I write for Black women. If others enjoy as well, I am really happy that they connect to the work. But if I were to write a piece that everyone excep… - Kaitlyn Greenidge

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I write for Black women. If others enjoy as well, I am really happy that they connect to the work. But if I were to write a piece that everyone except Black women connected to, I would feel, on some level, that I’d failed.

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About Kaitlyn Greenidge

Kaitlyn Greenidge is a writer living in the USA. She received a 2017 Whiting Award for Fiction for her debut novel, We Love You, Charlie Freeman. Her second book is a historical novel called Libertie (2021)

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I said, “The term white backlash frames those actions as inevitable and natural, as if order is being restored after Black liberation goes ‘too far.’ And while I agree that white backlash inevitably follows Black freedoms, I do not think there’s anything natural or blameless about it. What if the conversation instead was framed as ‘There’s something in the construction of whiteness that demands violent supremacy, when even the glimmer of another way of being comes through, and why is that?’“ So, I thought a lot about how I was taught about white backlash in history class growing up. I don’t even think we were allowed to attach the word “white” to it. I think it was just sort of like backlash in general. It’s often framed as sort of, “Well, what do you expect people to do? Like, this is sort of like a bridge too far.” And even for myself, I think I’ve internalized that.

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One mantra of the last couple years that I’ve given myself is: we do not have time for shorthand anymore. We don’t have time to reduce things to its pithiest element. We do not have time for that because that actually sets us back so far and muddies the water so much and just messes up the actual conversation. We should be looking at works and having big, messy, and complicated discussions about them.

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