Post #1

Photographer Wing Huie took this seemingly ordinary picture of David and Lou in South Minneapolis, Minnesota in 2012. Upon first glance, you can see two adult men, one white and one black, casually sitting on a porch outside. It is clear that these two friends are wearing glasses and have similar facial hair. In addition to exhibiting similar poses, these two friends appear to not be too photogenic nor pleased with the photographer based on their facial expressions. Despite their lack of interest, they seem relaxed and content with where they are, solely based on their posture and residential location. Through the reflection in the window, you notice a short, wide building which is most likely a small office building. Paint is peeling off the railings and the house looks relatively small from what is seen in the photo. The windows are large and high, typically found on one-story homes.

The interracial "bromance" shown in the photo depicts the photographer’s interest in diversity among lower income communities. Both men, especially the one on the left, are casually dressed in what appears to be midday. This indicates that they either work part time or do any odd jobs available. Due to the clear paint peelings, one can assume they cannot afford to keep their humble abode in pristine condition. The piece presents an intriguing situation where two racially different men of different backgrounds come together to form an inseparable friendship of over seven years. These “brothers from another mother” don’t care about any racial barriers, and neither should the viewer.

Both Wing Young Huie and Margaret Atwood present “othering” in some shape or form within their works. In David and Lou, the two men are dressed in considerably different apparel and are of different races. This is enough to instill a sense of othering between the photo’s characters. Also, the pillar erected between the two men acts as a literal divider of the white man and the black man. The photographer purposefully took the photo at such an angle to make it easier for the reader to distinguish between the individuals.

In Atwood’s The Handmaid’s Tale, “othering” is clearly seen in the social classes as well as gender. For example, each class has a designated color to wear and duty in society. The Bible is manipulated to support “othering” by defining the societal rules. Only a select few men of authority are allowed to read it, so no one can really disprove the gospel verses. Public information is highly filtered and censored by the government, so much so, that people in Gilead are completely unaware of the events and norms in other countries.