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Can this book really teach people how not to be racist?

Can this book really teach people how not to be racist?

Independent13-03-2025
Twenty-five years ago, not long before 9/11, a young Canadian journalist of English and Jamaican origin named Malcolm Gladwell published a short book with a provocative subtitle 'how little things can make a big difference'. He called it The Tipping Point; his American publisher paid $1m for the rights; after a disastrous start, it rapidly acquired the status of myth. To a world fighting a 'war on terror', and consumed with ephemeral dread, Gladwell's 'little things' (Hush Puppies, broken windows, and the midnight ride of Paul Revere) became a new and entertaining way to look at social issues. Gladwell's message (how just a few people can affect positive change) was at once provocative and soothing.
From The Tipping Point to Blink: The Power of Thinking Without Thinking to Outliers: The Story of Success, which popularised the theory of '10,000 hours practice', Gladwell became a genre-master illuminated in the flattering light of international imitation by numerous wannabe bestseller writers (often journalists), most of whom possessed neither his witty intelligence nor his effortless storytelling.
The Tipping Point became a millennial phenomenon that shaped a generation. Don't take my word for it. Gladwell's publishers have just released Revenge of the Tipping Point, a nonchalant audit of second thoughts by the writer who became, Bill Clinton said, 'part of the zeitgeist'.
By chance, in this same season, we find The Science of Racism by Keon West, published with a throwaway Gladwellian subtitle ('Everything you need to know but probably don't – yet'). West, who quips that 'he has always been black', is a social psychologist with some impressive qualifications, who has drunk deep at the well of The Tipping Point, and makes an early pitch for a similar readership.
'In this groundbreaking study,' declares the jacket blurb, ' The Science of Racism … cuts through the divisive anecdotes and rhetoric with decades' worth of clear, factual, rigorous and quantitative science to reveal truths about racism that are moving and tragic, but also (somehow) funny and entertaining.'
There's a good reason for this edgy having-it-both-ways overture. West cheerfully concedes the unsurprising truth that racism is a highly contentious topic on which – almost every survey shows – our society is hopelessly divided.
From the first page, West's literary persona is assertive, challenging, and takes no prisoners. He despatches the critical race theory (every white person is racist) with glee, while simultaneously scorning those, like Tory leader Kemi Badenoch, for whom CRT is an ideology that interprets whiteness as merely an oppression and blackness as only victimhood.
West's larger contention seems to be that, by describing his chosen subject as 'a science' (debatable) and his method as 'research-based' (indisputable), he's allowed to treat racism as a focus for provocative, contrarian zingers, and to find it 'funny and entertaining'. To this reader, that's a bad misstep, and one that steers this well-intentioned volume into some treacherous swamps.
Next to our democracy, and now more than ever, gender and race are matters of life and death. In that triptych of dread (politics, sex, and colour), race, as West will know, is the unquiet monster that continues to disturb our peace. This would still be true, whatever the history. Moreover, once we braid 'race' with 'slavery', 'oppression' and 'genocide', these are deep and horrendous waters. To navigate this area of darkness, we need empathy as much as science.
For instance, in contemporary experience, Black Lives Matter has been a profound global protest, an expression of solidarity with African Americans and Black society worldwide that demonstrates how deep and raw the wounds of racism are. Why then, is George Floyd cited just once in the index (p 215)?
In his eagerness to introduce us to the 'science' of his research, West seems reluctant to explore even the most simple backstory to this harrowing subject. For instance, in one of West's principal book markets – the USA – 'race' is still inextricably associated with that historical crime in which both British and American society are deeply implicated. The founding father Thomas Jefferson was a slave owner who reportedly had a relationship with his slave Sarah Hemings, who most historians now agree bore him six children. In his last years, Jefferson became tormented by the threat of slavery to the American Revolution. It haunted him, he told a friend, 'like a fire bell in the night'.
After the shocking death of George Floyd in 2020, Jefferson's fire bell began to ring more urgently than ever. West will have heard it – he cites many other examples of contemporary racism – but his attachment to 'science' appears to not have room for the racist detail of the Floyd tragedy, perhaps because 'science' was unable to dice and slice it for ready consumption.
In many other areas, West makes the case for considering race through the lens of science. There's nothing glib about this pitch; he dismisses the 'snake-oil salesmen' whose 'scientific claims' are 'worthless'. On my reading, however, he doesn't go far or deep enough; worse, his dedication to 'factual, rigorous, and quantitative science' has an almost inevitable upshot: the breakdown of his scientific method. A chapter on the 'complexity' of his subject is anchored in data, and telling anecdotes, but having declared reverse racism a 'real, serious, and widespread problem', West dives down a real-world rabbit hole to declare that society needs 'to create a world in which we're all, regardless of race, treated equally.'
Shortly after this, he concludes a fierce and persuasive attack on 'colour blindness' with a telling admission: 'It is silly to believe, of a problem as large and as powerful as racism, that if we ignore it, it will just go away.' Short on empathy, armoured with data, and focused on a popular audience, The Science of Racism often misses the wood for the trees. The chapter on diversity initiatives (DEI), which West wrote about in this publication, identifies many 'myths' and some uncomfortable truths, but it remains too 'scientific' to address the savage reality of Republican anti-DEI rhetoric that is currently underway.
In the end, West hardly leaves his comfort zone – decades of academic research – to address what, to this middle-aged and privileged, white, male reader must be the nub, the simple historical definition of racism: 'A condition in which individuals are treated worse, excluded, harassed, bullied or degraded as a result of race and/or ethnicity, with sometimes fatal consequences.'
Where do we go from here? In many ways, West has done us all a favour by setting out, with argumentative clarity, the areas of 'racism' that are no longer deserving of anguished white liberal scrutiny. Another new starting point might be to treat this subject as a profound historical curse of immense societal and global consequence, but not a forum for donnish mind games.
In Revenge of the Tipping Point, Gladwell confesses to a youthful excess of certainty. He disowns his younger self, who was, he concedes, too cocksure and assertive. What he celebrates now is doubt, uncertainty, and the subtle nuances of ordinary existence. Perhaps West should be encouraged to borrow another leaf from Gladwell, and return to this subject of the most profound significance, which he knows intimately well, with compassion, modesty, and introspection.
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Canvas of Sound with Tazeen Qayyum at EIF: 'There's something special about seeing an artist working live'
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Canvas of Sound with Tazeen Qayyum at EIF: 'There's something special about seeing an artist working live'

