second TikTok would open with our protagonist, MyMy, walking through the city streets as the camera follows her from behind. Adorable stickers/filters would appear to match her movements, such as a cat chasing a butterfly or a sparkling heart trailing her footsteps, as she narrates her story. Steady camerawork followed by creative edits and stylization with split-screens and jump cuts would show the different faces and perspectives of City. Colors and music would shift to match her expanding thoughts on identity and racism. Everything ends as MyMy pauses, looking directly at the camera, posing a final question that encourages TikTok users to comment their thoughts on the topic. In summary, this viral TikTok would empower young viewers by engaging them in an honest discussion about important issues spanning the globe.
224 “What?” I could tell she was flipping subjects again.
225 “I don’t know what n-i-g-g-a is.” MyMy was talking her ass off now. “And you do not know what n-i-g-g-a is, but we can say I’m not n-i-g-g-a and you’re not n-i-g-g-a and Baize is not n-i-g-g-a.”
226 “MyMy, we can say that if you really want us to, but I’m pretty sure I’m a nigga for life,” I told her. “And you might wanna stop talking about Baize since you didn’t even know her. Because I’m almost positive Baize would tell you that she was a nigga for life, too.” We started walking again. “I swear that white folks need to just shut the hell up sometimes. Y’all make it hard for everybody.”
227 We started walking out of the woods for the third time. “MyMy, watch out for them sticker bushes,” said.
228 I had Long Division in my lap when Grandma came out on the porch and asked me what was wrong. I told her that I was sad because I didn’t want to get baptized and I wished she had internet so I could see what people were saying about me.
229 “What happened to your lip, baby?” she asked me.
230 “I just fell in the woods. Why?”
231 Grandma went in the house and came back out on the porch with some peroxide and a washcloth. “Don’t ask me why,” she said. “Tell me what happened to your lip, City.”
This 45-second TikTok video starts with a close-up shot of Grandma walking onto her porch. Grandma looks determined and her expression is grave, as if something grave has just befallen her grandson. She is carrying a washcloth and peroxide. As soon as she reaches the porch, the scene quickly shifts to her grandson (City) with an injured lip. City’s expression is a mixture of sadness and confusion – depicting the uncertainty about his experience that he is feeling. Grandma speaks out with an authoritative yet caring tone: ‘Don’t ask me why, tell me what happened to your lip, City’.
A looping, acoustic guitar track plays in the background. Chords contour the soft yet firm determination of Grandma’s voice. The transition speed quickens and slows to emphasize the magic of this moment and the power of one’s relationships. A pale yellow filter is used to add warmth and depth to the scene.
The scene transitions back to Grandma, holding the washcloth and gazing into the horizon. Her expression changes to one of understanding, and of assurance towards her grandson.
The camera pulls back, giving a higher view of Grandma and City, allowing for a greater emphasis on their relationship. As the video ends, an engaging question is prompted – ‘What is the story behind City’s lip?’
Be captivated by this 45-second TikTok video – and follow the prompt to comment on the story behind City’s lip.
232 “Grandma, do white folks like watermelon?”
233 “I reckon they do.”
234 “More than Black folks?”
235 “I don’t reckon they do.” She started laughing.
236 “Well, Coach Stroud didn’t want me to buy a watermelon in front of white folks. That’s what he said.”
237 “Baby. Coach Stroud was just trving to protect vou.”
238 “From what, Grandma?”
239 “From life, City,” she said. “Stroud ain’t all the way right, but he just wants you to survive. Keep your guard up, because you don’t never know.”
240 “Never know what, Grandma?” I was getting anxious and a little mad at the goofy answers Grandma was giving. “How far they go to get you? That’s what you said when I got off the bus. But what if I do know how far they’ll go? I know. I do!”
241 Grandma didn’t say a word.
242 “Well,” I said, “if someone was tired of hearing about white folks, do you think they should say, ‘Forget white folks,’ or ‘Forget what white folks think’?”
243 Grandma looked at me harder. “I think the fool probably ought to ask himself why and what it is they want to forget. I ain’t forgetting nothing they did to us. Nothing! I spent my whole life forgetting. Shit.” Grandma started rubbing her wrist really hard. “City, what ain’t you telling me?”
244 “I’m telling you everything,” I told her, when her phone rang. I could tell it was Uncle Relle by the way Grandma’s face dropped and her eyes starting twitching. Grandma handed me the phone and walked out to give me privacy. She was really good about doing that.
245 “You did it, li’l nigga,” Uncle Relle said over the phone.
246 “Did what?”
247 “You made that move.”
This catchy line begins the 45-second TikTok video as the camera pans across a library or study space. We see different people of different backgrounds studying or typing away on their laptops, and the words “Long Division” appear in bold letters on the screen as a voiceover begins to share a story of one person’s experiences with police profiling. As the story progresses, it segues to clips of people being arrested or detained without cause, followed by a montage of scenes highlighting the causes and effects of systemic racism. Filters, stickers, and edits are used to craft the visuals for the video, creating an immersive and powerful experience for the viewer. The video culminates with muted shots of individuals looking fearful or concerned in their racial circumstances, and the voiceover reprises the line “You made that move” in an ominous tone. The video ends on an eerie note, with the words “Comment your thoughts on this” appearing on the screen. This TikTok leaves the viewer with a powerful message and a desire to reflect on and discuss the unfortunate injustice and inequality many people experience.
248 “What move?”
249 “You got folks playing what you did on the internet everywhere. Now you ’bout to make that TV money. They ain’t tell you?”
250 “Tell me what?”
251 “Listen,” he said, sounding way too giddy, like Funkmaster Flex. “Don’t tell Mama I told you this, but they want you to be on a reality show.”
252 “Who?”
253 “You, nigga! Your mother don’t want you to do it but we got to find a way to make it work.”
This 45-second, viral-worthy TikTok video begins with a panoramic, high-angle camera view of a vibrant city. We hear a soulful cover of an old R&B song playing in the background. A bright neon sign reads “TikTok Heaven” in bold, dynamic letters. As the music builds up with a steady beat, a group of diverse people in street clothes emerges from the shadows and starts dancing. They playfully jump up and down in energy, shaking their heads and laughing, filling the street with their upbeat positive energy.
