The Black Book Wittgenstein and Race Richard A. Jones UNIVERSITY PRESS OF AMERICA, ® INC. Lanham • Boulder • New York • Toronto • Plymouth, UK 13_292_Jones.indb 1 10/10/13 6:05 AM Copyright © 2013 by University Press of America,® Inc. 4501 Forbes Boulevard Suite 200 Lanham, Maryland 20706 UPA Acquisitions Department (301) 459-3366 10 Thornbury Road Plymouth PL6 7PP United Kingdom All rights reserved Printed in the United States of America British Library Cataloging in Publication Information Available Library of Congress Control Number: 2013936615 ISBN: 978-0-7618-6133-1 (clothbound : alk. paper) eISBN: 978-0-7618-6134-8 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992 13_292_Jones.indb 2 10/10/13 6:05 AM For William D. Anderson 13_292_Jones.indb 3 10/10/13 6:05 AM 13_292_Jones.indb 4 10/10/13 6:05 AM Contents Acknowledgments vii 1 Introduction: Black Wittgenstein 1 2 Models, Kites, and Simulacra 15 3 The Conceptual Limits of Imagination 31 4 The Aspects of Infinity 49 5 Wittgensteinean Holisms and Wonder 70 6 The Certainty of Leaving the World as I Found It 91 7 On Being “Duped” by Language: Therapeutic Philosophy 116 8 Rule Following and the Great Mirror 143 9 The Book I Did Not Write 165 10 Conclusion: Black Logic 185 Bibliography 207 Index 217 v 13_292_Jones.indb 5 10/10/13 6:05 AM 13_292_Jones.indb 6 10/10/13 6:05 AM Acknowledgments Philosophers often behave like little children who scribble some marks on a piece of paper at random and then ask the grown-up “What’s that?”—It happened like this: the grown-up had drawn pictures for the child several times and said: “this is a man,” “this is a house,” etc. And then the child makes some marks too and asks: what’s this then? —Ludwig Wittgenstein, Culture and Value There are many people I would acknowledge by way of inspiration, awe, tolerance, and support during the past thirty years while I gestated this work. First, I would thank my family, Carol, Graham, Shauna, and Lindsey, who ignored my constant preoccupations with philosophy and loved me anyway. Next, I would thank the philosophers who first introduced me to Wittgen- stein, Philip Turetsky at the University of South Dakota at Vermillion in 1981, and William D. Anderson at the University of Denver in 1993, who, through Wittgenstein, helped me see philosophy as a way to live one’s life, as opposed to a merely academic pursuit. I would also thank my graduate professors at the University of Colorado, particularly Alison Jaggar, whose patience allowed me to continue develop- ing my interests in analytical and social philosophy. I would also acknowl- edge the kind support of the many African American philosophers who have helped me in innumerable ways. Particularly, I would send shouts out to Lucius T. Outlaw, Jr., Lewis R. Gordon, Robert E. Birt, and J. Everett Green, who have always supported and encouraged my work. My political philosophy has been deeply influenced by many associations with the Radical Philosophy Association (RPA). I would acknowledge and thank the many great philosophers I have known and worked with in the RPA during the past decade. Richard Schmitt, Harry van der Linden, Anne vii 13_292_Jones.indb 7 10/10/13 6:05 AM viii Acknowledgments Pomeroy, Peter Amato, Anatole Anton, Jeffrey Paris, Mechthild Nagel, and Cliff DuRand have all provided me powerful examples of what it means to be a committed and engaged philosopher. This little book was inspired by the works of Charles W. Mills and Peg O’Connor. Mills’s Blackness Visible: Essays on Philosophy and Race and O’Connor’s Oppression and Responsibility: A Wittgensteinian Approach to Social Practices and Moral Theory are the two books that stimulated me to write The Black Book: Wittgenstein and Race. Mills’s comments on “Alter- native Epistemologies,” served as the motivating spark as I continue to think about Black epistemological standpoints. O’Connor’s work situated feminist epistemological practices within a Wittgensteinean mold, and demonstrated to me that Black epistemological practices might also be construed through a Wittgensteinian lens. Mills, writing from perspectives of critical race theory, and O’Connor writing from a critical feminist position, enabled me to express the radical Black philosophical possibilities presented here. I would also publicly acknowledge Patrick Goodin, Chair of the Phi- losophy Department at Howard University, for his continual support and encouragement. Without him, I would not have been able to teach Witt- genstein seminars at Howard University. Finally, I would like to thank the students at Howard University in my fall 2011 course on Wittgenstein—Reid Brownsmith, Austin Edwards, Albert Ellis, Corryn Freeman, Brandon Har- ris, Shawn Harvey, Jean Hutchinson, Ashley Hutson, Cymill Jarrett-Thorpe, Alfredo Knowles, Aisha Lake-Mahon, Kirisha Marshall, Adrianne McMil- lan, Julian Mcphaul, William Nembhard, Nia Oates, Mariah Perryman, Justin Senu-Oke, Michael Sesay, Chloe’ Stewart, Xiaowei Wang, Andrew Wattley, Britney Wilson, and William Wilson—whose comments and suggestions made this book far more meaningful and far, far more readable. I agree with Wittgenstein that writing a book is a terrible thing. Terrible because no matter what the motivations for writing it, one’s intentions might always be, and often are, misconstrued. On the cover of David Markson’s novel Wittgenstein’s Mistress is printed the line “In the beginning, sometimes I left messages in the street.” This is a “message left in the street.” Many who have read the manuscript have commented that they wanted more by way of my own ideas concerning the questions raised. However, this is only a “message”— graffiti—I leave on the walls of the streets of the city of language for others to answer. Like Wittgenstein, I only wish to provoke thought, as I cannot think for my readers. Like Wittgenstein, I see philosophy, and writing, as an activity for therapy—a way “of working on oneself like working on a house”—a way to improve a foundation, add a room, redecorate, and then finding a way to go on; go on living in that house. And like Wittgenstein, I don’t think this book is intended for everyone, perhaps only “those who have already reached these 13_292_Jones.indb 8 10/10/13 6:05 AM Acknowledgments ix conclusions.” If anything, The Black Book is a book of poetry intended to stim- ulate creative thought in others by asking them—“what’s this then?”—rather than spare them the effort of thinking on their own. This book is the therapeutic record of my frustrations and exultations in teaching courses on Wittgenstein at Howard University. I thank Laura Espinoza at University Press of America for her patience and guidance in editing this book. Finally, I would express my sincerest gratitude to Peg O’Connor, Donna Reeves, Graham Jones, and Abby Wilkerson, whose generous and insightful comments allowed me to clarify my thinking and writing on many aspects of what follows. Richard A. Jones Howard University, 2013 13_292_Jones.indb 9 10/10/13 6:05 AM
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