In one of key moments of William Gardner Smith's 1963 novel The Stone Face, African American expatriate Simeon Brown passes near Odeon metro station in Paris when he is hailed by a man speaking in thickly accented English. Hey, stranger shouts, How it feel to be a man? (Stone Face 55). Simeon is startled at this outburst, and by laughter of shouter's companions. After all, he is visibly black, and four men who are heckling him are light-skinned Algerians. However, although label seems absurd to him, he recognizes almost instantly that it is true: here, in Paris of early 1960s, he is indeed enjoying, in spite of his skin color, privileges of a man, and it is Algerian minority that takes place of, as one of them puts it, the niggers (57). Simeon is deeply shocked at this realization, which at once destroys illusion of a racial paradise with which Paris so far seemed to present him. The fate of Algerians in France, he suddenly understands, is different but at same time similar to fate of African Americans in segregated United States; while he himself, as a black American, might be safe and free in Paris, others are not. Simeon's painful recognition about omnipresence of racism and oppression mirrors that of novel's author, who made similar experiences and came to similar insights as a black American expatriate in France during 1950s and '60s. Once believed to be on verge of a great literary career, William Gardner Smith faded into obscurity after his death, and his work has received very little attention over years from scholars of African American literature. His biographer LeRoy Hodges noted in 1985 that Smith was--unjustly--considered a minor writer with a marginal creative output (i), and despite Hodges's efforts, little has changed since then. However, Smith's work--and particularly his fourth and final novel The Stone Face--deserves more scholarly attention, as Michel Fabre, Paul Gilroy, and Tyler Stovall all have pointed out. (1) Not only is novel one of few African American texts dealing with complicated relationship of black U. S. community in Paris to so-called Algerian question; it is also an impressive exploration of difficulties and complexities of intercultural understanding, and of ways that cosmopolitan sentiments and attitudes are produced and expressed. Smith's protagonist Simeon starts out as a man habituated to American patterns of racism, haunted by his memories of violence and abuse, and rather oblivious to French racialization and discrimination of Algerians. In course of story, however, and as a result of his encounters with people he learns to care for, Simeon comes to understand that inhuman stone face of racism--which gives novel its title--is universal, even if its colors and features vary as much as those of its victims. Simeon's reaction to this realization is to change his understanding of France as a racism-free space and to give up his privileged position as a white man. Newly politicized, he begins to actively support Algerian liberation struggle, and, at end of novel, decides to return to U. S. to support civil rights movement there. This final moment of homecoming, Simeon's apparent abandonment of a political conflict in exile in favor of what seems to be a more domestic national struggle, is what Paul Gilroy, in Against Race (2000), has termed a capitulation to demands of a narrow version of cultural kinship (323). In Gilroy's view, Smith's choice to send his protagonist home to African America significantly damages what is otherwise a powerful story about cosmopolitan personal expansion and universal political commitment. For this reason, Gilroy insists, novel does not measure up to best historical examples yielded by actual black Atlantic itinerants whose lives might be used today to affirm other, more timely and rewarding choices (324). …
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