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Cody Poe
Dr. McLaughlin
English 399
4 April 2013
Black Grace: The Redemptive Story of the African-Americans Image in The Curious Case of
Benjamin Button the Film
The 1920s, an age marked by abandoning traditions and clinging to modernity, perforated
societal relations. While the evolution of technology contributed to economic excess, prohibition,
the growing independence and power of women, and race riots impacted societal norms
infamously and progressivelythese changes fall between two great events in the United States
history: The end of World War I and the stock market crash in 1929. The nation was volatile. The
images of glitz seemed to contrast realitys unnerving social relations, resulting in many pieces
of literature satirizing the decades image (authors of these pieces include Sinclair Lewis, Ernest
Hemingway, and F. Scott Fitzgerald). While these authors emphasize wealth and feminine power,
they lack a third element: One that could have been as effective in literature as the other
progressive elements: The memorable African American. This is an issue. Although the great
push for Civil Rights is still a quarter-of-a-century away, African Americans have their freedom.
Their struggle through slavery and Reconstruction certainly designated African Americans as a
formidable member of society. Yet, somehow, their impact is unremarkable. The unremarkable
nature of the African American is prevalent in Fitzgeralds The Curious Case of Benjamin
Button. For African Americans, in The Curious Case of Benjamin Button, there is neither
advocacy nor defamation. The African American is utterly ineffective. Why, in a story about an
alternate existence, is the segregated African-American race neglected, ignored, almost absent?

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Perhaps it is because F. Scott Fitzgerald harbors racist feelings and chooses to include them in his
literature. This paper will adhere to Critical Race Theory, and other relevant sources and theories,
to illuminate potential claims regarding the role of the African-American race, its absence, and
its journey to redemption from the short story to the film The Curious Case of Benjamin Button.
Critical Race Theory
To pave the way for the journey, it is necessary to employ a lens that appropriately
identifies holes in literature. Specifically, this paper applies Critical Race Theory (CRT) in order
to address the hypocrisy of oddity inclusion and black exclusion.
Political Columnist Will Oremus, in an article concerning President Obamas relationship
with Critical Race Theorist Derrick Bell, says of CRT, Its an academic movement that looks at
society and the law through a racial lens (Oremus). CRT in its purity seeks to appropriate Civil
Rights laws for the expressed benefit of the minorities for whom the laws were written and
whom they do not always fully protect. Additionally, the theory is used in critiquing both authors
and literature, whose racial deficiencies require the implementation of a critical racial
equilibrium. Oremus goes on to say, [Critical Race Theory] questions fundamental assumptions.
Its about righting wrongs, not just questing after knowledge" (Oremus). In its application to
literature, Critical Race Theory is a tool that enables the possibility of identifying cultural
artifacts that are generally missed. These racial oversights can be found in varying forms: A
narrators unappealing description of non-white characters, language that subliminally subverts a
non-white race, ambivalent relationships between white and non-white characters, the correlation
between manual labor and non-white characters, and the absence or underwhelming-existence of
non-white races, for example, all become magnified by CRT.

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After the fashion of feminism, which seeks to eliminate anti-feminine elements in
literature and life to advance a more unified humanity, Critical Race Theory operates. However,
the progression to this superior state requires the dissolution of many preconceived theories
about literature and ways of livingthis includes prevalence of racism in some of Americas
most popular pieces of literature. Jeffrey Pyle of the Boston College Law Review says, All CRT
writers believe, in varying degrees, that racism is endemic to American life (Pyle). Because
literature is part of American life, it is reasonable to conclude that if there are racist gleanings in
some of Americas most popular pieces of literature, then perhaps some literature is in need of an
antidote from this epidemic. Among the most diseased are F. Scott Fitzgeralds contributions to
literature.
F. Scott Fitzgerald a Racist?
Why is the African American neglected in The Curious Case of Benjamin Button,
because F. Scott Fitzgerald is a racist. This is a wild accusation; however, some of Fitzgeralds
works lend themselves to speculationthe foremost being The Great Gatsby.
Dr. Selena Kusch and John Crocker at the University of South Carolina Upstate contend
in their paper Race and Class Identity in The Great Gatsby and Passing that the racial
viewpoints of Fitzgeralds character Tom Buchanan is the result of scientific and sociological
studies known to Fitzgerald. The scientific study that Kusch and Crocker present is called
Danger in Race Mixture (1927). Though Gatsby was published in 1925, Kusch and Crocker
posit that similar conversations and studies existed while Fitzgerald was composing, indicating a
strong correlation between the language in the study and Buchanans thesis that minority races
seem, on the whole, socially inferior to the parent races (The Great Gatsby). Buchanan
arrogantly boasts that, Civilizations going to pieces the white race will be utterly submerged.

