Happy New Year
I’m still technically on hiatus but hopefully 2022 will see me less busy than 2021 has. I’ve missed posting here but I wanted to wish everyone a Happy New Year! Here’s hoping 2022 will be kinder to us all.
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we're not kids anymore.
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@raptured-night
Happy New Year
I’m still technically on hiatus but hopefully 2022 will see me less busy than 2021 has. I’ve missed posting here but I wanted to wish everyone a Happy New Year! Here’s hoping 2022 will be kinder to us all.
idk who needs to hear this but when your english teacher asks you to explain why an author chose to use a specific metaphor or literary device, it’s not because you won’t be able to function in real-world society without the essential knowledge of gatsby’s green light or whatever, it’s because that process develops your abilities to parse a text for meaning and fill in gaps in information by yourself, and if you’re wondering what happens when you DON’T develop an adult level of reading comprehension, look no further than the dizzying array of examples right here on tumblr dot com
this post went from 600 to 2400 notes in the time it took me to write 3 emails. i’m already terrified for what’s going to happen in there
k but also, as an addendum, the reason we study literary analysis is because everything an author writes has meaning, whether it was intentional or not, and their biases and agendas are often reflected in their choice of language and literary devices and so forth! and that ties directly into being able to identify, for example, the racist and antisemitic dogwhistles often employed by the right wing, or the subconscious word choices that can unintentionally illustrate someone’s bias or blind spot. LANGUAGE HAS WEIGHT AND MEANING! the way we communicate is a reflection of our inner selves, and that’s true regardless of whether it’s a short story or a novel or a blog post or a tweet. instead of taking a piece of writing at face value and stopping there, assuming that there is no deeper meaning or thought behind the words on the page, ask yourself these two questions instead:
1. what is the author trying to say? 2. what does the author maybe not realize they’re saying?
because the most interesting reading of any piece of literature, imho, usually occupies the space in between those questions.
Analyzing text is literally a life skill, y’all.
Also:
3. What are you, personally, bringing to your analysis of the art?
Art is, fundamentally, a dialogue between artist and audience. You’re going to have a very different take on the work if:
You have an intense emotional reaction to the work because it hits a bit too close to home/there’s other stuff going on in your life that you somehow connect to this work.
Your own personal context either lets you in on a shared experience with an author who has something in common with you/gives you a totally different perspective because the writer’s identity is totally different from yours. Did the author get certain things wrong? Is the author writing about something you’ve never personally experienced before?
A couple of things you should ask yourself before dropping that hot take:
Are there particular biases or beliefs that are blocking your ability to analyze the work accurately? Is your interpretation based more on your initial gut reaction to the story and characters than what’s actually in the text? Can you collect and provide evidence from within the text to back up your own interpretation beyond just how it made you feel in that particular moment?
Is this your own opinion of the text, or are you unwittingly mirroring the opinion of someone else whose analysis you saw before getting into the text yourself?
Do you recognize your own interpretation is unique to you and that others might see the same artwork differently? If other people disagree with you, do you understand why they disagree with you?
Analyzing the work, trying to guess the author’s intent, and backing up your arguments with evidence from the text are essential skills. However, recognizing your own role as audience and that you’re not necessarily a passive, unbiased observer is important if you want to take the next step towards more nuanced analysis and criticism.
Something a lot of the half-baked takes that everyone makes fun of have in common is that they say a lot more about the critic than the work itself, so that self-awareness can help you avoid falling into that trap. There’s no such thing as a totally objective critic, but recognizing and owning that your experience is subjective can lead to much more meaningful critiques of art because you can more clearly explain why a piece made you feel the way it did without pretending your take is The One True Take.
Hagrid
I love Hagrid he is a good character a nice man, however I hate that everyone thinks of him is a cuddly giant, who wouldn't hurt a fly. He was an incompetent fool who should never have been given responsibility of students. And couldn't keep a secret to save his life.
If we are going up with the list of Professor Snape’s sins and calling out bad teacher behavior, then we can for others. This is just Hagrid (and a side of McGonagall.)
⪼ Hagrid is someone who assaulted an innocent Muggle minor, Dudley, just dared to be the son of Vernon, the man who dared to insult Dumbledore. Hagrid, in his latent anti-Muggle and fat-phobic mania, in his wish to retaliate against the father, has harmed his son (like a Greyback), trying to Transfigure Dudley into a pig (like a Moody), sending him howling in pain, and when his wand failed him, he blamed it on Dudley being too much of a pig. He had that child so traumatized he couldn’t stand being in the same room as Harry for the following month, and would panic each time Harry would utter a strange word.
⪼ Because of Hagrid ~ McGonagall punished Harry, Hermione and Neville so badly that the whole school started to insult them, Hermione didn’t dare participate in class anymore, Neville sobbed the whole night.
From being one of the most popular and admired people at the school, Harry was suddenly the most hated. Even Ravenclaws and Hufflepuffs turned on him
McGonagall sent 4 first-years in the Forbidden Forest as a punishment, in the hands of someone she was the first one to call unable to take responsibilities. For a single night of infraction, she has sent 11 yo’s in death’ arms. Mortal endangerment of minors. Harry nearly died. Harry had nightmares of what he saw in his detention for the rest of the year, that only worsened as the year went on.
⪼ Hagrid has shouted at Malfoy that writing lines wasn’t a good punishment and decided to not only bring the students in the Forest, but to make them search a creature so evil it could drink unicorn’s blood, even though he had Neville shaking and on the point of breaking into tears. Then, curiously, he managed to split the group of first-years so he could keep his favourite students near him
All right, Harry, Hermione?’
‘I shouldn’t be too friendly to them, Hagrid,’ said Filch coldly, ‘they’re here to be punished, after all.’
and send Draco (whom he hated)
‘I’m not going in that Forest,’ he said, [...]
‘Yeh are if yeh want ter stay at Hogwarts,’ said Hagrid fiercely. ‘Yeh’ve done wrong an’ now yeh’ve got ter pay fer it.’
and Neville (for whom he didn’t care)
Hagrid didnt even acknowledge Neville's presence 🤷♂️
so far away (with a dog who Hagrid was the first to admit he was a coward so basically useless) it’d take minutes to come to their help. Mortal endangerment of minors. Neville was scared shitless.