The camera cuts to close-ups of the characters, alternating between a fish-eye lens, slow-motion, glam-style shots and split-screen action as they spin around, clap, wave their hands and tag each other with words like “You, nigga!” and “Your mother don’t want you to do it but we got to find a way to make it work.” All the while, they keep moving and smiling, displaying an infectious joy.
The video culminates in a freeze-frame of the dancing people, all of them gleefully smiling at the camera. On-screen text then appears to ask viewers, “How does the dynamic words and music of Laymon capture elements of satire, humor, and serious topics related to race and social issues?” leaving viewers wanting more.
This TikTok video is sure to be a viral sensation, and leave viewers amazed with its cool, creative production values and unique perspective on social issues.
254 “Me?” I asked him. “Why?”
255 “Because of what you did,” he said. “You got over two million hits on YouTube, damn near a million views on WorldStar, and it ain’t even been twenty-four hours since it happened. They know that they can make some money off you. I’ma tell you all about it tomorrow. BET and VH1 trying to do a Black Reality Stars of YouTube.”
256 “Stop lying.”
257 “I ain’t bullshitting you, baby boy,” he said, sounding completely sincere. “They want you, and that corny tall one who won.”
258 “LaVander Peeler?”
259 “Yeah.”
260 “But he didn’t win.”
261 “Don’t hate,” he said. “Look, I’ma be there tomorrow morning. I gotta record you going through your day. Shit might be worth something someday.”
262 “But you don’t have a camera.”
263 “City, I got about six phones with cameras. Don’t worry ’bout me. Just do you. And don’t say nothing to Mama.”
264 “Uncle Relle?”
265 “What?”
266 I didn’t want to say what I felt but I needed to tell someone. “I don’t believe you,” I told him. “Bad things are happening to me too fast. You know what I mean? Everything is happening too fast. White folks so mad, but I don’t know why. I’m reading this book called Long Division and there’s a character in it from the ’80s named City. It’s hard…”
267 “It is what it is,” he interrupted me. “Fuck a book. Ain’t nan nigga reading no books in 2013 unless you already a star or talking about some damn vampires and wolfmen. Like Jigga said, every day a star is born. He ain’t say a writer. A star, nigga! Today, that star is my nephew.”
268 “Bye, Uncle Relle,” I said, not really understanding how much of what he said was truth but knowing Jigga didn’t really have anything to do with it. I went out on the porch and looked across Old Morton Road at the Magic Woods. They didn’t seem nearly as magical as the woods I’d been reading about in Long Division.
269 BOOM BOOM BOOM.
271 Grandma’s screen screeched open around 8 p.m. Boom Boom Boom. Grandma looked at me and grinned. I grinned back so she wouldn’t feel as stupid as she looked. Boom Boom Boom. After knock number three or six, depending on how you count, Grandma’s door opened and, in slow motion, in walked our boy, Ufa D, in a head-to-toe camouflage outfit with two DVD collections under his arms.
The conversation went on for 45-minutes but the music was too loud to make out, so all the viewer can catch is laughter.
The video will be spliced with cuts and edits that transitions the viewer to various rooms on the first floor of Grandma’s house, while filters and stickers will add fun and energy. In one sequence, the camera will follow Ufa through the hallway, showing off his outfit from several angles to add aesthetic appeal. In addition, the camera will switch to a couple of close ups and reaction shots. The music will be a fast-paced rhythm and blues track that will fit the uplifting energy of the video.
The last few seconds will transition to an aerial view of Grandma’s house along with a reflective voiceover questioning the audience about the relationship between City and his grandmother, and how it sheds light on intergenerational experiences of race and resilience. As the video ends, an overlay box will appear asking viewers to comment with their thoughts and answers. This will leave viewers with a question to reflect on and amaze them with the unique idea of the video.
272 Ufa sat his big self on the couch next to Grandma. They half-smiled, touched feet, and tossed goofiness at each other like grown folk did on good cable after they got done doing it.
273 Ufa looked over at me on the floor and just started laughing his ass off. I would’ve been more pissed but Ufa had a burning sweet tobacco smell about him. The smell had its root in his mouth, but somehow it spread all over his body.
274 Ufa alwas brought one episode of The Dukes of Hazzard and one episode of Dallas over to Grandma’s on Friday nights. Ufa and Grandma realized a year ago that you could buy the box sets of old shows at Walmart. Ever since then, Friday was Dallas and The Dukes of Hazzard night just like I guess it was for them way back in the 1980s. After bringing in the box sets, they would go back out to his truck and get the fried fish or chicken platters and cold drank that he left there.
275 When folks came to Grandma’s house, they parked in this little rocky sand patch to the right of the porch. But Ufa D went way past the patch and parked on the grass next to the work shed, damn near the back of Grandma’s house, under a magnolia. We walked back and looked in his orangey-red pickup. On top of lots of dry pine needles and lots of long stalks of sugar cane were three big burlap sacks filled with orange drank, donuts, fried chicken parts, and potato logs from Jr. Food Mart. Even though my chest still hurt from what happened earlier with Sooo Sad, and even though my insides felt super sour, I couldn’t wait to eat as much greasy food as soon as possible. For a second, I thought about this skinny speaker they brought to Hamer to talk mainly to the girls in my grade. This skinny dude kept talking about how Black girls loved to eat their feelings when things were sad for them. I acted like I wasn’t paying attention, but I really wanted to ask that skinny dude so many questions. Anyway, I wondered if I was trying to eat my feelings after what had happened to me over the past two days.
276 By the time we got in the house, I didn’t wonder about anything except how much greasy food I could force down my mouth in the shortest amount of time. If I was eating my feelings, it felt so good while it was happening. I was hours into a chicken-fat-and-orange-drank-induced sleep when Grandma tapped me on the booty.
277 “Get up, baby,” she said. “Time to go to bed.”
278 I waddled back into Grandma’s bedroom and lumped myself into her bed. I still had chicken crumbs and cold drank stains all over my shirt.
279 A little while later, Grandma came into our room. She took off her clothes and put on her gown, but kept on her wig. As long as I knew Grandma, before she went to bed, she’d turn on that damn Mahalia Jackson song, “How I Got Over.” Then she’d start humming and writing in a tablet. Usually, I’d be in the bed reading some book or something and Grandma would be on the floor humming.
280 “I’ll be right back,” she said.
