Ta-Nehisi Coates Quote

Through The Mecca I saw that we were, in our own segregated body politic, cosmopolitans. The black diaspora was not just our own world but, in so many ways, the Western world itself. Now, the heirs of those Virginia planters could never directly acknowledge this legacy or reckon with its power. And so that beauty that Malcolm pledged us to protect, black beauty, was never celebrated in movies, in television, or in the textbooks I’d seen as a child. Everyone of any import, from Jesus to George Washington, was white. This was why your grandparents banned Tarzan and the Lone Ranger and toys with white faces from the house. They were rebelling against the history books that spoke of black people only as sentimental firsts—first black five-star general, first black congressman, first black mayor—always presented in the bemused manner of a category of Trivial Pursuit. Serious history was the West, and the West was white. This was all distilled for me in a quote I once read from the novelist Saul Bellow. I can’t remember where I read it, or when—only that I was already at Howard. Who is the Tolstoy of the Zulus? Bellow quipped. Tolstoy was white, and so Tolstoy mattered, like everything else that was white mattered. And this view of things was connected to the fear that passed through the generations, to the sense of dispossession. We were black, beyond the visible spectrum, beyond civilization. Our history was inferior because we were inferior, which is to say our bodies were inferior. And our inferior bodies could not possibly be accorded the same respect as those that built the West. Would it not be better, then, if our bodies were civilized, improved, and put to some legitimate Christian use?

Ta-Nehisi Coates

Through The Mecca I saw that we were, in our own segregated body politic, cosmopolitans. The black diaspora was not just our own world but, in so many ways, the Western world itself. Now, the heirs of those Virginia planters could never directly acknowledge this legacy or reckon with its power. And so that beauty that Malcolm pledged us to protect, black beauty, was never celebrated in movies, in television, or in the textbooks I’d seen as a child. Everyone of any import, from Jesus to George Washington, was white. This was why your grandparents banned Tarzan and the Lone Ranger and toys with white faces from the house. They were rebelling against the history books that spoke of black people only as sentimental firsts—first black five-star general, first black congressman, first black mayor—always presented in the bemused manner of a category of Trivial Pursuit. Serious history was the West, and the West was white. This was all distilled for me in a quote I once read from the novelist Saul Bellow. I can’t remember where I read it, or when—only that I was already at Howard. Who is the Tolstoy of the Zulus? Bellow quipped. Tolstoy was white, and so Tolstoy mattered, like everything else that was white mattered. And this view of things was connected to the fear that passed through the generations, to the sense of dispossession. We were black, beyond the visible spectrum, beyond civilization. Our history was inferior because we were inferior, which is to say our bodies were inferior. And our inferior bodies could not possibly be accorded the same respect as those that built the West. Would it not be better, then, if our bodies were civilized, improved, and put to some legitimate Christian use?

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About Ta-Nehisi Coates

Ta-Nehisi Paul Coates ( TAH-nə-HAH-see; born September 30, 1975) is an American author, journalist, and activist. He gained a wide readership during his time as national correspondent at The Atlantic, where he wrote about cultural, social, and political issues, particularly regarding African Americans and white supremacy.
Coates has worked for The Village Voice, Washington City Paper, and Time. He has contributed to The New York Times Magazine, The Washington Post, The Washington Monthly, O, and other publications.
He has published three non-fiction books: The Beautiful Struggle, Between the World and Me, and We Were Eight Years in Power: An American Tragedy. Between the World and Me won the 2015 National Book Award for Nonfiction. He has also written a Black Panther series and a Captain America series for Marvel Comics. His first novel, The Water Dancer, was published in 2019.
In 2015 he received a Genius Grant from the MacArthur Foundation.