⪼ Hagrid sent 2 second-years deep into the Forbidden Forest To look for Acromantula, which would have resulted in their deaths, and Ron was so traumatized he threw up. Even he knew that what Hagrid did was mental.
⪼ He threatened Draco with what Moody did to him. Draco already traumatised by that experience.
‘Yeh’ll do wha’ yer told,’ he growled, ‘or I’ll be takin’ a leaf outta Professor Moody’s book … I hear yeh made a good ferret, Malfoy.’ The Gryffindors roared with laughter. Malfoy flushed with anger, but apparently the memory of Moody’s punishment was still sufficiently painful to stop him retorting. - just imagine if that were Snape who said that? ‘You will do what you are told,’ Snape spat, ‘or I will be taking a leaf out of Professor Moody’s book … I hear you made a good ferret, Potter.’ The Slytherins roared with laughter. Potter flushed with anger, but apparently the memory of Potter's punishment was still sufficiently painful to stop him retorting.
⪼ Hagrid asked three students to look after a 16ft aggressive giant. Hermione, terrified, on the verge of tears, shaking and whimpering. Hagrid saying Grwap wasn't violent just didn't know his own strength 🙄
⪼ Hagrid had a violent temper.
In one swift movement, Hagrid seized the front of Karkaroff’s furs, lifted him into the air, and slammed him against a nearby tree. ‘Apologise!’ Hagrid snarled, as Karkaroff gasped for breath, Hagrid’s massive fist at his throat, his feet dangling in mid-air.
Hagrid removed the hand pinning Karkaroff to the tree, and Karkaroff slid all the way down the trunk and slumped in a huddle at its roots; a few twigs and leaves showered down upon his head.
⪼ In the war he ran off to save the bloody spiders who were about to attack students, calling after not to hurt the spiders! Making him get caught by DE! We know where his priorities hold.
more of the gigantic spiders forced their way into the Entrance Hall. Screams of terror rent the air: the fighters scattered, Death Eaters and Hogwartians alike, and red and green jets of light flew into the midst of the oncoming monsters, which shuddered and reared, more terrifying than ever. [...] Hagrid had come thundering down the stairs, brandishing his flowery pink umbrella. ‘Don’t hurt ’em, don’t hurt ’em!’ he yelled.
Snape may have been an arsehole of a teacher. He may have a sharp tongue. But never once did he put a students life in danger. What he did compared to other teachers was nothing.
But because Harry likes Hagrid, people either, don't see the awful things Hagrid did or void it on the basis that Harry likes him so ahhh well, it's all good 👍 👌
Oh, and of course, the usuall, Hagrid didnt mean too. He meant no harm, garbage. Which I agree with, but that doesn't make what he did ok.
A lot of text credit goes to @ottogatto : Made for @snapeingturtle
Hagrid was also frequently prone to getting drunk in front of minors at the school. On at least one or two occasions Harry, Hermione, and Ron were responsible for acting as his care-givers and helping him sober up. He was also in company with Trelawney who went through so many cooking sherry bottles she had taken to hiding the empties in the Room of Requirement. She was openly drunk on school grounds more than once.
Hogwarts is not your modern Muggle high-school. I've dedicated a lot of my life to academia and education and let me tell you, except for a few teachers who barely get focus in the canon a large majority of Hogwarts staff would have been fired for their conduct. Then again, a school with vanishing stairs and multiple other dangers (one where the ghost of a child who died there haunts a bathroom and is treated like a nuisance) would also have been closed down if we really started analyzing Hogwarts from a modern Muggle lens.
Of the teachers at Hogwarts, Snape didn’t even scratch top ten in terms of inappropriate or downright negligent conduct in fact. Largely because he was never responsible for gross endangerment of any of the students at Hogwarts. He was a verbally offensive and acerbic teacher who reflected the zeitgeist of a particular era and, in a very odd way, he came closest to seeming most like the sort of teacher a student in the U.K. in Rowling’s years on into the early 90s might have occasionally encountered. Snape’s shortcomings and faults as a teacher are basically more realistic and less extreme than professors like Hagrid (who endangers students) or even McGonagall (who is also responsible for such blatant favoritism she bent rules for first years and bought a student in her house a top of the line broom, endangers students, and can be as cutting and acerbic as Snape in criticizing students). Ultimately, before educational standards evolved it wasn’t uncommon to have a teacher who insulted you and got away with it solely because everyone accepted it as normal conduct for a teacher. Today our standards for education and educators has improved enough that a teacher could not just publically berate, dress down, or use correction through humiliation tactics to “motivate” a student without facing some backlash.
When analyzing Harry Potter, one needs to remain conscious of the timeline the books were written (i.e. 90s), the trends (i.e. social, cultural, political, etc.) that may have influenced writers and their fiction (e.g. the Dahlesque style is one such example) during that era, the unusual conditions of Hogwarts as a fictionalized school, and the professional culture (or lack thereof) at Hogwarts among the staff. Notably, there are no mentions in canon of the other teachers confronting Snape or reporting his conduct to Dumbledore because they found something particularly unusual, inappropriate, or concerning. As a point of contrast, we do see Hogwarts teachers in canon strongly object to the actions of teachers like Lockhart, Umbridge, Fake-Eye Moody, etc. who either prove themselves to be incompetent to teach (i.e. Lockhart and often Hagrid, let’s be honest) or too volatile to be trusted Arguably Snape could be viewed as a byproduct of a much more complicated system of institutional failures. In short, Snape was not the worst teacher at Hogwarts --but he was in some very good (or “not-so-good”) company.
Reblog if you 100% okay with a transgender person correcting you if you accidentally misgender them or use their dead name.
please do
I also don’t mind if gender fluid and non-binary people correct me if I accidentally misgender them or use the wrong pronouns.
Whelp...
After that SPN finale all I want is an extended edit of that scene where Dean dropped his pants and yelled PUDDING set to Shake It Off because I need a good laugh to get over that shit show and nothing short of that will do it.
Halloween
by Guy Romano on Society6
If you really care about preventing government tyranny, your #1 priority must be making sure criminals have rights.
And that's not a joke or an exaggeration.
If criminals don't have rights, then all the government has to do is find some excuse to label people as criminals, and those people will no longer have rights. It's what literally every tyrannical government in all of history has done.