281 I was in that bed for about four minutes thinking about all kinds of stuff, and then I heard the screen door open.
282 I kept listening for the door to close. I didn’t hear anything else except the chunky buzz of bullfrogs. I tiptoed over to the door of our bedroom, put my greasy hands on the edge of the door, and peeked around the corner.
283 Layers of Grandma’s booty were spilling over the fingers of Ufa’s paws. And Grandma had her arm wrapped around him, too. Their arms made a long, off-center “X” on the side of their bodies.
284 All I could think about was Grandma’s hand behind Ufa’s back, probably cupping his tobacco-smelling booty, too. It’s one thing to think of your Grandma’s booty being cupped, but when you think of her cupping someone else’s booty it makes your insides rot and tangle, especially if that someone is probably married and named Ufa D. It makes you think that the person who fed you and talked to you and listened to you and laughed with you and bathed you when you were young was really some super freak you didn’t even know.
285 Ufa’s head was to the side and he and Grandma were standing in the doorway, kissing and hunching like some young white fools on wemakexxxvideos.com. Ufa had his hat off so I could see his face and raggedy eyebrows pretty good. As soon as I saw the white of his eyes, I ran my ass back to the bed, covered my head with our sheets, and faced the fan in Grandma’s window.
286 The screen door closed and Grandma stomped back into the bedroom.
287 “City, you meddling in grown-folk business again, ain’t you?” I didn’t say a damn word. I figured my best bet was to fake sleep until Grandma tapped me on the booty. I didn’t move an inch. Didn’t shake. Didn’t even smile like I usually did when I fake slept. Even with my greasy head under the covers, I felt the heat of Grandma coming near me. I thought she was going to try to kiss me, so I made sure my face was tucked tight. But even under the covers, I could still smell Ufa on her.
288 I needed to throw up.
289 “Know that I love you, baby,” Grandma said, rubbing my back with her fingertips. “You gotta wake up early to go to the library with Relle. G’night.”
290 When Uncle Relle and I walked into the library Saturday morning, I was surprised at the shampooed-carpet-and-corn-bread smell of the place, especially since the floor was linoleum. Looking at all the slightly wack books in the library made me grab Long Division tighter. hadn’t been in a real library for so long and this one didn’t really feel real either. It was more like a mobile home with a lot of bookshelves in it. Every bookshelf in the library was its own section. You had your colorful kids’ books section, your Bible section, your John Grisham and William Faulkner sections, and then you had a Classic section filled with books that were thick, dark, and spinach-green and had that rich, gluey smell.
291 I was too old for the kids’ books and to tell you the truth, all the Bible stuff I’d heard didn’t seem interesting for too long. For less than two pages, you’d get something interesting about naked Adam and Eve eating on apple cores and grabbing snakes by the throat, and then three hundred pages later, you’d get some boring stuff about jokers named Isaac and Ham. But the Bible was better than those other spinach-colored Classic books that spent most of their time flossing with long sentences about pastures and fake sunsets and white dudes named Spencer. I didn’t hate on spinach, fake sunsets, or white dudes named Spencer, but you could just tell that whoever wrote the sentences in those books never imagined they’d be read by Grandma, Uncle Relle, LaVander Peeler, my cousins, or anyone I’d ever met.
292 If you didn’t want to read books at the Melahatchie Library, you could read magazines or get in line for one of their two computers. The only problem was that the computers were usually used by dusty oldheads sneaking looks at big-booty porn sites.
293 I sat down at one of the computers and saw that someone had been googling “long division.”
294 “Can you come here?” I asked Uncle Relle.
295 There was nothing about the book I’d been reading for the past two days, so I typed a sentence from Long Division and googled it: I still have no proof that I ever made Shalaya Crump feel anything other than guilty for leaving me with Baize Shephard.
296 There was still nothing on the screen that had to do with the book.
297 “What you doing copying sentences out of that book?” Uncle Relle said. “Thought you wanted to find out about yourself. You messing around?”
298 “You think it’s possible to have a book and not have it appear anywhere on the internet?” I asked
299 Uncle Relle.
300 “Who wrote the book?”
301 “I don’t know.”
302 “What vou mean you ‘don’t know’? Who wrote the shit? Look up his last name.”
303 “For real,” I told him. “I don’t know who wrote it. It could have been a boy or a girl. It’s a lot of dot-dot-dots in that book, too.”
304 “Well.” He sat next to me and poked me in the chest with his nubs. “If it ain’t no author, it ain’t no gotdamn book, is it? Unless it’s one of them pamphlets that niggas be calling a book. That shit be embarrassing to me. And even some of them pamphlets be on the internet, City. Now, can you please look up that other shit so we can go? I got a meeting in twenty minutes.”
305 I knew Uncle Relle didn’t have a meeting, but I went to YouTube and typed, “City, Can You Use That Word in a Sentence” anyway. The YouTube clip of my speech already had four million hits. It was called “The Wave Brush Rant.” It had been linked by over 80,000 people on Facebook. Another clip, the one of me trying to understand the word “niggardly,” had two million hits and was called “City Spells Nig-gardly.” The clip of me telling that white boy on the bus that I hated him only had 24,000 hits. On the right side you could see LaVander Peeler’s link, too. His only had 300,000 hits and it was called “Chit-terlings Are Chitlins.” Right below that was a still picture of me from a distance, throwing rocks toward Sooo Sad’s truck, called “City, the Nigger, Running.”
306 Everything that had happened to me the past three days, except the whupping from Grandma and catching her making out, had made it on to the internet.
307 “City Be Busting Heads” had over 200,000 views and “City, the Big Little Nigger” had 90,000 in less than a day.
The 45-second, viral-worthy TikTok opens with an aerial shot of a crowded street, with the song “City Be Busting Heads” playing in the background. A bright, yellow filter highlights the hustle and bustle of city life, as the narrator’s voiceover begins. The next three seconds feature close-up shots of different characters going about their day, from business men and women in suits to kids in hoods and sneakers.
At the seven-second mark, the video fades into a black and white shot of a group of people, mostly minorities, standing outside a building. An attending police officer looms in the background, as words like “racism”, “prejudice”, and “injustice” drift into the mix of the song. The camera shifts to a larger group of diverse people from different backgrounds, as the words “dignity, humanity, respect” appear.
