Christian Cooper, the 57-year-old black birdwatcher who filmed white female dog walker Amy Cooper as she tried to sic, not her dog, but the NYPD on him for daring to challenge her refusal to leash the dog — that Christian Cooper has now refused to press charges against her for, among other things, making a false police report.
Black ‘Forgiveness’ — White Cooper versus Black Cooper
The test is a simple one, and the answer is always the same:
If the “situation” were reversed — that is, if Christian Cooper had been white and Amy Cooper black, would a white Cooper forgive the black Cooper?
Put another way, would a white Cooper simply look over (or beyond) or even consider for even the shortest moment a black Cooper’s “suffering”?
More: would a white Cooper create “greater principles” out of whole cloth and then publicly wrestle with them?
These queries answer themselves when one considers the family of police-murdered Botham Jean and the black female judge in that case. The good judge not only allowed his brother to forgive and then actually hug Botham’s murderess. Amazingly, she herself performed virtually the selfsame ritual by hugging the killer-cop in open court, and then presented her with her own personal Bible for comfort while she served the lightest of possible prison sentences (handed down by the very same judge).
And then there are select family members of the Charlotte Nine who tearfully, publicly, “forgave” Dylan Roof for his mass murder of their relatives.
And now we come to the appropriately named Christian Cooper.
How many teary-eyed white families have we witnessed who so earnestly, so painfully, so publicly, and so sorrowfully forgave their loved ones’ black murderer?
Again, would a white Cooper so quickly, so easily, so readily forgive a black Cooper?
As well, obviously, Christian Cooper does not know of, or does not recognize, or simply ignores, the tragedy-filled but powerful five-century-long history of black resistance against white supremacy and white racism.
Obviously, Christian Cooper has not read the consummate lawyer/historian, Dr. Gerald Horne’s (University of Houston) meticulous histories of black slave resistance: “The Apocalypse of Settler Colonialism — “The Roots of Slavery, White Supremacy, and Capitalism in Seventeenth Century North America and the Caribbean,” (2018); or his “The Counter-Revolution of 1776 — Slave Resistance and the Origins of the United States of America” (2014).
And I seriously doubt that Christian Cooper is familiar with Professor Nell Painter’s (Princeton) magisterial “The History of White People” (2010).
It is also highly unlikely that Christian Cooper is familiar with Frederick Douglass’ famous dictum:
“Power concedes nothing without a demand. It never has and it never will!”
And surely Christian Cooper missed Minister Louis Farrakhan’s declaration that the days of forgiving white people for dehumanizing us, for murdering us, are over and done with.
In each of Dr. Horne’s seminal tomes referred to above, he points out that there have been thousands of known and even more unknown/undocumented black revolts and rebellions, beginning from the first moments of the Atlantic Slave Trade. He allows, however, that there has only been one successful such revolution: The Haitian Revolution against French colonizers and slavers from August of 1791 to December of 1804.
Why did all of those other uprisings fail? Dr. Horne posits that in each and every case, there was at least one “good” slave (or after slavery, a “good” Negro) who would “run and tell that.”
Those good slaves and good Negroes were and are nothing more and nothing less than betrayers of their own people, traitors to their own people.
Finally, and more recently, the black people of South Africa fought tooth and nail against their white, Dutch oppressors from 1647, when their ship foundered off the Cape of Good Hope, right up until 1994 when black South Africa finally elected its first black president, Nelson Mandela. How did they deal with their traitorous brethren and sisters:
In the South African context, Necklacing is more than a term denoting arts and crafts. It is, rather, a form of summary execution, perhaps even a template or model as to how this latest generation of “woke” or “conscious” black people may have to adapt and adopt.