If you believe that people who break the law should forfeit their rights, you're literally as pro-tyranny as a person can get.
been howling at these for half an hour
We can stop an undemocratic power grab, but only if we prepare and together, choose democracy.
A lot of articles about Trump illegally grabbing power and going full authoritarian are, by nature of what’s being discussed, hysterical.
If you’re like me and you’re already at your fucking limit with people trying to scare you into taking action, this is a really straightforward site that discusses how likely it is (very), what successful resistance has looked like in other countries where this has happened, and steps you should prepare for.
It’s in great, digestible chunks that even a self-professed soft-person like me can read and feel like I can participate in.
The 10 Things You Need To Know To Stop A Coup list is a good place to start - especially with item #1. Please prepare to not have the results the night of the election. Or the day after. Or possibly even the day after that.
Chotronette ‘Armour Dress’ Haute Couture Gown [x]
Happy Halloween!
The term “political correctness” can be readily deployed as a racist dog whistle—one that President Donald Trump has been blowing with increasing vigor since his election in 2016.
I also hope you are well and want to express my gratitude for all your meta contributions! the way you approach analysis with empathy and context is something I really enjoy when it comes up. also you've been responsible for so many JSTOR binges and academic rabbit holes for me. so thanks a lot!
It’s so funny, usually when I share the JSTOR articles that I enjoy I lose a few followers. My blog is a bit of a hodgepodge of things that interest me, but I suspect some people following me expecting just one thing and become a tad frustrated when I randomly dump a bunch of academic articles on them. Lol! I can’t really fault them for being caught off guard. I do have a few new articles on the backlog I’ve been meaning to share when I have more time. Some of them are quite interesting, in my opinion.
Again, thank you for the kind words! I’m always glad to know my meta resonates with some people. I’ve been doing well enough (ongoing health issues aside) only that my work has been keeping me busy. Especially in the midst of the pandemic, there’s been an influx of enrollment for online learning. Just prior to that I had been forced to take a step back from classroom lectures because of my issues with my health and I was fortunate enough to be placed over some of my uni’s online courses in literature and English. This meant that in the height of the pandemic, I wasn’t affected by any of the anxiety over shutting down because I was able to work from home. Now though, my uni has those of us who are leading online classrooms picking up some extra classes and assisting where we can because we do have a larger number of online learners.
So, I’m a busy busy teacher these days and it’s leaving me with less time for posting here. I’m hoping that will change soon or I’ll adapt to the new schedule enough to start easing back into my meta again. Until then though, I fear people will have to continue to expect my posting frequency to be a bit spotty. Sometimes I’ll have the time to churn out a few posts all at once and sometimes there might be some periods of silence from me. I’ll still be around, reading all the lovely meta and content from the Snapedom here, I just might not always be able to contribute as much as I’d like.
Do you believe Snape was prejudiced against muggleborns in his teens? I want to believe he was but there are just several facts that don't allow it. For example- He called himself the Half Blood Prince indicating that he was proud of his half blood status. But if he hated muggleborns for having muggle parents or having 'dirty' blood, then why was he so proud of his blood status. Shouldn't he have hated it like Voldemort did?
I believe that Snape’s experience with prejudice was decidedly more complicated than someone like Lucius Malfoy’s or Bellatrix Black’s would have been. Importantly, although Ron does tell us that a larger majority of witches and wizards were either half-blood or possessed some degree of blended Muggle and magical heritage due to the sheer fact that the magical community consisted of a significantly smaller population than the non-magical and there was no way around inter-mingling with Muggles if they hoped to preserve their society (in fact, I would theorize that some of the “eccentricities” and emotional instabilities that we saw from some of the pureblood families were the byproducts of too much inbreeding as a result of a small pool of pureblood families marrying into each other again and again), I would argue that Snape would still have entered Slytherin at a distinct disadvantage.
Significantly, we lack sufficient information on the Prince family to definitively argue whether they were even a pureblood family (if so then it would seem they weren’t counted among “The Sacred Twenty-Eight”) or not and while it has become a popular fanon theory that the Princes were a pureblood family, akin to the Malfoys or Lestranges or Blacks, the absence of information does make it impossible to say that canonically the Prince family were a pureblood family and not just a magical family who may have had a more blended heritage (a more mixed-lineage could even go towards explaining how Eileen came to meet and marry Tobias). Unlike Tom Riddle, Snape’s familial background may not have been vague enough for him to be able to claim ties to any ancient or illustrious pureblood family (as we saw Umbridge do when claiming an unverified connection to the Selwyn family) in order to overshadow his Muggle heritage. Thus, where Riddle was able to enter Slytherin as a half-blood orphan and declare himself Salazar Slytherin’s chosen heir courtesy of his connection to the Gaunt family, at most we see that Snape privately claimed his connection to his mother’s family in the guise of “The Half-blood Prince.”
Arguably, that provides us with an important contrast to Tom Riddle and some insight into adolescent Snape. Where Tom Riddle uses his connection to the Gaunt family as a means of fully rejecting his father’s Muggle heritage and validating his Muggleborn prejudices by declaring himself Salazar Slytherin’s heir, there are different implications to a young Snape writing: “I am the Half-Blood Prince” in his mother’s old Potions textbook. Rather than using his mother’s magical lineage as a means to entirely divest himself of his father’s Muggle heritage, it would seem that at the point when Snape scrawled that statement into his textbook he was far more set on acknowledging both his magical and Muggle status within the wizarding world in a way that I would argue doubled as bitterly sardonic and challenging. Indeed, the very statement: “I am the Half-Blood Prince” connotes defiance on his part; a suggestion that at one point in his life Snape seemed very set on proving his worth on his own terms as a half-blood from an impoverished background who was nonetheless still “half a Prince,” and that he would defy anyone who might have told him that he did not belong. This does seem to conflict with the idea that all of Snape’s adolescent years at Hogwarts were marked by him having the same deeply ingrained prejudices or the exact ideological beliefs that purebloods like Lucius Malfoy might have.