The rest of the video features cutaways to additional scenes of people of different races, ages, genders and classes interacting with each other. At the 21-second mark the music cuts and a text overlays with the question “What Role Does Technology Play in Shaping Experiences and Understanding of Race?". A quick shift to a montage of people using their cell phones, followed by a street side mural highlighting minority voices, brings the video to an end on a powerful note, with the words “Let’s all collaborate and raise awareness” floating across the screen. The video concludes with an invitation to leave comments and join the conversation.
308 Uncle Relle showed me how someone had added the T-Pain voice coder to my voice when I was talking to the Mexicans from Arizona. Folks were selling T-shirts online with a picture of me brushing my waves with the word “niggardly” with a question mark underneath in deep black.
309 I turned the volume down on the computer so only I could hear the sound and I pushed play on the video from the contest. I’d made YouTube videos before but they always had other people in them and really none of the videos I’d made were just about me. But this was so different. For example, when I was going off on that stage at the contest, on the computer, I looked like I wanted to kill that Mexican girl from Arizona when really I didn’t even know her. I was just desperate to find something to make them feel pain and be sad and embarrassed like I’d been embarrassed on national TV. But when I saw the video, there were so many white kids around that I could have said mean things about and I didn’t say hardly anything directly to them. Also, I never thought I was super cute but I didn’t realize how much my thighs rubbed together and how the back of my head was bigger than every other head in all the videos. Even though I felt all of that strange stuff, I can’t even lie: the thing I still felt the most was famous.
310 The first comment under the contest clip was “dis my nigga right here. crackers mad city stay keeping it real. flav ain’t got nothing on city. fuck white folks just like he said.” It was posted by someone called “LockNess.”
311 Beneath that, someone called “CawCuss” commented, “Note to Niggers: Niggardly is a word that has nothing to do with Niggers. Learn to read before complaining Niggers.”
This 45-second, viral-worthy TikTok video opens with an ethereal filter applied to the camera, as the words “Racism isn’t funny. It’s not a joke. We must stand together to reject all forms of bigotry” is shown on the screen. A beat begins to play, as the camera reveals a group of people from all different backgrounds walking together, with varying skin tones and hair colors, and all wearing face-masks with the words “#WeSpeakOut” on them.
The video then cuts to a scene of a diverse group of dancers in an urban setting, moved along by the uplifting beats while showing solidarity in the face of racial and social injustice. The camera then alternates between different dancers making dance moves and doing freestyle street moves, with glowing filters and colorful edits applied to the footage. More text, this time about different forms of power and how we all must work together to confront prejudice is then shown, before the scene changes again.
Now we see an image of author Kiese Laymon, and a brief discussion of how he addresses the concept of allyship and solidarity in the face of racial oppression. In the background, there is a voiceover with the following words in italics: “Note to Niggers: Niggardly is a word that has nothing to do with Niggers. Learn to read before complaining Niggers.” This highlights the words of an online comment that serves to remind viewers of the type of hate speech that goes unchecked.
The video then shifts back to the group of people from the beginning, this time arm in arm and looking to the sky as if in search of an answer. A gentle piano melody fades in and the hashtag #WeSpeakOut is shown on the screen as the video ends. We’re left to ponder the question: How can we all stand in solidarity in the face of racial oppression?
312 Uncle Relle said we had to go but after reading CawCuss’s comment, I really had to look up “niggardly” and see what it actually meant.
313 “Uncle Relle, did you see a tape of the contest?” I asked him.
314 “Yeah, I watched your part ’bout a hundred times.” He put his hand on my head and started laugh-ing. “Why?”
315 “I’m saying, do you think ‘niggardly’ is, you know, about us?”
316 “City, you can’t ever put anything past the white man. They knew that word had ‘nigga’ in it. That’s all I’m–“
317 “But, you know, do you think maybe it just like, happen to have ‘nigga’ in it and anyone would have gotten that word?”
318 Uncle Relle actually paused and took his hand off my shoulder. He bent down and started twirling the threads that were coming out of his hem with his nubs, then looked back at me. “Look,” he said, “they knew what they was doing. You shouldn’t have had nothing to do with that word if you were on TV. That’s all I know. Look how they did your friend. Let’s get out of here.”
319 “Naw,” I told him. “Hold on.”
320 Uncle Relle watched me open Microsoft Word on the computer and type “niggardly” in a new document. I highlighted it and dragged the mouse to Tools where the thesaurus was. Before clicking on Thesaurus, I just held my finger there and imagined what I’d see.
321 “If you gon’ click it, click it,” Uncle Relle said. “What you wasting drama for? You supposed to save all this drama for the show.”
322 I looked right at Uncle Relle and begged him to shut the fuck up without even moving my lips.
323 “Ungenerous (adv.)” is what popped up under “Meanings.” Under “Synonyms” were the words “stingy” and “meager” and “miserable” and “miserly” and “measly.” Under “Antonyms” was the word “generous.”
324 The actual definitions confused me even more.
325 “Come on, City,” Uncle Relle told me. “We gotta get it moving.”
326 Uncle Relle was pissing me off. I looked at him in a way I’d never looked before. And he did something I’d only seen him do with Grandma. He looked down at his fingers, picked up a folded newspaper that was right between the computers, and said, “Okay, favorite nephew. Just hurry up.”
327 In a huge color photo on the cover of the paper was a picture of Baize Shephard. The photo must have been one of those yearbook pictures, because Baize had a look on her face I’d never imagined her having in real life. The left side of her mouth was smiling and the right side had a little bit of her tongue sticking out. I figured the photographer probably told her not to make faces and she did the goofiest face she could get away with. Plus, she had this thick fake rope chain around her neck that she always dared anyone to snatch.
328 The headline said, “Investigators Have New Lead in Disappearance of Honor Student Baize Shephard.”
329 I typed “niggardly” in the Google finder and clicked on the mouse.
330 Uncle Relle didn’t say a word to me the first five minutes of the ride home.
331 “Look, City,” he said as he pulled in the driveway of Alcee Mayes, his weed man, “just ’cause you the face of..
