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In the discussion thread: GWU says Krug has resigned today [View all]

Response to Ferrets are Cool (Reply #3)

Thu Sep 10, 2020, 06:15 PM

11. So far in reading about masqueraders, imo, the general conclusion

- from undercover journalists Ray Sprigle, John Howard Griffitn and Grace Halsell to Profs. Dolezal and Krug - is that no matter their righteous intent, they are basically self-serving, ultimately harmful to members of the appropriated community and therefore to that community as a whole.

An interesting analysis is that they are at an extreme level of white guilt, "Guilt implies a self-hatred that is destructive and, in an unexpected way, an expression of superiority. The person who outwardly displays white guilt seems to be degrading himself, but, in the act of contrition, he morally elevates himself above his fellow white people. The self-abasing act of contrition is not really about fixing a problem; it’s about establishing the moral superiority of the demonstratively penitent." Here, I think, that this elevation applies not only to white people but to their object as well. Halsell thought black women she encountered in Harlem were "acting white" for wearing pantyhose and living "regular" lives not in abject poverty/depression went looking for "authentic" blacks in Mississippi. In their charade, and besides taking scholarships intended for PoC, Dolezal and Krug denigrated black and Hispanic colleagues and students (women) as basically not as "woke" as they should be.

The author explains historically how "White Guilt Never Helped Anyone" https://www.spiked-online.com/2015/06/16/white-guilt-never-helped-anyone/

My opinion right now is inconclusive about conservative republican Sprigle who I found no account, though he could and ultimately did, as with Griffin and Halsell, took breaks from whiteness when overwhelmed by the pressures of blackness. It seems to me that Sprigle was about uncovering the truth in winning the Pulitzer Prize in the 1920s revealing that newly-appointed SC Justice Hugo Black was a Klan member. He had donned disguises and used the pseudonym James Crawford many times before to write first-hand accounts of conditions in state mental hospitals and coal mines and to investigate illegal gambling operations. His expose of Pittsburgh's thriving black market in meat during World War II, for which he posed as a butcher and bought and sold meat for a month, won him another national prize, the 1945 Headline Club award. And he wrote of the variety of black lives from introductions to the impoverished as well as prosperous farmers and other professionals. http://old.post-gazette.com/sprigle/sprigleintroduction.asp Some say he was simply trying to get another prize.

Back to Krug:
“Krug is way worse than Rachel Dolezal. Krug not only pretended to be Black, but purposefully caused tension between Blacks and whites—trying to get Black people to hate white people as much as she did, when she really just hated herself.” A friend describes her “persistent negativity and jealousy.” A GW student describes her showing the class a photo of “the white woman who won an award over her.”

She terrorized Black and Latina women, panned their work and politics, and made many of her colleagues take on additional labor under the pretense of having to deal with her imaginary family saga. Krug was particularly cruel to US-born Puerto Rican scholars, who she often accused of lacking the insider knowledge and cultural fluency that she reveled in.

In addition to the position and resources Krug stole from academics of color, she also stole from the many students who viewed her as a trusted authority to help them make sense of the world and their own identities within it. The Cut spoke to four of Krug’s former students about reckoning with her deception in the wake of her Medium essay, and how they are coming to terms with her betrayal...
From the blog University Diaries https://www.margaretsoltan.com/?cat=30

More links https://www.thecut.com/2020/09/students-on-fake-black-professor-jessica-krugs-classes.html#comments






https://www.jstor.org/stable/10.13110/criticism.58.1.0035?read-now=1&seq=12#page_scan_tab_contents Black Like Malcolm: Grace Halsell’s Rewriting of Black Like Me (1961) in Soul Sister (1969)



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LineLineNew Reply So far in reading about masqueraders, imo, the general conclusion
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