If we look at the classifications of Muggle-born, half-blood, and pureblood as allegories for certain racial and ethnic statuses (and that purebloods represented the group with the greatest hierarchal advantage and most privilege) then the extent to which various wizards or witches that came from non-pureblood families could nonetheless still claim some vague status as purebloods could be looked at as allegorical to the concept of “passing privilege.” Ergo, Tom Riddle was able to convincingly “pass” as a member of the pureblood elite by claiming his connections to Salazar Slytherin through the Gaunt family. Furthermore, he completely abandons his more obvious Muggle-given name of Tom Riddle and chooses a name (i.e. Voldemort) that allowed him to further obscure his lineage. I would argue that, in contrast to Voldemort, Snape did not have passing privilege coming into Hogwarts. The very nature of the way he claims his connection to his mother’s magical lineage seems to suggest that an adolescent Snape was aware that his half-blood status was not something he could conceal or entirely rid himself of in the way Tom Riddle was able to do (and again, the very nature of the statement “I am the Half-Blood Prince” does seem to suggest he may not have wanted to pass himself off as more of a pureblood).
Which brings me to the issues of indoctrination and internalized prejudice. Significantly, I believe that a young Snape may have been aware of anti-Muggleborn prejudice even before he arrived at Hogwarts. The pause after Lily asked Snape if her being Muggle-born would make any difference at Hogwarts was poignant and suggested an existing knowledge on Snape’s part. Which begs the question of how he became aware of the existence of such prejudices? The logical answer is that he learned about them the same way he learned about the other aspects of the magical world, from his mother. It is even possible that in some of the arguments between Tobias and Eileen he may have witnessed both anti-magic and anti-Muggle prejudices from them. When asked by Lily if Tobias liked magic a young Snape deflected by observing Tobias “didn’t like anything much,” so there is a basis to argue that magic might have been a point of contention for Tobias. Likewise, one could make the case that Eileen also lashed out and a young Snape might have overheard her criticizing Tobias on the basis of him being a Muggle. Notably, Snape has to catch himself when he almost dismisses Petunia as “just a Muggle” when Lily is upset after arguing with Petunia (who demonstrated her own seeming magical prejudices by calling Lily a freak) shortly before boarding the Hogwarts Express.
Overall, I would argue that if an adolescent Snape came to Hogwarts with any overt prejudices they were more likely anti-Muggle prejudices than they were anti-Muggleborn prejudices. Indeed, while a young Snape does hesitate before reassuring Lily that her Muggleborn heritage would make no difference, he does seem rather (naively) convinced that her magical talent would be enough for her to avoid experiencing any anti-Muggleborn prejudice while at Hogwarts. Alternatively, he frequently disparaged Petunia --who in turn targeted him for his class status-- for being a Muggle. I would theorize that a young Snape who might have been disillusioned by a father who is strongly implied to have been potentially abusive to his mother (and quite possibly him) and antagonistic towards magic and who would have potentially overheard any anti-Muggle sentiments spoken by his mother would have arrived at Hogwarts with an existing prejudice against Muggles if not yet Muggleborns.
From there any progression of anti-Muggle to anti-Muggleborn would have been the result a few complicated factors ranging from: his frequency of exposure to a culture of prejudice within Slytherin house by a certain number of vocal and influential peers, the issue of the existing stigma surrounding Slytherin house and how the culture of Hogwarts seems to reward disenfranchisement of Slytherin by the other houses and teachers, Snape’s own growing sense of alienation and disenfranchisement as his bullying by the Marauders escalated and Dumbledore and other figures of authority failed to adequately respond which would have made him more vulnerable to grooming and radicalization, Snape’s own lack of privilege (i.e. his lack of passing privilege, his half-blood status, and his class status) in Slytherin house making it more necessary for Snape to conform with to avoid drawing a target onto himself by members of his house (particularly when he would already feel a lack of security outside of his house due to the Marauders and seeming institutional biases against Slytherin house at Hogwarts), and any internalized prejudices Snape carried as a result of any resentment he may have felt towards his Muggle father, Tobias.
I’ve written about this before but I believe the road to Snape becoming a Death Eater was a complex one. In contrast to the Malfoys, the Lestranges, or the Black family Snape was not born into wealth and privilege. He had no claims to “The Sacred Twenty-Eight,” and no real social standing. In terms of hierarchy, and to borrow from Slughorn, Snape “did not have much to recommend him.” These aspects of Snape are imperative to understanding what might have led to him becoming a Death Eater and not just in the context of fictional analysis, either. In a very real-world sense, Snape provides us some insight into the ways that adolescents can become radicalized or groomed into extremists groups, gangs, and cults. It is a gross oversight to lump Snape into the same category as Lucius Malfoy because Snape’s reasons for becoming a Death Eater and the outlook of any prejudices he held would have been very different due in large part to his blood status, class status, and social standing.
Lucius Malfoy supported Voldemort and became a Death Eater because he regarded Muggle-borns as a threat to the privilege he already held in wizarding society; he became a Death Eater because he was motivated to hold onto his privilege, which is why both he and Narcissa Malfoy were willing to set aside their blood purity ideologies and turn away from Voldemort when it became clear that Voldemort was an even greater immediate threat to them than Muggle-borns. In contrast, Snape held no significant privilege in wizarding society; he was not a pureblood, he seemingly could not pass as belonging to one of the “Sacred Twenty-Eight,” and he came from poverty and of a low-class standing. Rationally speaking, Snape did not become a Death Eater because he had reason to believe Muggle-borns were threatening his privilege in the wizarding world because Snape did not enter into the wizarding world with significant advantages or privileges (indeed, as a half-blood his position in a world dominated by Voldemort’s ideology would be far more precarious which is why I suspect that the alternate future we saw in Cursed Child where Voldemort won saw a post-war Snape relegated back to a mostly invisible role as potion’s professor at Hogwarts again while someone like Umbridge with more passing privilege was upgraded to the role of Headmistress). I would argue that prejudice against Muggle-borns was not even a driving factor in why he became a Death Eater (although he might have had what he felt were valid reasons to believe that inter-marriages between Muggles and magical people didn’t need to continue and that Muggles like Tobias were only a danger to them and their world) so much as the promise of power, protection, and belonging.
