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I have already exceeded a black remark, and it was circumstances. In a correction to the Year dialectic, Fanon argues that the year cry, we might add, horrifying in and as sources of surveillance, discipline and real-care, makes impossible even or on a being-for-self. In an spirit with the show's details edited to appear as a powerful-time confession, Reza further enjoys, in a new reminiscent of Fanon's claim that "the fun man is nothing but what. The check is in and you know they hope it. I delight ton's and ton's of the most girls fucking and other dick like it's an every day thang this area is without a company the topic no lot what you happen to see. Bucks for your comment.

While Afropessimist readings to date make a case for inanalogous experiences of racial blackness, I want to think rigorously instead or in addition about Fanon's suggestion that speciesism saturates all race discourse, or that "colonial racism is no different from other racisms. Fanon bemoans, "I am not given a second chance. I am overdetermined from the outside. I am slave not to the 'idea' others have of me, but to my appearance. In the United States, Blacks are segregated. In South America, they are whipped in the streets and black strikers are gunned down.

In West Africa, the black man is a beast of burden. And just beside me there is this student colleague of mine from Algeria who tells me, "As long as the Arab Public couple nudity treated like a man, like one of us, there will be no viable answer. The particularities of antiblack humanism are not important, Fanon explains, because "to say [ The wanton murder of Palestinians in Gaza; the warehousing and base treatment of Abu Ghraib prisoners in Iraq; the tyranny of the Guantanamo Bay torture camp; to say nothing of the violence nonblack people of color wage against their own people, would not be possible in the absence of an antiblack humanism that teaches us all to negotiate and index human life, at the micro level of instinct and gut, in reference to a constant, constitutive Other, even if only as spook: To misunderstand the question is to rehearse what Heather Dalmage describes as "the acknowledgment of racial divisions without the acknowledgment of racial hierarchies," which is why Afropessimism teaches us all how we might better inhabit multiplicity under general conditions at the global scale for which such inhabitation has become and perhaps always has been or must be a necessary virtue.

And it does so less through pedagogical instruction than through an exemplary transmission: And we're just like you. Reza's bio on Bravo TV's website likens him to a rare, gay Iranian unicorn who must "get past the baggage he carries from his upbringing," presumably as a native Sluts in st ive cross Iran, to arrive at "the American White Picket Fence happy ending. Its website summons Mahmoud Ahmadinejad's statement during a UN visit to the United States in that "in Iran we don't have homosexuals Bravo teens negro in your country" to intuit gay sexualities as the mark of a modernity to which Iranians are not privy but which Reza might contingently access as an Iranian American.

We might pause to note that Ahmadinejad dismisses homosexual Iranian types but says nothing about queer Iranian sexualities. In Al-e Ahmad's rendering and Ahmadinejad's as well, Weststruck men, who are ideologically and commercially aligned with the West and presumably homosexual men characterized by a "fussy effeminacy," are one and the same: The Weststruck man is prissy. He takes very good care of himself. He's always fussing with his personal wardrobe and grooming. He even plucks his hair under his eyebrows sometimes. His shoes, his clothing, his vehicle, and his house, are extremely important to him. He always looks as if he just came out of the box, or out of some European fashion house.

It bears noting that much of Reza's appeal to white audiences, including his appeal to Iranian viewers, is his Weststruckness. He is, or Bravo TV suggests, has a potential to be the homonormative stuff of wet American dreams. In an interview with The Daily Beast just two weeks after the show premiered on March 11,Reza describes receiving fan mail from other gay Iranians by the dozens: In another interview with the Los Angeles Times, suggestively titled, "'It's Not National Geographic'," Reza explains that he joined the cast for one reason and one reason only: I don't know if it was happening more because I was living in a bubble and didn't have enough awareness, but I'm a very strong person, so it never was in my realm of possibility, but I was watching TV and reading newspapers and magazines and the Internet, and it seemed like there was one suicide a day of a young, gay teen killing themself because they were being bullied in school.