This 45-second, viral-worthy TikTok video starts off with the question, “Look, City, just ‘cause you the face of…” overlaid with an energetic soundscape. The camera pans in to show a college-aged African American man standing in the driveway of Alcee Mayes, his weed man. A hoodie is pulled up over the man’s head, and he is wearing stylish, baggy jeans and air force kicks. He turns and motions for his friends to follow him as he enters through the gate. As he peers over to the side of the shack, his friends observe the amount of weed stored there – in full bags – and exchange excited glances. He quickly acknowledges their surprise and an impromptu beat boxing session among the friends ensues. He and his friends make funny faces to the camera, accentuated with text bubbles and bright colors. As the beat ends, a hand in a fist bumps the air and the video fades out, leaving us with one final question, “what kind of weed do you guys smoke?” This video gives off a young, vibrant, and creative vibe. With it’s catchy beat and vibrant visuals, it is sure to go viral.
332 “The face of what?” I asked him.
333 Uncle Relle looked down. “Sometimes the glass is way more than empty,” he said. “That’s all I’m saying. Sometimes the glass is way fuller than a motherfucker, even if you can’t see it. You better drink.”
334 Uncle Relle ran into Alcee Mayes’s trailer and left me in his van. I knew he was thinking I should be happy that millions of people around the world were looking at me and typing my name on the inter-net, but seeing my picture pop up when I googled “niggardly” broke my heart. I just couldn’t figure out how I had become the face of “niggardly” in fewer than three days. If I could have stayed at the library longer, I would have responded to every messed-up comment on YouTube and I would have typed my own response to the fake @MyNamelsCity Twitter feed someone made up.
335 Instead, I stayed in Uncle Relle’s van and continued reading Long Division, a book that, according to the internet at the Melahatchie local library, didn’t exist at all.
336 A few minutes after we walked into the house, Grandma pulled the screen door open and whispered something in Uncle Relle’s ear. Next thing I knew, I was in the bedroom and was told not to come out until she or Uncle Relle came to get me.
337 I pulled out Long Division and wrote in the first blank page I could find:
338 It was like she wasn’t even Grandma anymore. I never heard my grandma say “ma’am” to someone who was younger than her. And I heard that my grandma brought the Jheri not “Gary” curl to Melahatchie from Milwaukee back in the early ’80s. Now here she was acting like she couldn’t even pronounce “Jheri” right.
339 Under the revving of box fans and the hum of crickets, I heard about twenty minutes of loud cuss words coming from mashed-up voices. Slowly though, the yelling and cussing slid from the trailer park to the back of Grandma’s house, where the railroad tracks were. And after a while, there were no voices at all.
340 When Grandma finally came into the house two hours later, she made me sit on the toilet in the bathroom while she took a bath. The suds in the tub were brownish and pink from the dirt and blood on Grandma’s hands. I tried to only look at this little pinkish-brown moat of suds near the back of the tub the whole time she bathed, but I kept catching her long nipples out of the corner of my eye.
341 We didn’t say one word to each other until I asked her, “What happened today, Grandma?”
342 “Nothing, City. That man, he gone far away from here.”
343 “What man? Gone where?”
344 “Ain’t nothing in that work shed for you, you hear me?”
345 “Did somebody mess with you? ‘Cause I never seen you just…”
346 “That man is gone home, I reckon,” Grandma interrupted. “You got to be a special kind of evil to spend your whole life getting more than you deserve, then turn right around and hate on folks for getting half of what you was born into. Just evil.”
347 “Who is a special kind of evil?” I asked her.
348 “Listen.” She reached out of the bathtub and her hands touched my knee. “That man, that truck, this day, ain’t none of it even real as you think. Treat it like it never happened, you hear me? You are a smart child, an educated young man. You try to act grown in front of them cameras? Well, grown Black folks forget what they need to forget. That’s what grown Black folks do. Can you do that for Grandma?”
349 “Yeah, I can do that, Grandma, but you might want to ease up talking to me like this is fifth-grade special ed.”
350 Grandma’s eyes got to twitching. I looked at the ground, trying my hardest not to get whupped again. “Can you do what I asked you, City?”
351 “Yeah, Grandma.” | had no choice. “I can do what you asked me.”
352 “Okay,” Grandma said, and got out of the bathtub. She dried off while I looked at the floor. While she was looking at herself in the mirror, she said, “They always expecting us to forget. I’m tired of forgetting. You and that baby didn’t do nothing to nobody.”
353 I couldn’t completely understand how Grandma could go from telling me that grown folks forget what they need to saying she was tired of forgetting. I knew not to ask any more questions, but, in a way, it was all starting to make a little more sense.
354 TENDER BE TESTICLES.
355 (BOOK ONE, pages 91 – 102)
356 After all that weirdness with Grandma earlier, I just wanted to run down Old Morton Road and never stop until I was back in our garage in Jackson. Since I didn’t have either the wind or the guts to do that, I called my friend Shay and asked her to come over.
357 Shay was the junior queen of Melahatchie and raiser of way more hell than a little bit. She walked in Grandma’s yard wearing a pea-green muscle shirt and some Memphis Grizzlies shorts. Usually her Afro puffs were the same size, but today the left one was way bigger than the right.
358 “I don’t know what you was thinking,” she said, with a voice that came directly from her nose. “Nasal” actually isn’t the word for Shay’s voice. Shay’s nose was damn near wider than her lips, and it stayed clogged up so she only breathed through her mouth. Shay spoke fast, too, but it wasn’t like she said certain words fast. It was more that she moved from word to word fast. “I knew you was crazy,” she said, “but I ain’t know you was that crazy.”
359 “What you mean?”
360 “Wow!” she said. “On national TV, too? In front of all them dubs?” Shay called white folks “dubs.” which was short for “W’s.”
361 “Listen,” I tried to change subjects. “Have you ever heard of this book called Long Division? It’s about Melahatchie.”
362 “Quit changing subjects, boy,” she said. “If there was a book about Melahatchie, don’t you think I would have heard of it? Is it a book for dubs or a book for us?”
363 “Us, mostly,” I told her. “But it’s complicated. It’s a book for us and a few dubs, I guess. There’s this one boy and he’s in love with this girl named Shalaya Crump, and they travel through time and find this girl who lives in Melahatchie. The girl’s name is Baize.” Shay looked up at me. “Baize Shephard. You heard of it?”
