Darryl James

*Racist crapheads in America just can’t let slavery and/or Jim Crow die.

In the South, ignorant, inbred, toothless, cousin-lovin’ pig-squealin’ freaks of nature refuse to stop pursuing the embrace of the Confederate flag, despite the fact that the South lost the Civil War more than a century ago.

But any of us with a working brain can understand the subtext: They want to return to an era where Blacks were under their thumbs.

And, the suit-wearing versions of those inbred morons keep taking opportunities to malign the first African American President simply because he is African American.

Now, a new movie is on the silver screen from more inbred racist crapheads who wax poetically about a time when a good job for a Black woman was “helping” white women cook and clean in their own homes.

The problems with “The Help” are multiple.

First, the storyline sucks to high hell.

Second, the historical standing of the film is rife with inaccuracies that play right into the age-old worn-out racist fantasies of ignorant white people. Those fantasies include the notion that Black women were happy being “help” for white women; that white women were gracious to their “help;” and that white women took up the cause of Black women, because Black women simply weren’t doing so.

These historical inaccuracies are important to highlight because seeing them played out so many times in the media and popular entertainment has given far too many fools (including some Black fools) the impression that the ultimate freedom of Africans in America was sparked only by well-meaning whites and achieved mostly through their benevolent assistance.

That’s tantamount to saying that Blacks were so weak that they couldn’t mount their own defense and so enamored with the excellent treatment at the hands of white employers that they couldn’t focus on seeking freedom from oppressive Jim Crow laws.

For me, this is extremely problematic because it creates the illusion of an interdependency between white women and Black women. This fallacious slice of American racial fantasy is the exact message that was delivered to Black women at the end of the Civil Rights movement in order to convince some of them that Feminism was a better cause for the Black woman, as opposed to non-gender-specific Black community issues. The separation of some Black women from the overall Black movement could not have been achieved without first convincing some of them that white women (not Black men) were their natural allies.

Convincing some Black women that Black men were their oppressors allowed damaging propaganda to seep into our community. That propaganda included messages that Black women “overcame” Black men and no longer needed us, and that somehow Black men stopped loving and protecting Black women. That propaganda seduced many Black women into viewing themselves as women first and as Black people second.

Seeking to free yourself as a gender first before achieving full societal parity for your race, results in conflicts and confusion within that gender, which is then delivered to the entire race.

Scoff at my thesis with a contemporary perspective, but place it in an historical perspective and you will see that there were icons and specific messages from those icons (both Black and white) that were designed to move Black women into solidarity with white women and away from Black men. Again, question my thesis if you like, but look again at our condition today and ask yourself where the extreme rift between Black men and women came from.

That rift ain’t natural.

And it just ain’t natural to make a movie centered in an era of deep racial strife and only give it a passing glance, as though white women weren’t co-conspirators in the oppression of Blacks and the savage violence against Blacks as well as the fear-based assault on the character, history and existence of Africans the world over.

Instead, the struggle of the African in America is reduced to some noble darkies who only seek freedom at the behest of white “saviors,” who pretend themselves to be detached from the evil institution of slavery and the son of slavery, Jim Crow.

That struggle is reduced each time a racist liar makes a piece of “entertainment,” which carries an assault on history, such as the assault on historical accuracy found in “The Help.”

As a Black man, I didn’t miss the overarching message of this film, which has been the message of far too many films and other media movements:  Black women need white women and the two are natural friends because of their “shared” gender struggles and interdependencies. The message is that white women needed “help” in a domestic manner and Black women needed “help” in their struggle as Blacks and as women.

But there has been less interdependency and more parasitic existence when it comes to white women and Black women.

And, the author’s true feelings about Black women can be found easily in just a cursory review of the book’s website (http://www.kathrynstockett.com).

The main Black domestic’s best friend is described as “short, fat, and perhaps the sassiest woman in Mississippi. She can cook like nobody’s business, but she can’t mind her tongue, so she’s lost yet another job.”

Haven’t we heard and seen these descriptions of Black women far too much?

And, she does the main Black character no greater justice in the depiction: “Aibileen is a black maid, a wise, regal woman raising her seventeenth white child. Something has shifted inside her after the loss of her own son, who died while his bosses looked the other way. She is devoted to the little girl she looks after, though she knows both their hearts may be broken.”

Really? Her own son has died and something has merely “shifted” inside of her, yet she is “devoted” to the little white girl.


Kathryn Stockett, the author of the book upon which this film drivel was made is no friend to the Black woman. Rather, she is a racist, self-serving bitch who needs “help” understanding that Black women “helped” to build America, from its early founding as a farm culture all the way through the industrial revolution.

She needs “help” understanding that Black women were hardly in the backdrop of the African struggle for freedom in America. The “help” that Black women provided was to Black men and Black children as well as to themselves. To place their story within the context of some white woman’s racial fantasy is criminal.

It’s also a damned lie.

Who needs help?

Kathryn Stockett needs help.

That ignorant heifer needs “help” in the form of psychological and medical intervention, in addition to a good old fashioned ass-kicking.

Darryl James is an award-winning author of the powerful new anthology “Notes From The Edge.”  James’ stage play, “Love In A Day,” opened in Los Angeles this Spring and will be running all Summer. View previous installments of this column at www.bridgecolumn.proboards36.com. Reach James at [email protected].