In her Edinburgh International Festival collaboration with musicians Basel Rajoub and Feras Charestan, conceptual artist Tazeen Qayyum hopes to 'touch some souls'. Interview by Jim Gilchrist Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Just four words – hope, justice, kindness and peace – may seem utterly at odds with a present world that appears to be hell-bent on ripping itself to pieces. Yet as written and shaped into beguiling patterns by artist Tazeen Qayyum, to the accompaniment of two virtuosic Middle Eastern musicians, they are designed as an immersive counterblast against our deeply troubled times. Basel Rajoub, Feras Charestan and Tazeen Quayyum in rehearsals for Canvas of Sound | Contributed Qayyum, a Pakistani-born Canadian conceptual artist, will collaborate with the musicians in the Edinburgh International Festival's programme at The Hub, creating her art in real time, as they play, projecting it simultaneously on to a large screen, and inviting their audience to seek a state of harmony and mindfulness. Advertisement Hide Ad Advertisement Hide Ad Qayyum's two accompanists are soprano saxophonist and percussionist Basel Rajoub, who also plays the duclar – a hauntingly human-toned Middle-Eastern clarinet, and Feras Charestan on qanun – a Syrian zither. Their blend of reed and wire sound is a potent one, as demonstrated when the pair appeared at the Festival two years ago with the Aga Khan Master Musicians, and Qayyum is enthusiastic about their collaboration. 'They're brilliant and I'm grateful that we're working together,' she says, speaking from her home in Oakfield, a suburb of Toronto. 'The first time was last year at the National Museum of Qatar and that experience was new and so fulfilling for all of us that we decided to continue it.' Their collaboration, Canvas of Sound, has been described as 'an immersive presentation drawing on calligraphy, improvised music, trance and movement,' although Qayyum tends not to regard her art as calligraphy. 'Calligraphy is a very sophisticated art form in itself,' she says. 'Mine is more like spontaneous drawing, working with text.' Advertisement Hide Ad Advertisement Hide Ad Creating 'live' visual art to music isn't an entirely novel concept; indeed Edinburgh has its own exponent, Russian-born painter Maria Rud, who was creating large-scale paintings in real time and projecting them on to the interior of St Giles' Cathedral to a live accompaniment of Bach earlier this month. 'There is something really special about seeing an artist working live,' Qayyum agrees, 'because you experience paintings and drawings as finished products normally.' Feras Charestan, Tazeen Qayyum and Basel Rajoub | Contributed Asked whether creating her art in front of an audience brings pressure, she laughs: 'To be honest, before the performance I'm very nervous. I'm a quiet person by nature and don't like to be where people are looking at me, so that aspect is a little nerve-racking.' Once started, however, she becomes completely detached: 'I go into that zone where it's just me, the pen, the sounds and the words. I lose any sense of time. Somebody has to, like, tap me on the shoulder to say that everybody's gone. Or in a time-specific performance like Edinburgh, somebody would have to give me a cue, I get so immersed in that experience.' Advertisement Hide Ad Advertisement Hide Ad For her Edinburgh International Festival appearance, she has anchored her performance in four words with a multiplicity of meanings. The root words, in Arabic, are 'amal', which means hope; 'adl', justice; 'karam', kindness; and 'silm', peace. Coming from a Pakistani background, Qayyum's language is Urdu – 'but Urdu borrows from Arabic and Farsi, so I understand these words'. Under her black pen, the script for these words will spiral outwards, shaping itself into beautiful, intricately whorling patterns. Tazeen Qayyum in rehearsals for Canvas of Sound | Contributed 'In my drawing practice and outside these live performances, I work with words a lot and spend a lot of time thinking about what words I want to contemplate on … what ideas I want to think about,' she says. 'I specifically look for words that are poetic in nature, multi-layered in meaning, with a depth of essence, then an act of continual repetition allows me to focus on the ideas these words carry – and most of them are ideas of care, peace, calm. In a way it becomes self-reflective for me, but at the same time it allows the viewer to connect.' In many ways, she agrees, the process becomes almost meditative, mantra-like. 'And if it touches some souls, that's all we can hope for.' Advertisement Hide Ad Advertisement Hide Ad Asked to what extent she is reacting to the music or the musicians in what she is drawing, she replies: 'I think there is a very interesting connection, because the rhythm, the sound, anchors my thought and my movement. I'm focusing on the words, saying them in my mind and writing them, so my thoughts are driven by the words, but my body is responding to the sounds around me and I feel that energy transcends not just for me but for the musicians and they make certain choices spontaneously.' She regards it as a three way process, 'because I feel that energy carries to the audience and the way the room reacts comes back to us.' Qayyum's word choice of hope, justice, kindness and peace reflects her concern at the times in which live. 'It's very depressing, but I feel it is extremely important for us not to give up hope and to know how we can live through these times as well as take lessons from them. I believe it is so important to think of these words, these ideas, and say them to ourselves – to really understand each other without the prejudices of where we're from, or what our identity or belief system is.' And that, she adds, echoing this year's Festival slogan, 'is the truth we should be seeking'.

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