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56 pages 1 hour read

Don Lemon

This Is the Fire: What I Say to My Friends About Racism

Don LemonNonfiction | Autobiography / Memoir | Adult | Published in 2021

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Chapters 4-5Chapter Summaries & Analyses

Chapter 4 Summary: “Seeking Justice in the Land of Law and Order”

Lemon opens this chapter by examining the disparity in how police treat Whites and Blacks. He compares the police’s considerate treatment of Dylann Roof—a White supremacist who murdered nine people in a South Carolina church in 2015—with that of Eric Garner, a Black man selling loose cigarettes, whom a New York City officer suffocated to death using an illegal choke hold. While he criticizes the easily distorted solutions, such as defunding the police, he understands that the pace of reform is terribly slow.

Most police officers enter the force with good intentions but become jaded due to constant stress, a “one-Glock-fits-all” mentality to community service, and an insular culture (81). The roots of the police are not in ensuring public safety but enforcing social order, especially given that police departments originated in the slave patrols of the South and the anti-Black, anti-immigrant groups of the North. The reformer August Vollmer pioneered modern police ideals and science-based investigations, but they often only provide a veneer of professionalism to prejudiced operations.

In August 2020, a Kenosha, Wisconsin officer shot seven point-blank bullets into 29-year-old Jacob Black after he attempted to escape arrest and reach out to his three children in the car. The shots left Black paralyzed from the waist down, though officers still handcuffed his nonworking legs in a hospital bed. His sister, Letera Widman, commented on the numbing effect of police violence. In the ensuing protests, officers thanked and fed self-proclaimed militia members yet were slow to arrest 17-year-old Kyle Rittenhouse after he killed two unarmed protestors with a semi-automatic rifle.

On September 23, a Louisville, Kentucky grand jury declined to move forward with charges—other than a minor property damage charge—against the four officers who killed 26-year-old paramedic Breonna Taylor. Just after midnight on March 13, the unit used a no-knock warrant to break into her apartment in connection to a drug charge involving her ex-boyfriend, who was already being arrested elsewhere. Her current boyfriend fired a warning shot at them, believing that they were robbers, and the police returned fire, shooting multiple bullets into Taylor, who was asleep at the time of the attack. The circumstances behind her death—the reckless warrant, turned-off body cameras, and evidence that she didn’t receive medical treatment for 20 minutes—wouldn’t become a rallying point until the George Floyd protests. The dismissal of meaningful charges, coming just after the 65th anniversary of the acquittal of the lynch mob that murdered Emmett Till, was a failure of justice. Ben Crump, the attorney for the families of Taylor, Floyd, and other victims, blames interconnected flaws in policy, policework, and prosecution.

Lemon notes the importance of looking beyond police brutality and into the ways that politicians and law enforcement enable aggressive policing in Black neighborhoods. When the criminal justice system fails their clients, attorneys like Crumb file civil suits that cost taxpayers millions of dollars. Meanwhile, Newark mayor Ras Baraka implemented policing reforms that reduced complaints by 80%. Baraka believes that these pragmatic changes ultimately protect police and will address the nation’s cracked understanding of law and order.

Chapter 5 Summary: “Of Movies, Myths, and Monuments”

This chapter focuses on the extent to which American culture supports racism. After the Civil War, local governments installed statues of Confederate officials throughout the South. One of these is of reluctant General Williams Carter Whickham, who fathered children with both his wife and an enslaved woman. After the deadly 2017 Unite the Right rally in Charlottesville, Virginia that left one woman dead and exposed the nation to brazen neo-Nazis and Ku Klux Klan members, descendants from both families petitioned to remove the Whickham statue. However, the process dragged on until George Floyd protestors tore it down.

Trump denounced the removal of such statues as a campaign to “defame our heroes” (104). Lemon accepts this accusation because the statues masquerade White supremacy as national mythology. Meanwhile, most history classes frame the Civil War as a states’ rights issue, and early movies like The Birth of a Nation celebrated the Ku Klux Klan. This contrasts with Nelson Mandela’s Truth and Reconciliation Commission after the end of apartheid in South Africa, which addressed human rights abuses by White citizens while building toward a unified future.

Lemon and his mother enjoy Golden Age black-and-white movies but struggle with the knowledge that such films limited opportunities for Black actors. Trailblazing actor and activist Lena Horne stole the show in all-Black productions, but she could appear only in nonessential roles for major films so that segregated theaters could edit out her scenes. Most roles were for jovial, ignorant slaves such as Uncle Remus in Song of the South and Hattie McDaniel’s Oscar-winning mammy stereotype in Gone with the Wind.

During the Floyd protests, HBO briefly removed Gone with the Wind from its streaming service to add a new introduction that provides historical context. Lemon feels that it’s important for problematic stories to remain available to help us understand how systemic racism influences every aspect of society. Gone with the Wind represents not only a distorted view of the Confederacy but also the restrictions on Depression-era actors and questions about why this critically acclaimed but ultimately simple story resonates with audiences.

