A Review of Ta-Nehisi Coates’ Black Panther: A Nation Under Our Feet
Ta-Nehisi Coates (New York Times Best Selling Author)
Illustrated by Brian Stelfreeze
A Nation Under Our Feet: BOOK ONE
**Note: Well, this review is long overdue, but I have a legitimate excuse. As you may have heard, the paperback release of book one coincided with last year’s presidential general election. A significant amount of my time was spent protesting the campaign, and subsequent election of Donald J. Trump. To be clear: the election of Donald Trump is a nightmare, and perhaps we need comics and alternative stories now more than ever. **
Growing up, I was unexposed to comics. Few local stores supplied comic books, and I did not care enough to harass my parents to embark on 10-mile long hunts for them. Like most kids, however, I was a huge fan of Batman and Superman — primarily because of the excellent television series and movies, but I had little interest in their print origins. Fast forward to “A Nation Under Our Feet.” The comic is written by MacArthur Fellow, Ta-Nehisi Coates, the author of “Between the World and Me,” and the “Case for Reparations”; two pieces of literature that changed my views on race-relations in America under the “post-racial presidency” of Barack Obama.
With Coates involved, for the first time, my interest in a comic piqued. I was excited to see how Coates’ notable skills as a wordsmith would translate from racial commentary to fictional writing, and about legendary African-American illustrator Brian Stelfreeze’s involvement with the project. To its credit, Marvel seems genuine in its commitment to telling a greater range of stories, and empowering a wider, and more diverse group of storytellers.
The name “Black Panther” is the ceremonial title given to the individual who occupies the throne of Wakanda. Wakanda is the most technologically advanced society on the planet. With the support of the “Dora Milaje” (Wakanda’s all-female royal guard), the reigning king — T’Challa — dedicates most of his time to ensuring the protection of the empire. Various entities challenge this protection. First, a biblical flood kills thousands of Wakandans; then, Doctor Doom — an evil genius who plans to use the rare Wakanda metal vibranium in his plan for world domination — sparks a coup d’état; and finally, the villain Thanos invades the African nation.
After his absence during this calamitous confluence of events, T’Challa finds himself stripped of the legitimizing garment that only one’s subjects may grant a ruler: faith. Unclothed, T’Challa must reckon with a populace that questions his right to rule — and to live. Suffering from agony, and angered by what they perceive as their king’s neglect, the Wakanda people rebel against their ruler (though it is compelled by witchcraft). Unlike in many other comics, it is unclear whether the seemingly noble main character T’Challa is truly the story’s protagonist. His actions are not clearly juxtaposed as “right” versus his detractor’s “wrong.”
At one point, the nation’s Chieftains commit widespread sexual violence against the Wakanda women. A mini-feminist revolt occurs in response. The cause’s rallying is simple: “No one man should have all that power.” Should the King be exempt from this decree? Are the Wakanda women wrong for associating the King with the patriarchy and misogyny that led to their oppression? There is no easy answer; and by interjecting that storyline into the comic, Coates smartly adds a layer of complexity that is sure to resonate.
This outer conflict contrasts with the inner turmoil that consumes T’Challa as he evaluates the means he resorts to in order to quell the rebellion. “I have lost my soul,” he says, internalizing the same words his people had shouted at him. Many will agree with his analysis after witnessing the battle at the “Great Mound,” where T’Challa and his army brutally squash the dissidents. At that moment he realizes what the poet Shawn Carter once said, “You either die a hero or live long enough to see yourself become the villain.” Coming to grips with this reality shakes T’Challa to the core. Dictators draw their power from fear — T’Challa draws his from the people’s affection and the mystique surrounding his very existence. By engaging in a full-scale war with his own people, T’Challa the deity is no more.
These internal battles plague the king throughout Book One, but his story is not the only one told. “A Nation Under Our Feet” does a great job at sharing pages with other characters who bring different perspectives to the events at issue. Changamire, an old philosopher who teaches at the Shule (a university in Wakanda) is a personal favorite. His words — a vessel for those struggling to comprehend the arbitrary rule of the monarchy — inspire T’Challa’s ire. “The injury and the crime are equal, whether committed by the wearer of a crown or some petty villain,” Changamire informs his class. Maybe Changamire is prescient and unlike the reader, he has an insight into what is to become of Wakanda.
What is clear to all readers as the book comes to a close is this: T’Challa’s status as king is far from guaranteed.
