Blog 3: Getting Out of the Skin They’re In

Desmond Cole’s “The Skin We’re In” and Jordan Peele’s “Get Out” offer profound insights into the experiences of Black men trying to navigate the world of predominantly White spaces in Canada and the United States. Through Cole’s documentation of living with racism in Canada’s society and institutions like the police, and Peele’s allegorical portrayal of slavery and Black experiences in the US, we see how Black men are subject to systemic oppression, stereotypes, and cultural appropriation, and how we, as a society, must work toward reversing these entrenched injustices within our society.

The choice of the title, “The Skin We’re In,” parallels the struggles faced by Black individuals, shown with the experiences depicted in Jordan Peele’s “Get Out.” In his book, Cole explains to readers about his awareness of the violence inflicted upon Black people in Toronto and throughout Canada. He says, “I kept track of the violence done to Black people in my city, Toronto, and my country, Canada, as if it was being done to me, because it was, because it is, because that’s what Black people are facing in Canada and around the world, and I’d never been more aware of it.” (Cole 2) His assertion that he kept track of this violence as if it were happening to him directly relates to the impact of systemic racism in our society. What’s even more worrying for Cole is the fact that this is happening in CANADA. Not in the United States which is known for its history of racism, but in our home where our people, the people in one of the most free countries in the world, are being treated in such a horrifying manner. This sentiment is similar to the journey of Chris Washington in Peele’s film, who confronts this racism ingrained in society. Both Cole and Chris move through a world where their identities are constantly devalued based on the color of their skin. Furthermore, the allegorical significance of skin color in “Get Out” serves to symbolize the commodification and objectification of Black bodies by White society. Cole’s own reflections in the memoir echo this when he remembers about his struggle to embrace his identity despite feeling powerless and scared as a child. He writes, “I came to resent my blackness as a child because it made me feel powerless and scared. It has taken me most of my adult years to embrace this skin, this ancestry, this struggle.” (Cole 16) This is his journey towards self-acceptance and empowerment  which is also depicted in “ Get Out” highlighting the resilience and strength of Black individuals subjected to systemic oppression. It is almost as if they are literally trying to get out the skin that they are in, to break free from the systemic barriers and constraints imposed by societal expectations and racial stereotypes and  be able to regain a sense of humanity— that any human, regardless of the color of their skin, deserves. 

YES, racism is a big problem in Canada. Desmond Cole’s documentation of racism in Canada, like unwarranted police scrutiny and racial profiling, parallels Chris’s encounter with law enforcement in suburban America in Jordan Peele’s “Get Out.” Cole’s quote, “In Canada, police are more likely to scrutinize Black people as they did John: to suspect us of selling drugs without presenting any evidence; to subject us to surveillance and physical searches without a warrant; to target our homes and businesses with multiple police units in response to non-criminal issues; to arrest us using overwhelming physical violence; to charge us with violence after using violence against us; to steal our personal property, particularly our money, as if we have no claim to it.” (Cole 6) vividly describes how Black individuals, like John, are unfairly targeted by law enforcement. Desmond Cole illustrates the systemic racism that is embedded within institutions in Canada, like the police. Cole’s description of Black people being prosecuted without evidence, subjected to unwarranted surveillance and searches, and even facing violence and theft by police highlights the widespread nature of racial profiling and discrimination. This not only undermines the trust between Black communities and law enforcement but also creates a cycle of injustice and marginalization. Cole wants us to be aware of the urgent need for accountability and reform within the criminal justice system and to address the systemic racism that  almost only impacts Black individuals. Both authors explain the desire of every individual, regardless of race, to move through the world freely and authentically— to be who they want to be without anything preventing this. However, systemic barriers, shown by John’s encounter with the police at his gallery and Chris’s unimaginable experience with Rose’s family, prevent this fundamental human aspiration.