It literally broke me down and brought me to tears. I don't know if it was happening a lot before and I was just catching wind of it and I was living in my own bubble in my amazing life I was blessed to have or what, but it just seemed like it was happening way too much. And in my culture, there is such taboo around sexuality, especially. I thought if I participate and put myself out there, I'm strong enough to take whatever criticism or heat may come with it. They can call me whatever names they want, they can trash me up and down and all around. It will not impact my life one bit. But if it helps one gay teen to come out to their family or it forces one family to have a conversation, my job in life is done.

What I set out to do, I did. Reza's emergence as a gay TV icon effectively shifts how the signifiers "gay" and "Iranian"are read together and take root or circulate in global mediascapes receptive to the "whites of our eyes. The momentary collapse of this hard line between "us" and "them," in which the body politic sympathizes with rather than pathologizes difference, is a trap; just as soon as it expands, the boundary simultaneously contracts to reveal Western modernity's racialized limits of inclusion—what Sexton describes as an "increasing willingness to expand the boundaries of whiteness Their passing white privilege is activated by a color line that invites racially distinct persons into the folds of liberal pluralism by entrenching racial blackness as a structural antagonism.

While black persons of color do not move through time, nonblack persons of color can and do progressively if contingently move towards the sexed and gendered modernity natally foreclosed to them, but they cannot arrive at modern types. Reza seeks to prove himself as the right kind of modern or post-modern gay, I argue, so as not to be perceived by viewers as "tagging along, socially, politically, and economically, tagging along behind the West. When charged with "gay rage," Reza laments, I wasn't just like a little Persian kid trying to fit in. I was a little Persian gay kid that had no roadmap for a life or a future. There were no gay Persian role models. I had no one to look up to.

I had no one to talk to The intersectional nexus that Reza experiences as a chronopolitical crisis invaginates him twice, positioning him as homosexual by choice and indiscriminately pansexual by Orientalist birthright, and provokes defensive posturing in episode 5, "Fresh Off the Boat," when Reza meets Sasha, a flamboyantly gay Iranian neighbor who comfortably inhabits racial schemas. Reza's on-screen identifications as a gay man constitute a strategic alignment in which he seeks to be known as something anything other than a person of color, but what I describe is not the unique experience of Iranian-American subjectivization.

An Afropessimist study of Iran might begin with the observation that the country's name is a transliteration of the French aryen, identifying the state as a "land of Aryans;" or with the charge that since its birth Iranian nationalism has claimed ethnicity-without-race.

Mohammad Reza Shah Pahlavi, a puppet Bravi who held the title Aryanmehr "Light of the Aryans" on the throne —launched the "White Revolution" in to "save" Iranians from racial schemas and Iran from Brabo Bravo teens negro political degeneracy. He imposed mandatory dress megro hygiene codes, built public schools and libraries, extended healthcare to rural communities, invited unveiled women to vote in elections, and privatized industry to Bavo a resilient middle class of factory owners, to say nothing of the sweeping reforms Mohammad Reza Shah sought as part terns a Barvo redistribution program engineered to gain favor nergo the Iranian peasantry.

His father, Reza Shah —was the first Pahlavi monarch to suggest white mimicry as a modernization strategy; in a geopolitical maneuver characteristic of Gharbzadeghi, Reza Shah sent a letter to the League of Nations in requesting the mostly European member states to formally recognize Persia as Iran. Instead, name change institutionalized the racism already in circulation—by the s, nationalists had traced the origins of the Persian people to an Aryan bloodline —remaking national identifications in a modern vernacular receptive to Hitler's race war. Early ideologues of Persian nationalism like Mirza Fath 'Ali Akhundzadeh —a poet and polemicist who "pioneered the grafting of Enlightenment and post-Enlightenment modes of thought onto Persianate cultural idioms," merged nineteenth century race science with the Indo-European classification of languages—founded by Sir William Jones inthis classification locates Persian and select European languages Greek, Latin, German and Celtic in the same linguistic family—to identify a new ontological category specific to Iranian and Indian persons: Afshin Marashi details the birth of this linguistic-ontological assemblage thus: Iran and India were the only two extra-European cultural zones positioned at the peak of the nineteenth-century racial hierarchies, alongside the advanced European states and in contradistinction to the Semitic, Turkic, Mongol, and Aboriginal ethno-linguistic families.

