Beyond Africa (Twisted Roots Book 1)

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By Walt Whitman

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TWISTED ROOTS, a Light into the Darkness #1

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Killmonger seeks more than aid or revolution—he seeks hegemony. Here, there are echoes of the breakdown of the original Black Panther Party in its later years, as radicalized chapters sought a direct armed struggle to overthrow the U. That the climactic battle in Black Panther is a bloodbath between Wakandan factions is no accident; it is Killmonger putting the never-colonized Wakanda through a taste of colonialism in microcosm. His African American mother is absent from the story; Killmonger kills his own lover the moment her body stands between him and his ideological ambitions.

The following distinction is crucial: Black Panther does not render a verdict that violence is an unacceptable tool of black liberation—to the contrary, that is precisely how Wakanda is liberated.

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When Killmonger goes, in one of the most moving scenes in the film, he sees only his father; the rest of his ancestors have been lost to The Void. In one of the many subtle touches Coogler adds to a film in a genre not known for them, Black Panther ambiguously refers to either of them. Here too, the script is explicit. In spite of his ambitions for global domination, Killmonger does something remarkable and perhaps unprecedented for the superhero genre—he wins the argument. All of you, you were wrong.

Where was Wakanda? Wakanda failed. The carved images on the walking sticks in the show reflect what were thought to be male concerns with politics, religion, fraternal organizations, work and recreation. When women are shown, the pose is usually unflattering or explicit. Among recurring images are the reclining nude and the extended leg, ending in a high-heeled shoe. Many handles are visual puns -- a clenched fist, or hands holding a ball or a bird. Two witty 19th-century cane tops involve hair: one handle is the beard on a figure of a Civil War soldier; the other, the pigtail of Confucius.

Military battles and political causes are recalled on sticks depicting Antietam and William Jennings Bryan's Presidential campaigns.

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The politically savvy Chauncey M. Depew, a United States Senator from New York from to , is caricatured on an stick; it shows a fashionably dressed man -- with a parrot's head -- who is himself sporting a cane. The snake is a popular image on many canes, especially those made from twisted roots, and is often depicted as wriggling along the length of the stick.

Several vigorous examples show snakes in action -- swallowing an opossum or attacking another animal.


On only one stick is the snake a victim -- in this case, being eaten by an eagle. Eagles, in turn, are portrayed as political or religious symbols, and dogs as long-eared and loyal. Whether inspired by nature, politics or the Bible, canes carved with animals -- lions, tigers, alligators, turtles, frogs, lizards, bees, squirrels and horses -- are among the more dynamic ones on view.

Beyond Africa (Twisted Roots Book 1) Beyond Africa (Twisted Roots Book 1)
Beyond Africa (Twisted Roots Book 1) Beyond Africa (Twisted Roots Book 1)
Beyond Africa (Twisted Roots Book 1) Beyond Africa (Twisted Roots Book 1)
Beyond Africa (Twisted Roots Book 1) Beyond Africa (Twisted Roots Book 1)
Beyond Africa (Twisted Roots Book 1) Beyond Africa (Twisted Roots Book 1)
Beyond Africa (Twisted Roots Book 1) Beyond Africa (Twisted Roots Book 1)

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