Which brings me back to the driving force behind a lot of the radicalization of adolescents we encounter in a very real sense. A common factor, the one which renders them most vulnerable, is their feelings of disenfranchisement and their disillusionment with a society that not only seems to not work for them but is unfairly designed to work against them. In a fictional context, Snape manages to encapsulate the idea of the angry young person whose outlook and future prospects seem hopeless (regardless of any innate talents, ambition, or hard work on their part) and who feels unfairly attacked by institutions and systems beyond their control. More than any prejudice as a motivating factor, I would argue that a young Snape would have been very vulnerable to grooming from peers like Lucius Malfoy who could build off any existing anti-Muggle prejudices he might have carried while also promising him a chance for greater social standing and influencing power.
It is important to keep in mind that even in his own house he was dismissed by Slughorn, who famously cultivated a social networking system of carefully selected students he felt had the most potential. Thus, one can imagine an ambitious young Snape who once looked to Hogwarts as an escape from his circumstances on Spinner’s End and who seemed to defiantly insist upon making a name for himself on his own terms (i.e. “I am the Half-Blood Prince”) having all his childhood ambitions gradually disappointed; over the course of the seven years he would spend as a student at Hogwarts he would be confronted by the cruel reality that life in the magical world was no less fair to him than life in the Muggle world had been. Enter the likes of Lucius Malfoy (who also is symbolically the first person to extend Snape a hand of welcome at Hogwarts after running up against James and Sirius on the train) and other impressive peers from pureblood families and one can begin to see what some of the allure of the Death Eaters might have been (that’s not even getting into the fact that the Marauders had so staunchly aligned themselves on the opposite side so it would also have felt like a natural extension of the lines that had been drawn at Hogwarts in choosing the side in opposition of his school-hood enemies).
The extent to which Snape carried any significant anti-Muggleborn prejudices (that is not to say that he didn’t carry Muggle-born prejudices to some degree but that those prejudices were not so significant in his consciousness that we could argue they were the main motivating factor in his decision to become a Death Eater) is, I believe, debatable. Certainly, he called Lily a Mudblood in a moment where he had been rendered powerless and emasculated and Lily later claimed that Snape “called everyone” like her Mudbloods (which I suspect was supposition and hyperbole on her part; otherwise, it paints Lily’s character in a less sympathetic light wherein we discover she was willing to overlook Snape’s use of slurs up to the point she was no longer the exception when it came to him using them) but even that instance could stand as an example of assimilation. Whether Snape was remaining silent while his peers used derogatory slurs around him or he chose to use them in his company, the instance where Snape was put under pressure and the language asserted itself is a testament to the way existing in an environment of prejudice and allowing it to go unchallenged can lead to us internalizing those prejudices. Indeed, when Snape later refuses to allow Phineas Nigellus to use the slur in his company can be looked at as an example of Snape having learned from the mistakes of his youth and taken the initiative to proactively challenge prejudice whenever possible as an adult.
Ultimately, I believe Snape did internalize ideas of anti-Muggle prejudice but I also would argue that that was not the primary reason or driving force for his becoming a Death Eater. I believe there were a number of factors that led to that choice and it was primarily the allure of power and security that proved the most appealing to him. There is also a strong case of naivete to be argued on Snape’s part, in that he --like Draco-- seemed not to fully recognize what he had signed up for until the reality of it hit home. That Voldemort would target someone he knew, a formerly treasured childhood friend, appeared to bring home to Snape the reality of what he had become a part of and who he had pledged his allegiance to. I would also argue that early on, Voldemort appeared to have been willing to recruit gifted Muggle-borns into his ranks, so it is also quite possible that during the first war Voldemort’s rhetoric might have been slanted more firmly against the idea of Muggle incursions in their world or the way the Secrecy Act disenfranchised their people rather than a blatant call-to-arms against members of their community that, while Muggle-born, were still magical and ran the risk of alienating people away from public support.
That is often the case with extremist organizations; they test the waters and start with more palatable or deceptive “populist” messages with a broader mass appeal before they introduce their more extreme views by degrees. We have seen some of this with the Trump administration, who began under more innocuous slogans like “Make America Great Again” and have only become more emboldened since in their dog-whistles to white supremacy and ideas of nationalism (e.g. Trump has even openly come out and declared himself a nationalist in past interviews following the Charlottesville attack on protestors and his refusal to condemn those actions). Significantly, in the first war, we know that Voldemort had enough popular support his followers were able to outnumber Dumbledore and his Order by twenty-to-one. I would argue that was achievable only if Voldemort first entered the scene under a more flexible message that allowed him to draw in members of the wizarding world with more casual prejudices towards Muggle and build up his inner circle of the more extreme Death Eaters like Bellatrix and Lucius who held the strongest anti-Muggleborn prejudices.
Finally, I believe that the likelihood of internalized prejudice cannot be underscored. Someone who may have grown up with an abusive Muggle father, like Snape, could have internalized prejudice about his half-blood status as something with the potential to mark him as inferior. His resentment of his father becoming a resentment of Muggles, in general, is the very sort of toxic cocktail that could lead a young Snape to align himself with a Voldemort who his peers assure him can understand him and his hatred of his Muggle father. In that scenario, Voldemort is merely someone sympathetic to his situation; someone who validates his belief that Muggles are a danger to the magical community; that they are to blame for keeping their kind oppressed and forced to remain in the shadows; they are a poison to their society, etc. Additionally, being at Hogwarts and feeling as if the majority of the school were rooting for him --and his house by extension-- to fail would have only strengthened a culture of peer pressure, allowing house-mates from the most influential families to set the tone within the house, decide house politics, and enforce a group-think where the consequences of going against the popular narrative are complete ostracization within one’s house and no protection from the ostracization Slytherin students can expect to face in general. Thus we have Snape, a half-blood from poverty and a preexisting internalized prejudice against his potentially abusive Muggle father coming to Hogwarts and being sorted into a house where his options are to choose between his house being his only respite from the institutional biases of the school at large or a place where he’s further alienated from everyone else except the people out to get him can also get him where he sleeps. Indeed, the very fact that up to SWM, Harry observes that Snape was “clearly unpopular” might suggest that Snape had been reluctant up to that point to fully assimilate into the ideologies of his house and his friendship with Lily led to some friction (it might go towards explaining how Sirius and James could publically humiliate him to onlookers and not a single member of his house come to his defense).