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Its all scientific stuff; its been proved (The Great Gatsby). The alternative study is by James
Reinhardt in The Negro: Is He a Biological Inferior. This study claims that inferiority is based
off of cultural dominance rather than biological inferiorityan idea that Buchanan also
embraces. Buchanan views Gatsby as not fully belonging to the white race because Gatsby is a
Mr. Nobody from Nowhere (The Great Gatsby), which falls under cultural dominance rather
than racial dominance. Because Gatsbys origins are unbeknownst to Buchanan, he binds Gatsby
to a lesser class, and he does not consider a relationship that crosses class boundaries to be any
more appropriate than a relationship that crosses the racial divide. Kusch and Crocker state:
Toms hypocritical statements allow us to conclude that he sees Gatsby as the
other based on Gatsbys socioeconomic status, rather than racial affiliation.
However, Tom does state that the next step after inter-class relationships is
interracial marriage, which creates a relationship between class and race, much
like the study performed by Miller, who states that racism was only appropriated
to maintain class supremacy. (Crocker 29)
Clearly, within the text, elitist principles are being harboredand even more so as Gatsby, who
contrasts Buchanans elitist banter, is killed and blamed for the death of George Wilsons wife. It
seems as though Fitzgerald metaphorically stamps out the existence of those who are victims of
Buchanans cancerous doctrine.
In addition to the desecration of progressive difference in The Great Gatsby, is the
possibility that Gatsby is actually an African American trying to recreate his destiny as a white
man. Dr. Carlyle V. Thompson, Assistant professor of American and African literature at Medgar
Evers College, believes that Gatsby was an African American. In an essay simply entitled, Why
I believe Jay Gatsby was Black, Thompson leads with, Jay Gatsby, F. Scott Fitzgerald's

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opulent playboy hero, was a black man. Thompson claims that the time period in which
Fitzgerald was composing, created an atmosphere of idealismspecifically, an atmosphere,
whose molecular level was filled with talks of eugenics and the value of white supremacy. That
mindset is exhibited, of course, in Buchanan, as previously mentioned. Thompson goes on to
say:
In The Great Gatsby, he is frequently described as pale, as is his car: It was a
rich cream color, bright with nickel, swollen here and there in its monstrous
length. Yellow is a great signifier in Afro-American discourse to suggest
miscegenation and racial passing. (Thompson)
Continuing, Thompson notes the strong correlation to Gatsby being a bootlegger, another key
element in the culture of African Americans attempting to pass as Caucasians. He says,
Importantly, Gatsby is identified as a bootlegger and no one comes to his funeral. Bootlegger
means counterfeit, and here Fitzgerald implies that Gatsby was racially counterfeit (Thompson).
If this is the case, then Buchanans disdain for Gatsbyincluding his disposition to view Gatsby
as inferior, not fully white, and, therefore, a threat to the white racecan result in the credible
conclusion that Fitzgerald espouses racism towards African Americans and, certainly, people of
mixed races.
However, contesting that point is the character Nick Caraway, who rightly states that
[there] is something pathetic in his [Tom Buchanans] concentration (The Great Gatsby). If
Fitzgerald were an outright racist, then why include a character that intellectually opposes
Buchanan, who supposedly represents Fitzgeralds own ideals? It is because Caraway, too,
represents Fitzgeralds bigotry. Alan Margolies, in his article The Maturing of F. Scott
Fitzgerald, points out a poignant character flaw in Caraway. Once again we see the ethnic