364 Shay rolled her eyes at me and told me to shut my lying ass up without even opening her mouth. Every time I saw Shay, it was like seeing someone you haven’t seen in forever, and it was like seeing a star of a good show and it was like seeing someone you wanted to see every day. Shay never acted too excited to see me ever since I told her this secret when we were playing The Secret Game. The first time I had a wet dream, she was there–in the dream, I mean–and I told her that, and I also told her what we were doing with our hands and mouths.
365 We jumped the creek and went into this little path leading into the Magic Woods. After stomping through the woods and trying to dodge sticker bushes, we ended up in this dusty opening between pine trees and tree stumps. We were about fifty feet from the Melahatchie Community Center.
366 Shay walked deeper in the woods. “Keep talking,” she said. “I’m listening.” She wasn’t really listen-ing. I heard all kinds of sticks and leaves breaking before she came out with this huge stick. Right in the same spot where Shay found hers, I found the perfect stick. Not really perfect, but perfect if I was gonna be fighting her with the stick she had.
I can tell that the novel delves into the idea that personal identity is not isolated but rather deeply connected to the histories and struggles of those who came before. The characters in the book grapple with their inherited traumas, whether it be the legacies of slavery, racism, or other forms of oppression. Through the story, Laymon explores how these inherited traumas can shape one’s perception of themselves and their place in the world.
367 I was always scared to hit Shay’s stick hard unless she hit my hand or my stomach with her stick. Sometimes you could hold your stick out and the person you were playing against would swing wildly at yours and theirs would get stuck in the dusty-ass ground, or the soft mud if it had been raining. It would be stuck just long enough so you had the perfect angle to smash that joker. If you did that technique to Shay, she got so mad that she’d quit or catch fade with her praying-mantis technique.
368 “I didn’t know what else to do,” I told her.
369 “When?”
370 “At that contest.” I told her. “I swear I wanted to win it for all these people. Like vou and Kincaid and fat boys with waves like me, too.” She started laughing. “You laughing, but I’m serious. I wanted to win it for all of us.”
371 “You messed up before beginning, then,” she said. “You should’ve been trying to win it for you. We wanted you to win, but if you ain’t win, we would’ve been happy just ’cause you were in it. You didn’t have to shout out Melahatchie like that either. You made us look like scrubs.” She paused and looked like she was thinking of what to say. “I just feel as though you should’ve just sat down when you got it wrong. But whatever. That’s you. Come on and play, City,” she said. Shay hated if you held your stick away from hers. “Play, boy!”
The book also emphasizes the power of storytelling in constructing personal identity and understanding family history. City learns that narratives are often shaped by those in power and that reclaiming one’s own story can be an act of empowerment and self-definition. The characters in the novel strive to reclaim their narratives and challenge the versions of history that have been imposed upon them.
372 “I am a playboy, ain’t I?”
373 “More like a gay boy,” she said and started laughing.
374 “Why you call me a gay boy? I ain’t gay.”
375 I swung my stick and tagged the mess out of hers, but it didn’t break.
376 My hand bones were vibrating. “Dang, I hit that mug hard, too.”
377 We were both happy as hell to see a stick that hard. It’s hard to explain. The stick was a monument in itself and we just stood there smiling in the stick’s direction for about fourteen seconds. Then, guess what I started thinking about? I started thinking about my mother. I wondered if she was in our garage missing me and if she had any clue what was happening in Melahatchie.
378 “Does this feel like dejà vu to you?”
379 Shay sucked on her teeth. “Boy,” she said, “Quit trying to switch subjects, talking about déjà vu. Naw, this don’t feel like déià vu.”
380 Shay started laughing and walked deeper behind some baby sticker bushes. “Come over here.”
381 “For what?”
382 Time slowed down, I swear it did. When Shay walked her Afro-puffed self over in front of me, the sun coming through the woods hit her face perfectly. She had the color and the shine of a brand-new genuine leather football. Shay rarely sweated, so the Vaseline all over her face and shoulders never dripped. It just stuck to her and made whatever was surrounding her look dull and blurry.
By exploring the connections between personal identity and family history, Laymon invites readers to reflect on their own backgrounds and the ways in which their ancestors’ experiences have shaped who they are. The novel encourages a deeper understanding of the complexities of identity and the importance of acknowledging and grappling with the legacies of the past.
383 Shay took the pointing finger of her left hand, and joined it with her thumb, making the symbol that white folks on dumb television commercials used to say that everything is okay. Then she took her middle finger and her index finger of her right hand and pushed them in and out of the hole made by her left-hand fingers.
384 I wasn’t as scared as you probably think I was. I just didn’t know what to do. Shay walked over to me and grabbed my hips. “Stand right there and just put your back against the tree.”
385 “I can’t.” I told her. “My grandma ain’t in the mood for me to come back smelling like outside. I ain’t lying.” Shay just stood in front of me with her hands on her hips.
386 “Alright, City. Stop talking. Just put your arms behind your back and hold your body off from the tree. Okay?”
387 It was weird. My fatness wouldn’t let me hold myself up like I wanted to. Plus, my lower back and arms started aching, too. All I was thinking about was if Shay was gonna think my belly button was deformed. I had a regular innie-style belly button that she’d never seen, but from what I’d seen, all the kids in Melahatchie had walnut sized belly buttons.
388 Shay told me to take my pants off. I did it and let my pants hang around my ankles.
389 “What’s wrong?” I asked her as she was looking at my stuff.
390 “Nothing,” she said. “Nothing at all. Close your eyes.”
391 Sounded like a weird thing to say to someone, but I did it anyway.
392 “They closed?” she asked. “Don’t be peeking, boy. You a virgin?”
393 “I ain’t no virgin,” I told her with my eyes closed and my penis getting harder and harder. “I did it once with this girl named Octavia. We recorded it on her stepdaddy’s iPad. But look, I think we should probably get a condom from my uncle Relle if we really trying to get nice. You feel me? You don’t want to be pregnant in high school and I don’t even know how child support works if I have a baby mama before I’m technically even allowed to work. Maybe we should think about this.”
394 “I can pay my own bills,” I heard Shay say before I heard the sound of a camera phone and..
395 Swinnnchhhh.
396 The pain in my testicles moved through my lower body and into my chest and head. I couldn’t talk. I was on my hands and knees, just fiending for air. I looked up to see what had happened. A blurry Shay had grabbed her broken-off piece of tree and recorded herself whipping me in my naked testicles.