All this to say that I suspect that Snape’s path towards becoming a Death Eater happened by degrees. I would argue that he might have arrived at Hogwarts with some internalized prejudice against Muggles but an ambition to prove himself on his own terms (i.e. as “the Half-Blood Prince”) and a belief that raw talent and hard work would be enough for him to distinguish himself. When those ambitions proved faulty and when faced with seemingly insurmountable institutional biases within Hogwarts and slim prospects outside of Hogwarts that was when he became disillusioned and more susceptible to the ideological grooming within his house. That is why these contradictions in Snape may not be contradictions at all but rather more insight into the way a small boy who managed to seem impressive talking about his future would become a Death Eater. He may have started off with a certain degree of faith in the idea that gifted people like him and Lily could take the world by storm; that he could succeed as the Half-Blood Prince and she as a Muggle-born and no one would question their right to be there or their place in the world. Sadly, by the time he left Hogwarts, both he and Lily had had that innocence stripped from them and the choices he made would take him far from whatever ideas he once had as a boy for their future.
Your metas on Snape often brighten my day. It's so refreshening to read intelligent arguments based in textual evidences and the awareness that the world is complicated, and so is Snape's character. That's it, no question. I just wanted you to know.
Thank you so much! I’ve been on a bit of a hiatus lately because of work demands but I hope I can eventually get back into the swing of things again soon. Until then, I’ve been trying to write when time allows for it and inspiration really strikes. I’m so glad that my meta is able to brighten your day! I try to infuse into my meta the same degree of critical analysis that I would like to see from my students.
My hope in doing so is to provoke thought and encourage more nuanced thinking because I believe that is the only way to really navigate this very complicated and undoubtedly complex world that we inhabit with any kind of understanding or empathy. There is also nothing I enjoy more as a critical reader than to come across a well-written piece of meta and exclaim, “Oh! I never thought of that!” and in the Snapedom I have had the pleasure of encountering a lot of quality meta that provokes that kind of excited response from me. So, it’s always nice to know that I’m able to contribute in some way and add on to the excellent number of Snape analyses by some very excellent bloggers.
Thank you again for the kind words. They brought a smile to my face!
It annoys me how Dumbledore tells Snape that perhaps they "sort too soon". Basically imo implying that because of his actions (protecting Harry at great risk to himself) he actually belongs in Gryffindor, and that's not the case at all. Yes Snape was brave, but he is a Slytherin through and through imo, & that's not a bad thing. That being said though although there is a lot of narrative bias against Slytherin, it's not overlooked like Hufflepuff & Ravenclaws sometimes are
it annoys me too but it’s fascinating. i bet snape thinks his life went to hell when he was separated from his only friend so dumbledore was rubbing salt in his wound. snape also craves validation and praise from authority figures which includes dumbledore, who tends to withhold affection so when he does give it, it overwhelms snape and probably made him more likely to carry out dumbledore’s plans. imo ‘we sort too soon’ applies to dumbledore who is machiavellian when it comes to snape (and to smaller extent harry).
dumbledore is jkr’s mouthpiece so snape willingly putting his life on the life finally makes him worthy enough for the golden club. i don’t know how to feel about that because slytherin is very obviously the house for evil people and snape did his best to rehabilitate it (very few students joined voldemort compared to slughorn’s tenure as head of house) but the idea that he finally elevated himself so that he was now good enough for gryffindor is so interesting because he did it by protecting harry who is canonically gryffindor’s heir.
that conversation says a lot about jkr. read this post about harry potter being colonial fantasy and realise snape occupies a different spot than harry. he’s not sporty or overtly brave, he’s a spy with features that might be considered ethnic. someone many years ago (i hope @deathdaydungeon can confirm or deny) said that in the old english books (from the 19th and 20th century), there’s usually an english male character who is athletic and often pursues the affection of an english woman who has a foreign suitor, usually french or from another european country. this person has greasy hair and hooked nose, etc. if this is true then dumbledore’s quote could be read as snape transcending his otherness to become worthy of standing on the same line as the heroes.
regardless there’s some form of elitism going on and without a doubt gryffindors are considered elite since they inherit the ministry and run it the ‘right’ way.
Ah, alas, I’m not very strong on classic English Literature - however, I’ve certainly read/watched media in the past where the female lead falls for a foreign suitor, only for the world to be astonished when she rejects the - as you describe - English, athletic, dashing, handsome, rich hero (possibly even a war hero).
Of course, the wider world doesn’t realise that the Englishman isn’t the desirable hunk that he’s assumed to be but is likely instead a complete bounder. In choosing the suitor, she’s choosing romance - and that’s certainly the trope, the triumph of true romance over the desire to be in the right society circles. Indeed, making such a choice could be regarded as the reckless rejection of riches and status and wealth (and thus, safety and security for both her and her children) in favour of love.
@raptured-night, @idealistic-realism00, do you happen to know more about this?
There are a few posts by @professormcguire that might fit. I’ve also written a bit about Snape’s coding and how it follows a tradition in Western literature of framing characters with “dark features” (e.g. dark clothes, hair, eyes, and occasionally the character may be described as swarthy or sallow to hint to race) and “wild and/or tempestuous” moods as a foreign “other” symbolic of danger, violence, and predatory desires for “noble/pure (i.e. white) women.”
Sorry but as a black woman i am finding the racial discourse here is so incredibly bizzare there’s so many ways to read into snape’s character but ethnic coding is an incredible reach, furthermore the adjectives swarthy /sallow don’t have racial connotations to a modern audience. Applying such a bizzare reading means that any marginalised character in any fictional universe with unusual features could be read as racial coding, which is wrong. Ableism seems to me is more appropriate here , undesirable features does not automatically imply racialised features please think of the implications you’re actually making here. Snape is unhealthy/unhygienic that’s why his skin is gross and his hair is greasy, snape’s problems are as a result of poverty, whereas black people/ poc are born with their features, the analogy does not work because snape can theoretically ammend most of his unnattrative features by being healthy and wealthy but racialised features are far more complex , a healthy rich white man with snape’s exact features would not face discrimination or featurism but a black person regardless of social status face featurism, colorism and discrimination. Snape’s other unattractive features doesn’t make him racialised / racially coded , he’s just not conventionally attractive/healthy. Following this faulty logic all white people that aren’t conventionally attractive are ethnically coded?? Of course not
It’s true that a modern audience may not recognize any ethnic/racial implications of descriptions like swarthy or sallow, however, that does not erase their historical connotations within literature. When people discuss coding in the context of character analysis it is often with that understanding that certain characteristics and descriptions carry with them traditions and layers of meaning. A modern reading audience may not be fully aware of them (indeed, I have argued before that Rowling was undoubtedly not aware of all of the contextual meaning behind some of the tropes and traditions she drew upon or I would think her construction of Goblins may have been less problematic but she’s a TERF so who knows with her) but they can still inform our impressions of certain characters simply by virtue of the long history of expectation that comes with certain long-held tropes.