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stereotyping, he says, Nick says, Mr. Wolfshiems nose flashed at me indignantly His
nostrils turned to me in an interested way (78). This nasal image stereotypically depicts a
person of Jewish decenta racist plight found in several Fitzgerald pieces including The
Beautiful and the Damned, and May Day. Caraways statement against Buchanans elitist
ideals appears liberal and enlightened, yet anti-Semitic slurs manifest his hypocrisy. Because of
this, one of the strongest points against Fitzgeralds racism in Gatsby further illuminates
Fitzgeralds racist agenda.
Additionally, in a letter to Edmund Wilson, Fitzgerald writes, The negroid streak creeps
northward to defile the Nordic race. Already the Italians have the souls of blackamoors. Raise the
bars of immigration and permit only Scandinavians, Teutons, Anglo-Saxons and Celts to enter
(Fitzgerald 326). Though he shortly thereafter countered this statement with an apology boasting
with abhorrence for such speech, he pressed on in his former degradant manner claiming, I
believe at last in the white man's burden. We are as far above the modern Frenchman as he is
above the Negro" (Fitzgerald 326).
Fitzgerald seems to possess, at least in this instance, a latentyet deep-seated
displeasure towards those of African decent. These findings necessitate the connection: In The
Curious Case of Benjamin Button, Fitzgerald did not present the African American because, in
part, he disliked the African American and did not see fit that the African American should be
exalted in a literary work that details the life of a deficient white man in a way that the African
American may outshine the white man.
The Role of the African American in The Curious Case of Benjamin Button
Short Story

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Brief. Five letters that accurately spell out Fitzgeralds use of the African American in
The Curious Case of Benjamin Button. It would be unwise to blink when Fitzgerald says, But
when the negro boy had led the buggy away (Fitzgerald 135); for that is the ten-word moment,
in which Fitzgerald chooses to include the African American. Notice, however, that brief does
not convey meaninglessness. While the presence of the African American is minute, it is
nonetheless profound.
There are a few things that Critical Race Theory reveals in this moment: The term
negro is a word that inhibits progress for the African American in the 1920s. The African
American, in the twenties, had, up to this point, maintained his freedom for almost half a century.
His identity was not wrapped up in a word that was used for slaves. He is an American. He has
liberty. Fitzgerald denies the African American any amiable traits, he does not describe him as
handsome or hardworking, he equates him to a child(Because no social gathering, for the
wealthy, would have logically given the task of maintaining wealthy peoples transportation to an
actual child.) someone who is inferiorand forces him to bear the adjective negro as a sign of
further inferiority. Fitzgerald commonly uses this term to stereotype African Americans. In The
Camels Back, for example, Fitzgerald attempts to use stereotypes for a humorous effect by
composing a character named Jumbo, obese negro (Fitzgerald 54), who happens to be a
minister, which is apparently an uncommon sight for Caucasian by-standers. Other terms used by
Fitzgerald to degrade African Americans are darkies and noisy niggery in The Ice Palace;
Niggerish in Crazy Sunday; Bucks in No Flowers; and Nigger scrap in The
Swimmers. The term negro does not speak to the nature of the African American, but to the
fallacious and hypocritical nature of the author employing it.

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Fitzgerald has the audacity to present the story of Benjamin Button, a white man, whose
deficiencies are so significant that he ages backwards. Button is the least respectable of
Caucasians. He cannot play football with boys his own age because he feels that football
[shakes] him up too much, and he [fears] that in case of a fracture, his ancient bones would
refuse to knit (Fitzgerald 132). When applying to college, the recruiter thinks he is a lunatic.
When dancing with his first love, she believes him to be his fathers older brother. Benjamin
Button wallows in obscurity, but, somehow, Fitzgerald presents him as superior to the negro
boy, who wasnt wealthy enough (or perhaps white enough) to be invited on any other terms
other than paid labor.
Consider, however, that there are other characters within the story that are not given their
proper airtime. This is evident in the absence of Benjamins mother. Is Fitzgerald, because he
chooses not to include Benjamins mother in the story, guilty of misogyny? It seems to follow
this essays logic to conclude so; however, it was established that Fitzgeralds own racism
produced racist texts, not the converse. The absence of a being, whether it is a strong African
American, or a heroine, does not imply racism/misogyny; rather, racism itself or misogyny itself
manifests racist or misogynistic texts. Clearly, because of Fitzgeralds longstanding disdain for
African Americans, he would include a racial jab against African Americans. This is blatant
hypocrisy. How can a story about abnormality, or at least perceived abnormality, not be open to
racial inclusion? The text is disingenuous. There should be no feelings of remorse for Button at
the end, because an equal tragedy has already occurred some pages before his awkward demise
the elimination of an innocent and helpless person based on racism.
The Journey to Redemption

