Ron L. Hodges’ poem, “White Is A Color, Too,” tackles the complex and often fraught subject of race and identity. The poem’s central message, that race should not be a divisive factor, is presented through a simple yet powerful argument: “white is a color, too.” This seemingly straightforward statement carries significant weight in a society often grappling with issues of racial categorization and prejudice. This analysis will delve into the poem’s use of language, imagery, and structure to convey its poignant message.
Contents
Deconstructing the Argument: Color as a Unifying Force
Hodges begins by establishing a sense of urgency, suggesting a fundamental truth has been forgotten. The opening lines, “It seems strange to have to say this / After what that great man taught,” allude to a shared understanding of equality, potentially referencing religious or historical figures who championed unity. This immediately frames the poem as a reminder of a principle that should be self-evident.
The poem then proceeds to build its argument through analogy. Hodges questions the arbitrary distinction placed on the color white in discussions of race. He points out that white is readily accepted as a color in other contexts, such as “fabric, paper, and paint.” This juxtaposition highlights the absurdity of denying its status as a color solely in the context of human skin. By using commonplace examples, Hodges makes his argument relatable and accessible.
Shades of Meaning: Beyond Surface Interpretations
The poem further explores the concept of “shades” within colors. Hodges observes that all colors, including white, have various tones and nuances. This observation serves a dual purpose. First, it reinforces the idea of white as a color. Second, it subtly introduces the concept of diversity within racial categories themselves. Just as there are different shades of white, there are various ethnicities and cultural backgrounds within any racial group. This nuance challenges the simplistic notion of monolithic racial identities.
The poem also addresses the limitations of using physical characteristics to define a person. Hodges argues that skin color, like any other physical attribute, does not determine a person’s character or worth. He emphasizes that “No pigment predicts the goodness, / Or the badness, that we’ll do.” This underscores the poem’s central theme: judging individuals based on their race is illogical and morally wrong.
Personal Touch: Adding Depth to the Message
Hodges concludes the poem by bringing in a personal anecdote, describing his own complexion as “like rose wine.” This seemingly simple detail adds a layer of vulnerability and authenticity to the poem. By acknowledging his own nuanced appearance, Hodges further dismantles the idea of rigid racial categories.
He reinforces this message with the powerful statement, “We’re all people of color, friend.” This re-framing of the concept of “people of color” to encompass all humanity serves as a powerful call for unity and understanding. The concluding lines echo the opening, creating a sense of cyclical reflection and emphasizing the timeless nature of the message. The poem’s final plea, “See white as a color, too,” is not simply about acknowledging a scientific fact; it’s a call to see beyond superficial differences and recognize the shared humanity that binds us all.
Conclusion: A Timeless Reminder
“White Is A Color, Too” is a concise yet profound exploration of race and identity. Through its simple language, compelling analogies, and personal touch, the poem delivers a powerful message about the importance of seeing beyond superficial differences and embracing our shared humanity. Hodges’ work serves as a timely reminder that unity and understanding are essential in a world often divided by superficial boundaries.