…f The Craft, Rochelle gets her comeuppance when her own hair falls out in a hallucination. Message: “White women may do bad stuff, but you’re just as bad if you defend yourself…and look how upset the white girl was! Don’t you feel sorry for her?”
ite womanhood. We do racist harm, then retreat into the protections of both Whiteness and White Woman Goodness, leaving the so-called aggre…ar to whom the protagonist is an assistant: globally recognized, endlessly wealthy, and very white. The protagonist, a biracial woman, watches as Aimee appropriates West African culture and music, wreaks havoc in the village where she envisions building a school for girls, engages in an affair with a young man from the village, and adopts a baby by problematic means and with questionable motivations — all under the guise of just loving Africa so much and being so inspired by it. When the protagonist bursts Aimee’s bubble — no spoilers — it is she, of course (the woman of color) who is vilified and spurned by the media and everyone else. The idea that a white woman could be anything but generous and pure of intention is never even a consideration for those on the outside looking in. It is the protagonist alone who sees through the shiny veneer of white womanness and into the mess of egotism, arrogance, and entitlement that fuels so many of Aimee’s pursuits. But whenever Aimee feels threatened, she is able to retreat into the safety of her good intentions, which white women so often use as our bomb shelter. It is Old Faithful and a very real aspect of white supremacy as it pertains to white womanhood. We do racist harm, then retreat into the protections of both Whiteness and White Woman Goodness, leaving the so-called aggressors to be punished. More on this notion of Goodness in a moment.