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In 2008, The Curious Case of Benjamin Button, directed by David Fencher, grossed an
astonishing $329,809,326, (The Curious Case of Benjamin Button) receiving accolades for Best
Picture, Best Actor, and Best Supporting Actress at the Academy Awards. What is even more
astonishing is the powerful message compliments of screenwriter Eric Roth. While the short
story, The Curious Case of Benjamin Button, lacks a strong African-American presence, the
film adaptation invoked an incalculable amount of grace, giving a racially marred story the face
of redemption for African Americans.
At the forefront of this black grace, is the amiable character Queenie, a caretaker at a
residential home care facility in New Orleans, Louisiana. It is important to note that the residents
are white; however, a color dispute does not arise. While talking with Queenie, Tizzy (Queenies
significant other) stumbles over baby Benjamin, who had been abandoned by his father just
moments before. Queenie uncovers Benjamins face revealing his decrepit features. In this
moment, Queenie, also, reveals her honest spirituality by saying, You may be as ugly as an old
pot, but youre still a child of God. Even in her brief introduction, Queenie is a complex,
multifaceted character that completely contrasts the brevity of the African American in
Fitzgeralds short story.
Queenie has the care facilitys physician, who is white, look at Benjamin to determine his
health status. The doctor notes how his body appears to be an old man well into his eighties
saying, There are places for unwanted babies like these, Queenie. Bearing this in mind,
Queenie, who is unable to have children, takes it upon herself, as if a test from God, to care for
Benjamin, even if it meant potentially witnessing his untimely demise.
Later in the movie, Benjamins father, who had very recently revealed himself to be
Benjamins father, dies. Queenie kindly informs Benjamin that his father would be buried next to

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his mothera heartwarming sentiment. Benjamin, however, retorts that Queenie is, in fact, his
mother.
This brings the journey into full circle: Queenie, though she is physically imperfect,
shows that she can love and care for an imperfect child. Her bold faith bridges the gap perforated
by the racist gleanings of the short story. Human beings are imperfect; however, it is through the
unity of imperfect people that understanding and progress manifest themselves. And even though
ones heritage may be devoid of generosity and grace there remains the opportunity to change
ones immediate reality. This is the journey:
For what it's worth: it's never too late or, in my case, too early to be whoever you
want to be. There's no time limit, stop whenever you want. You can change or stay
the same, there are no rules to this thing. We can make the best or the worst of it. I
hope you make the best of it. And I hope you see things that startle you. I hope you
feel things you never felt before. I hope you meet people with a different point of
view. I hope you live a life you're proud of. If you find that you're not, I hope you
have the strength to start all over again. (The Curious Case of Benjamin Button)

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Works Cited
Fitzgerald, F. Scott. The Great Gatsby. New York: Scribner, 2004. Print.
Fitzgerald, F. Scott. Tales of the Jazz Age.: Amazon Digital Services, 2002. Kindle E-Book.
Fitzgerald, F. Scott, and Edmund Wilson. The Crack-up. New York: NDP., 2009. Print.
Crocker, John, and Celena Kusch. "Race and Class Identity in The Great Gatsby and Passing."
USC Upstate Undergraduate Research Journal. (2009): 28. Uscupstate.edu. USCUP
State, 2009. Web. 4 Apr. 2013.
"The Curious Case of Benjamin Button." IMDb. IMDb.com, n.d. Web. 04 Apr. 2013.
Margolies, Alan. "The Maturing of F. Scott Fitzgerald." Twentieth Century Literature 43.1
(1997): 78. JSTOR. Hofstra University. Web. 04 Apr. 2013.
Oremus, Will. "What's "critical Race Theory," and How Crazy Is It?" Slate Magazine. The
Washington Post Company, 9 Mar. 2012. Web. 07 Dec. 2012.
Pyle, Jeffrey. "Ace, Equality and the Rule of Law: Critical Race Theory's Attack on the Promises
of Liberalism." Boston College Law Review 40.3 (1999): 788. Print.
Thompson, Carlyle V. "Why I... Believe That Jay Gatsby Was Black." Times Higher Education.
TSL Education LTD, 25 Aug. 2000. Web. 04 Apr. 2013.