Green Book is a real black travel guide in history. In 1962, the white supremacy movement once again set off a small climax in the United States. The black postman Victor Hugo Green wrote a pamphlet that pointed out which hotels and restaurants allowed black people to stay and eat. The name Green Book in the booklet is taken from Green, and it seems to adopt the meaning of green symbolizing unobstructedness. The two male protagonists of the movie drove this green paper to tour around the United States. A male protagonist is Tang, a famous black musician, and Tony, a white veteran who is in a nightclub, was called to be Tang’s driver. The contrast between skin color and cultural accomplishment naturally produces some wonderful chemical reactions during the journey. In addition, the film also shows many levels of entanglement: racial discrimination, inequality of the same race, master and servant, the social status of musicians, family relations, and so on.

Many plots that reflect racial discrimination are reflected in this movie. The greater part of this movie is that it unexpectedly avoided direct conflicts between races, and instead used some inverted ways to reflect the discrimination itself. White people who seem to be friendly have turned a hundred and eighty degrees when they encounter practical problems. For example, the two went south to a luxurious manor. The owner of the manor welcomed the musicians politely. After the performance, Tang wanted to use the bathroom. The owner of the manor refused to let him use the bathroom for the guests, and only allowed him to use a hut built by a simple shed in the yard. Because at that time in the South and before the liberation of serfs, blacks could not use the same toilet as whites. Even if Tang is a noble musician and has performed twice in the White House, it is no exception. Another example of the contrast comes from a high-end restaurant in Birmingham. The restaurant invited Tang to perform. When the restaurant manager saw Tang, his mouth was full of beautiful words, but the lounge arranged for Tang was a small storage room, and Tang was not allowed to dine in the restaurant, because the restaurant’s The rule is not to accept blacks.

When I read the words in Ahmad’s Jameson’s Rhetoric of Otherness and the ‘National Allegory’. The first thing comes to my mind is the dissatisfaction and sadness from third world countries and the terrible racial discrimination.

Fredric Jameson has very, very strong sympathy for third world literature, which is both a theoretical standpoint and an ethical standpoint. A common accusation is that what he mentioned in his speech “Third World Literature in the Era of Transnational Capitalism” seems to be an arbitrary thinking-treating the non-Western as a whole. But, in any case, Jameson is sincere, because his first concern is still the “Western” literary form and social state-how to imagine a kind of literature that reintegrates the individual and the society under the current capitalist conditions? In other words, this kind of overall thinking is not produced for the purpose of strengthening the overall itself but for getting out of the overall.

The allegory writing pointed out by Jameson can be regarded as a combination of satire and symbolism. However, Jameson did not grasp the two writing methods equally. The so-called “the allegorical nature of the third world culture, when telling a story about a person and individual experience, it ultimately includes a difficult narration of the experience of the entire collective itself” is a symbol. It can be found that the fable here refers to a certain kind of realism. What Jameson found in the third world literature was also a “historical nightmare.” Symbols, or national parables, have revived the state of the union of history itself and the individual, and this union was cut off at some point in the West.

In summary, literature from third-world countries wants to gain status, and people in third-world countries want to gain status in the world. This is inseparable from the continuous hard work of the people of their own countries, and the world’s tolerance and understanding of them. Let clan discrimination stop flourishing.

Works Cited

Fredric Jameson, “Third-World Literature in the Era of Multinational Capitalism”
Social Text, No. 15 (Autumn, 1986), pp. 65-88, Duke University Press, http://www.jstor.org/stable/466493 .

Hello everyone! My favourite artist is Beethoven!