Lemon offers more examples of Hollywood’s lingering racism: White comedians who employ blackface; Dave Chappelle’s abandonment of his TV show after hearing a White person laughing too hard at a sketch in which he plays a minstrel character; movies like Forest Gump that punish the women and person-of-color (PoC) characters; and Steven Spielberg’s The Color Purple, a beautiful film that still feels like a White man’s vision of a Black story. Tired of stories about Black people enduring tragedy, Lemon finds solace in new narratives like Black Panther and Get Out as well as figures like Tyler Perry who use the earnings of their questionable roles to create opportunities for Black creatives.

As Lemon observes, the Lost Cause mythology obscures the realities of the Confederacy. Political analyst Jared Yates Sexton notes that the Confederacy also repressed White voices and that framing the Confederate battle flag as a symbol of southern pride allowed White supremacy to maintain power even after the Civil War. Lemon recognizes that supporters of Confederacy statues are upset that their mythology is crumbling but sees the statues’ destruction as a sign that Americans are recognizing the racism that surrounds their everyday lives. In addition, removing the statues liberates the legacies of people like Whickham whose true values may be more nuanced than those who built his statue.

Chapters 4-5 Analysis

Lemon turns his focus to how the police directly enforce White supremacy and how historical bias and the media maintain it. The Dylann Roof and Kyle Rittenhouse stories are the starkest examples of how police officers treat Blacks differently. Over-policing communities of color heightens distrust and turns any altercation into a potentially deadly incident, but White suspects receive a softball treatment. Lemon notes how George Floyd and Eric Gardner instinctively cried out for their mothers before passing.

Lemon outlines the reasons why “Defund the Police” and similar slogans became a rallying point during the 2020 protests: The police are distant descendants to slave patrols, they have extraordinary legal protections, and their culture prevents reform and punishes officers who speak out. Breonna Taylor’s death showed how body cameras—a popular reform after previous protests—can be conveniently off in questionable circumstances, and the fact that the courts didn’t even try the case shows the difficulty of convicting police officers. Activists in cities nationwide turned areas such as the Minneapolis intersection where Floyd died—now called George Floyd Square—into virtual police-free zones. Progressives saw the areas as spaces for community organizing and criminal justice reform, while others saw them as enabling rising crime rates (Goyette, Jared. “Amid Complaints of Violence, Minneapolis Moves to Reopen Intersection Where George Floyd Was Killed,” The Washington Post, 18 March 2021, https://www.washingtonpost.com/nation/2021/03/18/george-floyd-autonomous-zone-open/. Accessed 23 July 2021).

However, Lemon believes that the slogan “Defund the Police” is ineffective because it offers a “snap-of-the-fingers” solution to a complicated problem (80). He points to a political advertisement the Trump campaign made shortly after the phrase gained traction in which a woman who calls 911 is greeted with an automated response as a burglar breaks into her home. The premise was flawed—911 is separate from police departments, and better appropriating department funding makes conservative sense—but it played to the fears of his base.

Lemon understands the police’s perspective. Police officers handle not only criminal activity but also traffic violations, domestic violence, homelessness, and other complicated issues. Lemon believes the solution is slow, incremental progress such as Ras Baraka’s work as Newark’s mayor. As a Black man who has lived under stop-and-frisk policies, Baraka understands the problems with policing and implemented reforms like a civilian review board that, despite resistance, ultimately make policing safer. Costly civil lawsuit settlements force the financial burden onto police and ultimately taxpayers, who can voice their disapproval in elections. In addition, Congressional Democrats are debating bills such as the George Floyd Justice in Policing Act, which would ban no-knock warrants, limit legal protections for police officers, reduce access to the military-grade vehicles prevalent in the crackdowns, and tie federal funding to reform compliance (Gomez, Henry J. “Here’s What the George Floyd Justice in Policing Act Would Do.” NBC News, 21 April 2021, https://www.nbcnews.com/politics/congress/here-s-what-george-floyd-justice-policing-act-would-do-n1264825. Accessed 23 July 2021).

The George Floyd protests sparked a campaign to remove statues and rename buildings honoring Confederate leaders, which Lemon unapologetically supports. Cities erected many of these monuments during the Civil Rights movement to enforce a social hierarchy. They lack historical context, such as General Whickman’s reluctant support of secession, and officials slow-tracked his descendants’ efforts to remove it until protestors made the decision for them. Jared Yates Sexton notes that a Black person who enters a courthouse and sees a monument to a Confederate principle knows that he won’t receive equal justice and that the US is the only country that honors “treasonous traitors who have held people in bondage” (123). He also points out President Woodrow Wilson’s role in romanticizing the South as a historian and hosting The Birth of a Nation as the first film screening at the White House.

Because this film exemplifies early innovations in cinematography, film history classes still discuss The Birth of a Nation, which dehumanizes Black people and depicts the Ku Klux Klan as divine agents. As Lemon comments, this shows the difficulty of separating problematic works from America’s artistic canon. While growing up, Lemon related more to Leave it to Beaver because White shows were allowed to have multifaced characters, and even stories that Americans typically consider progressive for their time, like Huckleberry Finn and To Kill a Mockingbird, do not treat their Black characters with dignity. Hollywood’s perpetuation of racist imagery limited opportunities for Black talent such as Lena Horne and Hattie McDaniel to play roles that showcased their full abilities. Nevertheless, their work matters because it paved the way for future creatives. Lemon discusses how Tyler Perry, best known for the Black grandma stereotype Madea, is using his fortune to give other creators of color a platform.

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