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By Mike Laws

At the Columbia Journalism Review, we capitalize Black, and not white, when referring to groups in racial, ethnic, or cultural terms. For many people, Black reflects a shared sense of identity and community. White carries a different set of meanings; capitalizing the word in this context risks following the lead of white supremacists.

In deciding on a styling, fusspot grammarians and addled copy editors generally fall back on a pair of considerations. The first is broad adherence to a general rule—like, say, the Chicago Manual of Style’s(§8.38) edict that “Names of ethnic and national groups are capitalized.” (Though Chicago still generally mandates lowercasing both black and white, it does include the proviso that the rule can be suspended if “a particular author or publisher prefers otherwise.”) The second thing we look for is attestation. In this case, it’s instructive to turn not to the largely lilywhite mainstream press (nor to the style guides that govern their renderings), but to writers of color and to alternative stylebooks. The Diversity Style Guide (2019), produced by Rachele Kanigel in consultation with some fifty journalists and experts, takes it as a given that Black ought to be capitalized. Sarah Glover, a past president of the National Association of Black Journalists, wrote in a recent piece for the New York Amsterdam News, a historically Black weekly, that “capitalizing the ‘B’ in Black should become standard use to describe people, culture, art and communities.” After all, she pointed out, “We already capitalize Asian, Hispanic, African American and Native American.”

And, as my CJR colleague Alexandria Neason told me recently, “I view the term Black as both a recognition of an ethnic identity in the States that doesn’t rely on hyphenated Americanness (and is more accurate than African American, which suggests recent ties to the continent) and is also transnational and inclusive of our Caribbean [and] Central/South American siblings.” To capitalize Black, in her view, is to acknowledge that slavery “deliberately stripped” people forcibly shipped overseas “of all other ethnic/national ties.” She added, “African American is not wrong, and some prefer it, but if we are going to capitalize Asian and South Asian and Indigenous, for example, groups that include myriad ethnic identities united by shared race and geography and, to some degree, culture, then we also have to capitalize Black.”

Baffled by the character's behavior, many critics have bypassed interpreting Bartleby as a universal symbol in favor of looking at him in the context of Melville's life. Some critics think Bartleby represents Melville himself: at this time of his life, Melville's most recent works (including White Jacket (1850) and Moby Dick (1851)) had failed. Three charged particles are at the corners of an equilateral triangle as shown in Figure P23.15. (a) Calculate the electric field at the position of the 2.00-μC charge due to the 7.00-μC and –4.00-μC charges. (b) Use your answer to part (a) to determine the force on the 2.00-μC charge. bartleby. SWATbot: Sir Bartleby MontClair. You are charged with being a traitor, a rebel, and an enemy of Robotnik. Bartleby: Well that's outrageous! That's-SWATbot: That's up to the jury. Bartleby: Aaarrgh! Sonia: According to my calculations and Trevor's intelligence reports, this is it!

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Per this understanding, it is a kind of orthographic injustice to lowercase the B: to do so is to perpetuate the iniquity of an institution that uprooted people from the most ethnically diverse place on the planet, systematically obliterating any and all distinctions regarding ethnicity and culture. When people identify with specific terms of the African diaspora, we defer to those; in the absence of the identifiable ethnicities slavery stole from those it subjugated, Black can be a preferred ethnic designation for some descendants. (For a pop-culture consideration of this question, see the “Juneteenth” episode of Atlanta, in which a woke white husband asks Donald Glover’s character what part of “the motherland” he’s from, hazarding a guess that the answer might be “southeastern Bantu.” Glover responds, dryly, “I don’t know. See, this spooky thing called slavery happened and my entire ethnic identity was erased.”)

If capping the B strikes you as in part a project of reclamation, well, it is. As TheDiversity Style Guide notes,

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There are various historical, social and political reasons why one might prefer to identify as Black. The term has historically connected people of African descent around the world and was revived during the Black Power Movement.… Blackand then African Americanreplaced older terms such as Colored and Negro imposed by others. Self-identification might reflect feelings about origin, affiliation, colonialism, enslavement and cultural dispossession.

That argument persuaded CJR to change its style (in defiance of a piece published on our site a few years earlier). Glover, in her article, called on the Associated Press stylebook (“the bible for working journalists”) to update its entry. Given the timing, after the killing of George Floyd and in light of a global reckoning with race relations, I’d be surprised if the AP didn’t take heed, and soon. In the meantime—and in what is surely a sign of evolving American attitudes on the topic—USA Today has announced that it will be adopting the cap-BBlack across its network, which includes the flagship paper and “more than 260 local news organizations.” (The man responsible for issuing the editorial fiat, Michael McCarter, was named managing editor of standards, ethics, and inclusion exactly one day before making the call.)

This all makes for a good start, but it will mean nothing if white Americans don’t make an effort to understand the whys and wherefores—which is to say, the history that delivered us to this precise point in time. That, of course, will be a taller order than simply asking them to capitalize one little letter.

Editors Note: This piece has been updated for clarity. An earlier version included an explanation that was off-base. We appreciate the feedback, have revised the language, and will continue to discuss this subject internally.

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I was pretty confused when I finished reading “Bartleby” and I didn’t know quite what to think of it. Most of my questions revolved around the narrator, however, and not Bartleby himself. Even though, on the surface, Bartleby seems like he is the “queerest” character in the story, I think the purpose of his presence is to reflect the “queerness” of the other characters, especially the narrator. As a reader, I eventually stopped questioning Bartleby’s strange actions because it seems believable for him. The strangeness of the situation, I found, wasn’t Bartleby’s actions but the narrator’s inactions. Actually, they’re both pretty inactive, a source of frustration for me while I was reading. Why doesn’t the narrator just kick him out already??? Bartleby slowly transforms into a ghostly parasite that the narrator becomes fixated on.

Even before he starts working at the office, Bartleby is always present in the mind of the reader. First of all, his name is in the title, so we expect the character of Bartleby to be an important if not the most important character (thinking of the power of titles and projected meanings…Blow Job). In the first paragraph the narrator mentions Bartleby’s “strangeness” but then goes on to say that the lack of a proper biography of him is an “irreparable loss to literature”. Bartleby never really comes or goes, rather, he is always present in his ghostly, cadaverous form. To me, this suggested a connection with the narrator – Bartleby as an incarnation of the narrator’s tortured soul that appears one day to reveal a hidden truth. Where are the descriptions of the elderly narrator’s home life? Why does almost all the action take place in their place of work? Who is really alive and who is really dead here? Thinking about Beast in the Jungle, the narrator is like both May and John – he’s like May because he becomes fascinated by a curious individual and he’s like John in that his idea of “life” may really be more like “death”.

Also, thinking about physicality – EYES – sight, reading, perspective, and perception. End of the first paragraph narrator says: “Bartleby was one of those beings of whom nothing is ascertainable […] What my own astonished eyes saw of Bartleby, that is all I know of him.” That’s funny, later in the story, doesn’t Bartleby start to lose his SIGHT because he was doing so much reading and copying in the dark? Who has sight and who loses it? Who is the one who is actually cooped up in the office too much? Who is strange and who is queer here? And in relation to what? And again, Blow Job, all we really know is what we can see (…or read).

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