397 I just crouched over the leaves, damn near choking as Shay took pictures of me. She was dying laughing, too.
398 I got off my knees, pulled my pants up, grabbed Shay’s shoulders, threw her to the pine-needled ground, and jumped on her. Her phone fell out of her hands. I felt crazy being on top of her like that. I mean, I thought about how no one had probably ever had the nerve or the skills to push Shay down like that.
399 “What the hell is wrong with you?” I asked her. “You can’t just go around whupping people in they sack whenever you get ready.” I was still all in her eyes. “You know how tender the testicles be? That stuff hurt.” | felt goofy saying “testicles” and “tender” to her.
400 “It’s called ‘skin-sacks,'” Shay told me. “And it’s all one word, with a hyphen.”
401 “Wait.” | started laughing. “What? That’s the dumbest thing I heard in a long time. ‘Skin-sacks’? Who said it’s called ‘skin-sacks,’ with a hyphen?”
402 “My brother, Alcee. He said it’s two sacks and it’s covered in skin, so it’s skin-sacks.”
403 “But the skin is the sack,” I told her. “And there ain’t two sacks. There’s two nuts in one sack.”
404 “My brother said it’s called ‘skin-sacks,’ so it’s called ‘skin-sacks.' ”
405 “Well, first of all,” I told her, “Alcee Mayes is my uncle Relle’s weed man and my uncle said he’s steady overcharging him for an ounce, so I don’t believe nothing Alcee Mayes say.”
406 When I had her down on the ground and was yelling at her, that was the first time I noticed that Shay had on that little pea-green muscle shirt, so I could see the little hairs under her arms. I had negative hair under my arms, not even minor hair bumps. I was looking in her big eyes and squeezing on her shoulders softly, and I’ll be damned if my penis didn’t start getting harder and harder. It made me too embarrassed, so I gave her one more good push in the shoulders and I got off her.
407 “My bad, City.”
408 “What?” I asked.
409 “My bad. I wasn’t trying to hurt you. Me and Baize made a bet about who could make a boy do that first. I won’t show the pictures to no one but her,” she said. “I promise.”
410 “Where you think she went? Baize, I’m talking about. The newspaper said they got a lead in the investigation.”
411 Shay picked up some pine needles and walked toward the road. “The paper don’t know shit!” she yelled and came back toward me.
412 “Maybe something else happened to her.”
413 “You met Baize before, City.” Shay looked me right in the face. “Whoever took Baize either hurt her or killed her before they took her. Or maybe they knew.”
414 “Knew what?”
415 “Never mind. You think that girl would let somebody just take her? We would’ve heard about it.”
416 “Wait,” I told her. The craziest thought in the world entered my head. “You think that white man knew whatever it is you talking about? You think he took Baize?”
417 “You mean the one in your grandma’s shed?” Shay asked me. “Probably. Or you know what? That girl could be around here just trying to get her mind right.”
418 “Ain’t no white man in my grandma shed,” I told her. “How you know about a white man in my grandma shed?”
419 “Wow.” she said. “You worse than Rick James. Is it a white man off in there or not? Folks say they saw Baize walk off in these woods one day a few weeks ago with a computer.”
420 “A computer?”
421 “That laptop computer she always be messing with.”
422 “Did anyone find the computer?”
423 “The white man in your shed.” Shay changed the subject. “Didn’t he kick you in your back yesterday?”
424 “Wait. Can we talk more about Baize?”
425 I was expecting a little more quality heartfelt sharing between us, but Shay walked off toward the bushes again. “Where you going?” I asked.
426 “Kincaid told me that your grandma’s preacher, Reverend Cherry, got a carload of pictures of skanks from Waveland doing it.”
427 “So?”
428 “So, that’s where I’m going. He hid the pictures in his beat-up car, the one he always letting Deacon Big Shank drive,” Shay said.
429 I thought for a second about what would be the point of stealing naked pictures that belonged to my grandma’s preacher, especially with a girl who had just hit me in my skin-sacks with a stick.
430 Then it clicked.
431 If I stole the pictures and showed them to Grandma, there would be no way she’d let me get baptized by a preacher who kept that kind of nastiness in one of his cars.
432 “Can we take a picture of the pictures in the car with your phone?” | asked her.
433 “Yeah,” she said, and came back from around the bushes. “Don’t ask a whole lotta questions, though. You coming or not?”
434 Shay started texting someone as we walked toward Reverend Cherry’s house.
435 Reverend Cherry lived about three minutes from Grandma’s, on the other side of the woods. He lived right next to my friend Kincaid.
436 “Hey, scown,” Kincaid said to me as we walked in the yard. “What you doing?” Kincaid was fourteen, but his deep voice made him sound a good four or five years older. “Heard you went crazy yesterday.”
Laymon’s portrayal of race is unflinching, exposing the enduring legacy of racism in American society. The novel tackles topics such as racial profiling, police brutality, and the dehumanization of black bodies. Laymon vividly depicts the ways in which systemic racism shapes the daily lives and interactions of his characters, emphasizing the often-unfair treatment and limited opportunities they face due to their race.
437 “I did, kinda.”
438 “They say it’s on WorldStar and everything. Heard you had fools calling you master, and the Shogun of Jackson.”
439 “Yeah, I guess,” I told him. “Sometimes you gotta let fools know, you feel me?”
440 Shay looked at me and shook her head. She was being strange and quiet but Kincaid was steady nodding and chewing on a toothpick. The best thing about Kincaid was that even if he heard you did something huge like embarrass yourself on national TV and the internet, he’d focus on the fighting you did instead. He loved saying the word “titties” and he loved anything that had to do with fighting. He’d been telling people he was going to be a professional UFC fighter ever since he was six. It was funny at first, but most folks in Melahatchie would be surprised if he didn’t end up fighting for money. He’d beaten almost every boy’s ass I knew in Melahatchie. Everybody he beat claimed that they lost ’cause they didn’t want to “get close to no real-life f-word.”
441 Kincaid’s grandma put him in a kung fu class downtown for his twelfth birthday present. Coach Stroud taught that kung fu class for a while until parents complained that he was too touchy. Soon as Coach Stroud quit, Kincaid quit, too. He said he quit because he wanted to chop people in the throat and throw ninja stars, but the new white teacher from Biloxi wanted folks to stretch their legs in yoga poses and work on soft punches to the solar plexus. Behind Kincaid’s back, everyone said he quit because his boyfriend, Coach Stroud, didn’t want him learning from a new teacher.