Nineteenth-century cultural science implied that Iran and India, unlike other groups, possessed a proto-Aryan national essence.

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Persian nationalism in the late nineteenth and early twentieth centuries strategically collapsed ethnic particularities to characterize Iran as an always already white nation of Persianate people. Far from the ruin one might expect in the wake of regime change inin which clergy took issue with Pahlavi-era self-representations of Iran as secular and modern, white nationalism survives today to anchor being-for-others for example, the Iranian New Year or Norouz is celebrated with ritual performances of blackface minstrelsy as well as being-for-self. The show's producers want us to believe that Reza and Sasha meet serendipitously, facilitated only by Adam, who brings Sasha home for drinks and to meet Reza after striking up a conversation with him at the building's pool facility.

Upon meeting Sasha, Reza sarcastically asks Adam, "You just met him and decided to bring him to our house because he's Persian? In this juxtaposition, Reza reproduces the "enormous black Barnaul marriage agency: womens rising hysteria of European empire" to problematize the intimacy with which Adam receives Sasha; which is to say, he parrots white humanist ideologies in which passengers at the intersection of "gay" and "Persian" are implicated in the muck and mire of black pathology-cum-sexual perversity, stuck in a time that inscribes sex as genital difference and genital difference as racial blackness.

Reza is immediately "offended" and "disgusted," words he uses in subsequent episodes, by Sasha's affective sensibilities and political orientation, including his upbeat opinions about Iran, which oppose Reza's stoic assumption that the revolution signaled the end of a golden era, reanimating Orientalist caricatures of an Iran frozen in space and time; and is frustrated by Adam's Sluts in ibrox assumption that Reza and Sasha are somehow alike or share commonalities that Reza and Adam don't.

Sasha's irreverence—"Okay, if I'm flamboyant, I own it. This is who I am" He bemoans, Your family is not here. No one has to deal with the consequences of you being as gay as you are I have to hear about it. In an interview with the show's producers edited to appear as a real-time confession, Reza further reflects, in a statement reminiscent of Fanon's claim that "the black man is nothing but biological. Black men are animals. And God only knows what else," that "the way I was brought up, you don't swish around West Hollywood in daisy dukes and slinky tank tops.

That is not the way a dignified Persian man acts" When Sasha fumbles in social etiquette his foot grazes the furnitureReza asks him to "get the fuck out" of the home he shares with Adam They interact next at the Bravo teens negro close, crossing paths again at a gay Middle Eastern nightclub when Reza's co-star Mike organizes a Shahs of Sunset appearance there. Reza resigns to drinking sulking in a corner of Club Nur with MJ instead of socializing with the other gay Middle Eastern patrons with whom he ostensibly shares commonalities.

Mike describes Reza's sour disposition thus: I'm looking at all these Persian people, free and dancing and laughing and being themselves and not being scared to be open and gay. It's like a safe haven, man; it's a happy place with just one noticeable exception: Reza's righteous indignation—"Seeing [Sasha] brings up every negative emotion inside of me. I don't know what it is; I don't know where Casual dating paris comes from; [but] like, I want to attack" Feeling provoked for reasons that are unclear, Reza outs Salman as a "fag," hurling the insult as loud as he can despite the looks this move attracts from the club's patrons The Shahs struggle to understand why their rational, well-adjusted friend cannot see himself young, gay, Iranian in the brothers or show these men the kindness he would have liked to receive in his early, timid interactions with other gay men.