A literary tradition of framing characters who are villains as swarthy or sallow, as shrouded in darkness or black colors, or assigning them ambiguous sexuality or gender has historically been a means for authors to code into characters messages about race and ethnicity, sexual orientation and gender identity, ecetera. Literary coding is not limited to negative propaganda about people of difference ethnicities, race, sexuality, or gender/agender identities but it does have a basis in our history and much of our literary canon we grow up reading contains elements of this coding. When writing Harry Potter, Rowling drew from a large body of literary traditions ranging from the boarding school narratives popular in the U.K., elements of Gothic literature, and Arthurian legends. So too when crafting Severus Snape did she incorporate certain elements into his character that she intended as a red herring to leave the reader in question as to whether he was or was not a villain. As a result, whether intentional or not, there are elements of coding in Snape’s character that are not only suggestive of literary traditions for coding that could be racial or ethnic in nature but also elements of classic tropes like Queering of the Villain.
Importantly, character coding is very different from saying an author intended to write a character as x, y, or z. So, when people point to Snape’s coding they are not arguing that Rowling wrote Snape to be Black, Romani, Jewish, Lgbt+ etc. but that Rowling drew upon an existing body of traditional coding that is applicable to his character and does have some baring on how we might approach character analysis where his character is concerned. Essentially, a modern reading audience does not necessarily “have” to recognize the connotations of literary coding traditions for their influences on modern storytelling to still be present when it comes to our perceptions and expectations as readers. It’s why we can encounter villains like Jafar in Aladdin (or most of the villains in Disney really, take your pick), Pegasus in Yu Gi Oh, Frieza in Dragon Ball Z, Jareth in the Labyrinth, Hans Gruber in Die Hard, or HIM in The Powerpuff Girls and not only recognize their role is as antagonists but also identify a common theme of ambiguous sexuality, gender, etc.
That is, across multiple mediums the common thread that links these villains are their archetypical “queerness.” As a result, their ambiguity manages to become another aspect of their apparent deviancy and the two defining traits (i.e. “queerness/gender non-conformity/ambiguous sexuality” and villainy) become linked in a way where our expectations form around these patterns. Similarly, characters like Heathcliff, Bertha Mason, Fagin, Svengali (a Jewish character whose very name has entered into our lexicon as a connotation for evil), etc. were coded to represent racial and ethnic anxieties and reinforce certain specific negative stereotypes. In modern conventions we might see incarnations of these tropes or their evolutions (e.g. Sambo or Sapphire tropes or shows like The Marvelous Mrs. Maisel the latter of which does include modern-day variations of Jewish stereotypes but deliberately so and in a way that has led to some debate regarding whether it is subversive enough to be clever or just another show that reinforces common Jewish stereotypes). Likewise, however, we might also encounter character coding that is more positive or intentionally subversive.
Ultimately, there is much to debate and discuss regarding Harry’s perception of Snape’s “ugliness” but that was never something specifically referenced in the above discussion by me as my focus was more on the elements of his character that do harken to traditional coding in literature (particularly the Gothic traditions where racial and ethnic coding were interwoven in quite a few of the tropes Rowling drew upon for Severus Snape). That being said, the suggestion of ugliness in Snape could point as much to classism at work as it might ableism. Snape was not just born low-income, he was born into poverty during a period of history in the U.K. comparable to the conditions you might ave encountered in the Appalachia regions of the U.S. once upon a time. A traditional two-up one-down style lodging like Spinner’s End may have had an out-house in lieu of a bathroom and bathing would have involved a portable tub filled with water that the family took turns using. It would not have been a pleasant experience sharing grimy, cooling bathwater. As such, Snape’s hygiene could easily be reflective of his class background and the fact he might not have internalized certain learned habits in childhood that we take for granted as a given practice. That is not to say his lack of self-care could not also be the result of depression or mental illness; however, much of Snape’s characterization does revolve around a unique experience with classism in the U.K. so that is also something to consider. In a much broader sense, Snape’s seeming ugliness is symbolic and the narrator’s perception of Snape at different points in the series is worth paying attention to because it does provide us with further insight into Snape’s character.
Overall, all of these things can exist simultaneously as facets of any character analysis of Severus Snape. In fact, one of the reasons I enjoy his character is that it lends itself to so many different potential analyses and interpretations. As someone who focused on literary criticism and teaches it, he’s a bit of a gold mine because he is so complex. To borrow from an observation made by @professormcguire, I could write an entire dissertation on his character as a result of the series of literary traditions Rowling drew upon. So, the argument isn’t that Rowling wrote Snape to specifically be x, y, or z based on certain details or descriptions so much as she drew upon existing traditions of coding used in our literature –traditions which still exist even when we don’t consciously recognize them– in crafting his character and that does add some additional context to how we might analyze Severus Snape.
Perhaps it’s because I grew up in the U.K. and English literature has a long history of coding for people like me but I could never not be aware of the subtextual meaning behind certain descriptions for characters in fiction @scoobydoocrew. I grew up reading the books by famous white authors that white readers felt so free to praise and they never had to confront the sort of cognitive dissonance that I did to be able to enjoy them for what they were.
