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Deontae Mobley looks in the mirror after having his hair cut by his father |
The killing of Trayvon Martin by white shooter George Zimmerman reopened the wound of America’s history of racial violence against blacks. Photographer Lucas Jackson took
a fascinating photo of Deontae Mobley, a young black man who lives in Martin’s Goldsboro neighborhood, formerly an all-black city during Jim Crow. The image shows Mobley, in focus, checking his new haircut with a small hand mirror. This photo, however, reveals how the killing of Martin shows
the enduring separation of whites and blacks and the shaping force of the legacy of slavery.
The poor condition of the white building is telling of Goldsboro in general: crummy, mistreated, and forgotten. The building is run-down with a rusty roof and tiny windows closed off from the light of day. The fence in front of the building symbolizes the barriers between the races. After the Jim Crow laws cordoned off black communities such as Goldsboro, it seems some whites in Sanford, Florida, have remained unwilling to fully integrate. The building juxtaposed against green grass, which generally relates to growth, opportunity, and freedom; however, I see this grass differently. It is burnt out in patches, much like the present-day condition of blacks in neighborhoods such as Goldsboro.
The photo echoes Sanford’s contrasts between black and white. Both in the contrast between Mobley’s skin and the building and the way the light strikes him, the photo presents a world in which black and white do not mix. This is particularly the case for a young black man who could make whites fearful. This recalls the experience when Frederick Douglass remembered “that killing a slave…is not treated as a crime” (Douglass 14). Slave owners like Covey felt they needed to react with violence in order to suppress revolt amongst their slaves. Obsession with differences based just on race is echoed in the photo’s contrasts.
In the foreground, Mobley holds up a mirror and looks at it with a puzzled facial expression, as if he is deeply thinking about something. Perhaps he is looking for his identity, and the identity of African Americans in today’s society. Mobley might be seeing Trayvon in himself. It could be a realization that justice may not be served from Trayvon Martin’s family. In the Virginia Slave codes, the seventh code states, “no white person involved in such correction…shall undergo any prosecution or punishment.” The correction is referring to a slave who “dies while being corrected by his master.” Although we have equal protection under the law, Mobley may be feeling the legacy of such slave codes, as Zimmerman was not charged with the crime for weeks.
The way the light strikes Mobley’s darker skin is telling as well. He squints, suggesting the
white light is hurting him. The sun is positioned behind him but reflects onto his face off of the mirror. The past of white cruelty is still present and is making Mobley, along with other blacks such as Trayvon Martin, suffer.
The feelings stimulated by this picture suggest the struggle of blacks as slaves is still a prevalent issue today. In “Frederick Douglass,” Robert Hayden pictures Douglass “visioning a world where none is lonely, hunted, alien” (Hayden). The Trayvon Martin case shows that this vision is not yet accomplished. In a world in which a young black man can be hunted and killed, Mobley must wonder who will be next. What could be more lonely and alien than that?