There are many irrational stereotypes imposed on Black men by White society, a theme prominent in Cole’s memoir where he examines racial dynamics in Canada. Similar to Peele, where in his film, Chris is portrayed as a physically imposing figure desired solely for his athletic prowess like when Jeremy was almost salivating over Chris’ “superior” body and “potential”, even referring to him as a “beast” reducing him to a mere animal. This mirrors Cole’s observation that Black individuals are often fetishized and dehumanized when he says, “White supremacy designates Black people as less than full human beings, as disposable labor, as chattel placed on earth for the benefit of white people,” (Cole 8) This shows that power dynamics motivate White people to appropriate Black culture for White benefit. This sentiment is echoed throughout the entire film as Chris navigates a predominantly White world, where he is constantly subjected to being treated like an “other”. The scenes of Chris being stopped by the cops for no reason, the stares he receives when with the white people at Rose’s house, and the feeling of being an “exotic” in a foreign environment all serve to highlight the harrowing nature of racial discrimination. Peele further emphasizes this struggle through the character of Rose’s grandfather, whose consciousness is implanted into a Black body, symbolizing the attempt to appropriate and control Black identity. Both Cole and Peele  shed light on the experiences of Black men in a world where they are marginalized and dehumanized. The stereotypes of Black men as disruptive, loud, and solely defined by their physiques are deconstructed, with Peele particularly showing the sexualization of Chris and the objectification of his body by one of those women who wanted to replace her husband with him. The film exposes the fears of White men towards strong Black male athletes and the desire to control and manipulate Black bodies for their own benefit. By changing the brain of Black individuals, as depicted in the film, it’s as if White society seeks to have the best of both worlds by having the physical prowess of a Black man combined with the “civilized” mind of a White man. This speaks to the insidious nature of systemic racism and the ways in which White supremacy seeks to maintain power and control over Black bodies.

White people appropriating Black culture is central to both pieces of the exploration of systemic racism and exploitation. In Jordan Peele’s “Get Out” this theme is  linked to the issue of white washing and the reverting back to historical injustices, particularly from the slave trade. The act of picking cotton out of the chair to block his ears from the tea cup in “Get Out” is a powerful symbol that directly symbolizes the historical trauma and oppression experienced by Black individuals, as picking cotton was a task often associated with slavery and forced labor. By using cotton to block his ears, Chris is metaphorically shielding himself from the racist remarks being made by Rose’s family. What’s ironic is the fact that the cotton, once a symbol of Black oppression and exploitation, is being used to protect Chris from further harm. Peele also uses his movie as an allegory to depict how Black bodies have historically been used for profit, drawing parallels between the past and present forms of exploitation. Chris actually experiences this when he was being put up for auction using bingo cards, as if it were the 1800’s slavery was still legal, and white people wanted him for his body, reflecting the broader societal trend of reducing Black individuals to mere objects or commodities for the entertainment or benefit of others. It relates to the notion that although Black slaves had literal control of their body, they were trapped, as with the victims in Peele’s film where even with the physical control they had of their movement, they  were not free. Lastly, the quote from Cole, “You can’t ask people who have been oppressed their whole lives.. to forget that and to ignore the fact that it might be happening again,” (Cole 8) emphasizes the importance of acknowledging and confronting the ongoing oppression faced by Black individuals, and not just simply ignoring or forgetting past injustices. History is repeating itself, it is still prominent in today’s society and Peele is trying to warn us about it, to make us aware. To get us to act.

Cole’s exploration of Canada’s history of racism parallels Peele’s examination of racial dynamics in the US. Both works show the enduring legacy of systemic oppression, demonstrating how historical injustices continue to shape our society and attitudes. We as a society must acknowledge the pervasive nature of racism and its impact on marginalized communities. While there may not be a clear solution, raising awareness of this situation is a crucial first step towards understanding and initiating change. It is our duty and obligation to confront the uncomfortable truths of racism in Canada. Although history shows us eliminating oppression is a long and seemingly impossible journey, awareness serves as a great first step and action towards building a more equitable and just society for all.

Bibliography

Cole, Desmond. “‘Negro Frolicks (January).’” The Skin We’re In, Doubleday Canada, 2020, pp. 1–17

 Peele, Jordan, et al. Get Out. Universal Pictures, 2017