442 Before he quit, though, Coach Stroud gave Kincaid one of those white karate suits. And Kincaid wore that suit with his own black leather belt at least three times a week during the summer.
Through his characters, Laymon also highlights the intersectionality of race and inequality. He explores how race intersects with class and gender, revealing the ways in which multiple forms of oppression compound and exacerbate each other. The characters in the novel, particularly City, navigate the intersections of their identities, grappling with the compounding effects of racism and socioeconomic disadvantages.
443 “Y’all came to get them titties, scown?” Kincaid asked, like he was ready for nakedness. “The car right over here.”
444 We walked about twenty yards down the road and we were right next to the car. Kincaid was looking funny, like he was laughing or something.
Laymon explores the ways in which systemic injustices have persisted over time, affecting not only the present but also the future. He reveals how the consequences of historical and ongoing racism are passed down through generations, shaping the opportunities and trajectories of individuals and communities. Laymon’s portrayal of race and inequality in “Long Division” is characterized by a deep sense of urgency and a call for change. The novel invites readers to critically examine the structures that perpetuate these issues and challenges them to confront their own complicity. By confronting these challenging topics head-on, Laymon encourages readers to recognize the realities of racial inequality and work towards dismantling the systems that perpetuate it.
In “Long Division,” Laymon delves into the enduring presence of systemic injustices, which not only impact the present but also cast a shadow over the future. He uncovers how the repercussions of historical and ongoing racism are inherited across generations, molding the opportunities and trajectories of individuals and communities. Laymon’s depiction of race and inequality in the novel exudes a profound sense of urgency and a fervent plea for transformation. Through his narrative, readers are prompted to critically analyze the frameworks that sustain these issues and are challenged to confront their own involvement. By fearlessly tackling these complex themes, Laymon urges readers to acknowledge the realities of racial inequality and actively strive to dismantle the systems that perpetuate it.
445 “What you laughing at, Kincaid?” I asked him.
446 “You know I always be laughing, scown,” Kincaid said. “Go ahead and get them Waveland titties.”
447 “Y’all ain’t coming with me?” I asked them.
448 “Naw, that’s your preacher’s car, scown,” Kincaid said. “Plus, ain’t no room for three people up in there.”
449 I went up to the car and looked around to make sure that no one was coming down the road then. “Close the door behind you, scown,” I heard Kincaid say.
450 Soon as I got in, I saw a picture hanging out of the glove compartment. Shay didn’t tell me that there were pictures in the glove compartment. I figured that if what was under the seat was anything like what I saw in the glove compartment, we were in for the freakiest naked pictures we’d ever seen.
451 Dangling there was a shiny, slick picture with a creased breast down the middle of it. I unfolded it and saw this whole dark breast that was full and hanging. The picture cut the woman off at the neck and the waist but the breast hung just right, midway down her stomach, and the dark part around the nipple-I didn’t really know what that part was called- was damn near bigger than my cheeks. It was the first time I’d seen just breasts cut off from a woman’s face and even though the breasts were nice, it was wack to just see breasts and no face. But that was the first time I realized that seeing breasts of any kind was like eating pancakes. Even the nastiest pancake in the world was always better than the best stack of toast you could imagine. Still, I hoped the woman who owned the breasts wanted her head cut off from the picture. If not, it was one of the meanest things I could imagine doing to someone.
452 “I see titties,” I yelled. “Waveland titties ain’t no joke.”
453 “Go ahead and bring them Waveland titties out then, scown,” Kincaid yelled from way across the street. “Check the glove compartment and under all the seats too. Get all the titties you can.”
454 I reached under the seat to see if there were any other pictures under there. There were about five issues of King magazine.
455 “Shay,” I yelled and peeked over the dashboard. “Bring me your phone.”
456 “Oh. Shay said she gon’ be right back,” Kincaid yelled from way across the street. “She gone! Go ahead and get all them titties, scown.”
457 “I told you I’m getting the titties, man. Damn,” I yelled back. “I don’t know why you faking like you love some titties anyway,” I said under my breath.
458 I was about to raise up when I heard a weird noise coming from the glove compartment. I hadn’t looked all the way in the compartment, but I hoped there would be at least ten more naked pictures up in there. I stretched out and pulled the compartment open with my right hand. All I saw was a map of Melahatchie. I pushed the map to the side to see what else was in there.
That’s when I heard a low, deep voice.
The video starts with a shot of a glove compartment in a truck, and a hand reaching in. There is a mysterious sound coming from the glove compartment that heightens the air of suspense. The hand pulls back with a map of Melahatchie, before the camera zooms in on the glove compartment to reveal a low, deep voice coming from inside. The camera cuts to a lonely street in town with two gunmen in an intense stand-off. Suddenly, a time portal opens, and different narrators from different time periods walk through, each one telling their own story.
The scenes continue to flit between past and present as new characters enter the portal, each one adding their own unique insight. The camera takes on different angles, with saturated colors and a range of different video formats and styles, and includes comic book-style transitions between scenes. The scene then zooms back out to the truck, and the video ends with a question mark superimposed on screen, asking the viewers to explore the thematic depths of the novel. The video comes to an end with a call-to-action asking viewers to leave a comment on the video if they found it captivating and enlightening.
459 Wasps. Big wasps.
460 I jumped out the window of the passenger side of the car and the wasps stung me all upside the head.
The noise City heard in the glover department was wasps
I think that City was being over dramatic about getting baptized. “Whether it was because I was going to die during the baptism or because I was going to be some wack holy dude I never imagined being,I didn’t know how I could live another day as myself after that baptism.”(page 115) City was so stressed out about getting baptized that he made a will to get away his stuff in case he died.This was kind of funny and Kiese Laymon doing more with the satire.It also shows that him and Lavander Peeler were becoming close friends since he left his wave brush with him.The baptism thing was also important to his family genealogy and history because it was important for him to show everybody that he lived by the Lord.Baptism is a serious thing to most people who do it,but Kiese Laymon adds humor to the situation when he shows City being dramatic.
461 Kincaid was across the street just laughing his ass off, recording it on Shay’s cell phone.
462 I did it for y’all, I thought as I ran home. I did it all for y’all.
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