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There were plenty of books about Black people, but they tended to be about poor or working-class Black people and often depicted Black lives proscribed by discrimination and inequality

I was aware of two instances of myself in fiction of the time. One was the nerdy teenage middle-class Black girl in Louise Fitzhugh’s “Nobody’s Family Is Going to Change.” Then there was “Sarah Phillips” by Andrea Lee in 1984. That one was a near-sacred experience for me, in depicting a middle-class Black girl who grew up outside Philadelphia, went to Harvard and then moved to Europe. Here was someone I could have been, a variation on some people I knew

But I neither needed nor sought out more such books. How much me did I need? I read to learn about what I didn’t know.

when I started my graduate study, I explicitly did not want to study Black English. It was too close to home.

What fascinated me, and still does, are languages utterly unlike the one I grew up with. This is what I do my academic work on. I am happy to write about Black English, but I do it out of civic duty. What first hooked me on languages was hearing someone speak Hebrew

This idea that one, if brown, is to seek one’s self in what one reads and watches gets around quite a bit.

But still, the idea that Black people are deprived in not exploring what they already relate to is not as natural as it sounds.

This position is rooted, one suspects, as a defense against racism, in a sense that learning most meaningfully takes place within a warm comfort zone of cultural membership. But it’s a wide, wide world out there, and this position ultimately limits the mind and the soul.

I question its necessity in 2023. The etymology of the word “education” is related to the Latin “educere,” meaning to lead outward, not inward.

It can be especially ticklish to hear white people taking up the idea that Black people stray from their selves when taking up things beyond Blackness

I sense the idea that real Blackness means ever seeking yourself in your reading and viewing is a post-1966 thing, to refer to what I wrote here last week.

W.E.B. Du Bois had no such idea. He wrote: “I sit with Shakespeare, and he winces not. Across the color line I move arm in arm with Balzac and Dumas, where smiling men and welcoming women glide in gilded halls. From out the caves of evening that swing between the strong-limbed Earth and the tracery of the stars, I summon Aristotle and Aurelius and what soul I will, and they come all graciously with no scorn nor condescension.”

Du Bois adapted these “white” works to his own needs and predilections. Even the naked racism he lived with daily did not lead him to draw a line around “white” things as something alien to his essence

Rather, he insisted that these works were, in fact, part of his self, regardless of how wider society saw that self or how figures like Shakespeare and Aristotle would have seen him.

Du Bois, in this, was normal. Today I sit with “Succession,” Steely Dan and Saul Bellow, and they wince not. I see myself in none of them. Yes, Bellow had some nasty moments on race, such as a gruesomely prurient scene in “Mr. Sammler’s Planet.” But I’m sorry: I cannot let that one scene — or even two — deprive me of the symphonic reaches of “Herzog” and “Humboldt’s Gift.” What they offer, after all, becomes part of me along with everything else.

the truth is that characters I can see as me are now not uncommon on television in particular. Andre Braugher’s Captain Holt on “Brooklyn Nine-Nine” was about as close to me as I expect a sitcom character ever to be, for example. That was fun. But honestly, I didn’t need it. I live with me. I watch TV to see somebody else.