Biff, Flipped

One tangent us folks in third hour haven't delved into much during discussion is the white characters in Mumbo Jumbo. We've touched on their individual eccentricities, but little has been done to create a cohesive logic between all of the Caucasian characters. My theory starts with the goal of Mumbo Jumbo as a whole (at least how I see it): exposing real-life social dynamics through extreme irony. In the world of Reed's novel, he flips racist preconceptions by making most of black characters protagonists and most of the white characters antagonists of some sort. One shining example is the hilariously named Biff Musclewhite, whose actions and behaviors mirror those nasty early twentieth century stereotypes of African-Americans while he is a privileged white man.

Upon his entrance into the novel, Biff exhibits exaggerated sexual desire, much like negative stereotypes constructed about black men in the early twentieth century. His inner monologue is distracted by "the beauty, the enchanting body" of Charlotte as she accompanies a magic act, so much that he literally needs to be snapped out of it by Schlitz (44). Later on, the description of him kissing Charlotte in their apartment resembles an account of sexual attack. 

"The Major springs from his lying position and suddenly grips Charlotte's long arms at the same time pinning her against the sofa's back and kissing her violently(...)Patting her hair and smoothing her dress, she is released from the Major's vice-like hold." (108)

Next, Musclewhite absolutely displays conniving, violent, and evil behaviors that were stereotyped upon African-American males in his time period. From his emotional manipulation of Thor Wintergreen to his consecutive murders of Berbelang and Charlotte, this is perhaps the stereotype he embodies most fully, and his actions continue the theme of racial-role-reversal.

Although Musclewhite might not entirely be this exact mirror of black stereotype, certain qualities that define his character make the role-reversed irony effective and convincing. Perhaps the other negative behaviors unfairly associated with black males are present in other white characters, such as the bumbling Hinckle Von Vampton and Safecracker Gould. Nonetheless, if this placement of stereotypes is intended by Reed, it exposes racist interpretations more clearly through a flipped white canvas. 

The Postmodernist Recycling of History from Mumbo Jumbo and....National Treasure? Yeah, Mostly National Treasure

"Well, I don't know, National Treasure could have a place in postmodernist history!" 

-Mitchell, 3rd period, February 5th 2016

National Treasure is not your typical historical drama. In fact, it escapes most categories of film besides "Nicolas Cage" film: action movie chosen seemingly at random starring one of Hollywood's most unusual A-list actors. The film is famous for it's stretches of the imagination, featuring several tangentially-related out-of-context historical figures and events pieced together into one streamlined conspiratorially-based hamfest. There's plenty of fleeting fun to be had, but beyond many pieces of historical trivia, there is no modernist idea of history to be found. But strap up your Mitchell goggles, because National Treasure is actually an in-depth study in postmodernist history!

Let's think about what postmodernism is for a second. What we've discussed in class is an "attack" on modernist principle, a diverging from previous set conventions that is aggressive and self-aware. In the context of historical fiction (which National Treasure sort of pretty much is) we've explored the many different uses of historical fact in our postmodern literature, which usually boils down to recycling these realities and preconceptions and putting them to a different narrative. The movie in question passes with flying colors in these regards. Ben Gates (played by Cage), the titular treasure-hunter of the film, goes on a quest to find the "national treasure" a secret entrusted to his family by the oldest signer of the Declaration of Independence, Charles Carroll. The only clue given is "the secret lies with Charlotte". Gates, also a cryptologist, traces the clue back to the Arctic ship the Charlotte which leads to a heist and following lemon-juicing of the Declaration of Independence, which eventually takes his ragtag mystery gang to the Liberty Bell and some other crap Ben Franklin did. And then they find it! Where was I? Oh yeah, postmodern cinema. This entire movie takes the ideas of historical context and research, crunches it up, and kicks it out the nearest window. All historical points of interest are trivialized and fitted into a new, complex narrative, that suits to entertain viewers and leave all the other malarkey by the wayside. But I guess we can't really PROVE that the Declaration of Independence has some invisible ink on the back, right? It sounds stupid at first, but National Treasure takes a self-aware stand against the boring, plodding versions of American history through it's massive unbelievability. Hey, speaking of conspiracy theories, postmodern American history, and new narratives, remember Mumbo Jumbo?

The reason that Mumbo Jumbo and National Treasure are actually long lost cousins is their insistence on postmodernly recycling certain historical events to fit a broader, differing, brand new story. Warren G Harding might be simply known as one of the worst presidents we've ever had, but what if he was actually the work of a secret Wallflower Order, the anti to the anti-plague of Jes Grew in the early 20th century? "Of course not!", a filthy modernist exclaims. But the hip postmodernist nonchalantly adds: "Yeah, why not dude? And while we're at it, has anyone lemon-juiced the Declaration of Independence, to like, check for a special message?"