John Singleton Refused To Give Us False Hope
If I am to talk about the legacy of any storyteller, particularly a black storyteller, I have to think first of what they were able to breathe new life back into, and who got to benefit from that new life. Singleton made a movie about a disappeared town and in doing so briefly gave a generation a window into a history tucked under so many other American histories. To make films about the dangers of contemporary black life is one part of the story.
Black people with every right to be cynical often get asked about hope. I see this question in interviews, and I’ve also been asked about it during Q&As, usually by some person who is searching for one of us to give them something to be hopeful about — an answer to the world’s drowning or its political unraveling. I can’t speak for everyone else, but I’ve long decided that I am not propelled forward by ideas of hope, as much as I am by honesty.
If hope is a gift at the end of a long and honest road, then I’ll take it. But I’m not particularly counting on it. Sometimes, the reward for survival is the opportunity to survive. I like to think of the work that Singleton gave us much like this, particularly his early movies. A laying out of difficult stories with difficult truths, and at the end, a shrug, or an understanding that even if this isn’t what you came for, it’s what you’ve got. And in that way, he made dangerous films.
Sometimes, there are buildings burned down that no one rebuilds. Sometimes, there are dead bodies and no funerals, or no grave markers with names on them. And sometimes, proud people are run out of a place they loved because they couldn’t fight anymore, and that doesn’t make them any less proud. I think, today, of the moments I sat on the floor of my childhood home afterfinished. The world outside I thought I knew had shifted.
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