This section ends with Rankine writing about finding a seat on public transportation without being harassed due to one’s skin color (which happens too often). Section V examines different notions of self-identity through more microaggressions, while Section VI continues discussing microaggressions with scripts for “situation videos” based on real events such as Hurricane Katrina, Trayvon Martin ‘ s death, James Craig Anderson ‘ s murder, Jena Six, Stop and frisk policies in New York City (and other cities), Zinedine Zidane headbutting Marco Materazzi during the 2006 FIFA World Cup Final game between France and Italy (due to alleged racist remarks by Materazzi), riots that broke out following Mark Duggan’s death in England in 2011, Barack Obama saying “My brother is an African American” during his presidential inauguration speech instead of “African-American”, etcetera. Section IV explores the abstract nature of language, using examples from history such as slavery or apartheid in South Africa. She also discusses memory and an incident she witnessed at a tennis match where everyone was silent instead of cheering for their favorite player like usual. In the third section, Rankine talks about sighs turning into aches, which represent her feelings about race relations today. It also discusses how language is sometimes used as a racial weapon, even when it’s not intended that way.
The second section focuses on a YouTube character named Hennessy Youngman and several racially charged incidents involving Serena Williams’ career. They’re often unintentional and can be very hard to address because they’re so common. Microagressions are subtle, everyday insults directed toward people of color. The author focuses on microaggressions in the first section.
Although few of the poems have formal titles, they are all consistent in their themes and structure.
The book has seven poetic sections, each with its own theme and tone.
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