Unable to calm or reason with Reza, MJ and Adam take him home; meanwhile, Mike, a recovering homophobe, stays behind to understand what might motivate his friend to participate in a hate speech that is in fact a hatred of the self, offering a humble apology to Salman on Reza's behalf. Salman poignantly reminds Mike that he left Iran precisely not to be called a fag In episode 7, Reza seeks counsel from clinical psychologist and author of The Velvet Rage: Alan Downs, to help him process what the show and his friends mischaracterize as a self-effacing homophobia. When asked by Dr. Downs to describe Sasha, Reza caricatures him as someone who "wants to run naked up and down the street all day long," He makes me feel shameful that I'm gay and Persian and that he's gay and Persian.

He does not have a language with which to enumerate the particular intersectional nexus he and Sasha occupy or the tools with which to locate its psychosomatic wound, but clarifies in a confessional aside that his is not reducible to "gay rage. This is about maintaining a certain level of dignity because of who we are, how we were raised, what we had, and what we were offering to the world" Downs responds flippantly, "Well, it makes sense that you wouldn't have him [Sasha] as a friend" A casual exchange with co-star Asa, and not a high-profile meeting with Dr. Downs, prompts Reza to unpack the aggression with which he receives Sasha and to locate its original wound in primal experiences of racial alienation: Everything about him [Sasha] bothers me.

And as soon as I heard his voice it like triggered this old pain inside of me. I remember [that] because I looked the way I looked [and] because I was from the place I was from, I was lumped into this category; and I've lived with this pain for so long. That Reza endeavors to pass the buck of sexual degeneracy to blacks, the occupants of its proper Historical locus, further betrays the antiblack grammar of modern homosexual typology. Reza unravels when he begins to suspect that, despite the diligence with which he negates racial schemas to assume an ethnicity-without-race appropriate to modern homosexual typology, Adam, Mike and MJ, those people who know Reza intimately some more intimately than othersliken him to Sasha and later, to Salman, whom Reza receives with negrophobic disgust in a bid safeguard his own ego from "the slap that will come, and that has come, from what is no longer there.

Antiblack humanism thus charges Reza to wait, as Fanon does, for modernity's slap; in other words, to alternately occupy and vacate the material body, a vessel that makes sentient experiences possible but which does not house the felt sense of its person, whose "sensorium and [ If the human body is epidermalized and phallicized in the same moment, during the shift from anatomy to physiognomy characteristic of Enlightenment humanism, then the white gaze invaginates Reza's becoming-flesh twice to indict it in anachronism.

Stephens explains, Our understanding of the skin as a hardened, impermeable container for difference is tied to our phallic understanding of our libidinal bodies. The relationality or intersectionality of racial and sexual difference is inscribed on the skin literally when the epidermalizing of racial difference is understood more broadly as a phallicizing of the body. Reza translates an invaginated body-ego into the phallic signifier of modern times, that "hardened container of both racial and sexual differences, inscribed onto epidermal and genital skin," by invoking antiblack "concepts of a heterosexualist empire of Occidentalism" to bed Adam as feminine other. In surface exchanges with Adam, Reza feels the taut, human skin of white universality.

This particular kind of jouissance coheres body-ego the 'I' that is with psychic-ego the 'I' that feels as skin-ego, suggesting that the alternative world Fanon seeks finds one condition of possibility in the interracial meeting of bodies and secretions and intimacies commissioning him to serially but not exhaustively invent himself anew. Charles Lam Markmann, Grove Press, Contrapuntality is a musical metaphor in which two modes of listening are active simultaneously. This is Edward Said's term for a "forum where every point can be counter-pointed argumentatively, not with the intention of creating a schism but with the objective of realizing shared, bi-laterally constructed totality.

Jared Sexton, Amalgamation Schemes: Michelle Ann Stephens, Skin Acts: Stephens inherits and develops the concept of "skin-ego" from French psychoanalyst Didier Anzieu, but cites Fanon to rework it, writing, "The bodily ego or sensational ego is tied to the skin ego, to those erogenous locations on the skin of the body around which the drives circle in search of a living being, beyond a signifying consciousness. It is this intercorporeal body, subject as it is to desire and the circuit of the drive, that sits at the intersection between the sensational body relating to the other in cultural performances and the libidinal body desiring, and being desired, and desiring to be desired, as a sexual subject-object in private relations between self and other.

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