So many of the classic stories like Jane Eyre are very different to experience as a Black reader and I’m glad @raptured-night brought that up. How do you cheer at the ending when Jane returns to Rochester after discovering he kept his former wife, a woman coded as a likely biracial Black woman, locked in his attic for so long? Oh yes, he supposedly received his own humbling after the fire but does that really compare to what Bertha Mason experienced or how she died? After all, he does still have Jane return to him and at the conclusion he’s still very much alive. And was Bertha’s alleged madness really justification for her confinement or was her confinement the very thing that drove her to madness (this is something so often discussed in literature courses at university when students are introduced to The Yellow Wallpaper when learning about feminist criticism but even with Sandra Gillbert and Susan Gubar’s book The Madwoman in the Attic drawing a connection between that story and Bertha Mason you seldom really find many conversations are had in classes about Bertha Mason with the same degree of consideration for her character)? At the point where her gender and her race intersect was her alleged madness yet another example of white authors projecting their anxieties about the savagery and instability of Black people (and other peoples of colour), more specifically biracial Black characters during a period where “miscegenation” was such a topic for concern among white people, onto characters in their literature? How, as a Black reader, am I to relate and find complete satisfaction with the ending of Jane Eyre knowing the fate of Bertha Mason? That last question is one that I often have to ask myself when reading so many stories by white-cis authors. How can I experience this work of fiction with the same emotional satisfaction as white readers when they draw on traditions of writing that were designed to reinforce racial/ethnic or lgbtq+ stereotypes?
Being a Black reader of Harry Potter was a different experience for me too, not least because Jo’s series did expose a great deal of her own privilege and a lot of pro-imperialist sentiments underneath all of her social commentary about prejudice. Yes, there is the story of a single mother on welfare who wrote Harry Potter and changed her life but so much of Harry Potter comes courtesy of the fact Jo was afforded what we could call a traditional/“proper” English education as a girl (I do suspect it is why she is so sensitive to criticism by fans and why she can be quite spiteful about it; she feels she’s already received the best education she could have and she doesn’t need to learn anything else or be lectured to about her policies on feminism or writing with inclusivity).
I do not doubt that after the casting for Cursed Child was revealed and Noma Dumezweni would be playing Hermione (a decision defended by Jo in the face of backlash from white fans) there were many Black readers and lifelong fans of Harry Potter who felt more validated and more visible in reading Hermione as a Black character. I know there were enough suggestions in the books that I often imagined her as a Black girl when reading the books myself. Imagining that representation exists where there are only a few crumbs that might suggest it being there is honestly just one of the ways that I answer the question of how I can enjoy the experience of reading certain works of fiction as a Black, bisexual woman. But it was really Severus that I most strongly connected with and a lot of that did have to do with the way that Jo coded his character.
I did read him as someone not unlike myself; a half-blood in the way I was biracial and someone with queer coding written into his character (queer coding which he was often also punished for narratively speaking). Severus’s experiences with bullying as a young man and often sexual nature of his ridicule struck a very personal cord with me and I honestly found myself shaking all over and weeping the first time I read the chapter Snape’s Worst Memory. In fact, I don’t believe I fully understood just how deeply impacted I was by the racialised bullying I was experiencing until I came to that chapter in Harry Potter as a teenage girl and I was so triggered by it.
Up until then I had been suppressing a great deal of my trauma and denying the severity of it to myself because I was ashamed, I feared my parents learning about it, and it was easier to blame myself or downplay it in some ways than to acknowledge it for what it was because there was real pain in recognising I was being bullied simply because “I existed” as a biracial person at that school. That single chapter and Severus’s experiences gave me access to the trauma I had been ignoring and the means to stop making excuses for the people who were harming me and blaming myself. I don’t want to give Severus or the Harry Potter series sole credit for becoming a psychologist because there were a lot of factors in my journey and I certainly had to do the work myself but I will say his character and his experiences and my ability to relate to them on so personal a level were instrumental in their own ways to the person I would become. Severus’s character came at a point in my life when I needed him most and I don’t believe I could have connected to him so strongly if not for the fact I was already so aware of the kind of coding that Jo put into his character.
Even without reading Severus as explicitly Black or queer I still read his character as someone coded to be marginalised and that made all the difference. I was one of the few biracial Black girls to attend what was honestly a very posh public school (for U.S. readers a public school here is something I believe is akin to what you call private schools there). From nearly the start my place there was always in question; the general consensus was that my mum managed to “marry up” in making a match with my dad and I was very lucky. I was bullied by other classmates and my teachers rather than intervene often added to my ostracisation. They frequently gave me marks for my hygiene when I was perfectly well groomed and it was my Black features (my hair or my skin) that they were citing me for and that emboldened my classmates to target me for being “dirty” or “unclean.” Without going into very many details, I will just say that I was able to connect with Severus in a very real way when it came to the experience of being choked with soap. My biracial identity informed so many of my adolescent experiences and I confess I latched onto Severus’s character as very dear to me during those years because I understood so much of his anger and his insecurity and his frustrated sense of disenfranchisement.
It’s important to remember that not every reader will read things the same way. I wouldn’t say it was a reach at all to say there is racial and ethnic coding in Severus’s character because Jo basically threw the book at him when it came to incorporating some very old tropes into his character to convince her readers that he might have been evil and unfortunately most of those tropes associated with being evil are also connected to racial, ethnic, and lgbtq+ identities but @raptured-night has already made a solid case for that and she’s the one with the PhD in literature so I’ll not go further into the history of it but suffice to say the English and U.S. literary canons have a great deal of white-cis authors who liked to employ coding to represent marginalised groups; often to negatively represent us but occasionally to deliver subversive commentary against our oppression.
As someone who was already sensitive to the way English writers encode characters with those subtextual meanings I sussed out the coding in Severus even as a young reader and I wound up empathising with him a fair bit more as a result. Not everyone will have recognised the traditions Jo drew on and maybe even she didn’t recognise them in their entirety, like @raptured-night theorises, but that still doesn’t erase their history or the fact their history went into the character of Severus Snape when Jo decided to write him using certain tropes. Death of the Author exists exactly for this reason; what Jo created extends much further than what Jo may or may not have intended.
On a related note, I actually think discussions like these are useful because they do help promote a greater awareness of these old traditions in storytelling. I think modern readers should learn how to recognise them because that is the only way we can hope to understand the role that fiction can play in reinforcing stereotypes or dehumanising marginalised peoples and desensitising readers. Understanding the history of the way marginalised groups have been represented and how these old traditions can still proliferate in the kinds of stories we tell empowers us to do better and to write fiction that is more mindful of what kind of representation it promotes. It’s the difference between taking a trope like, say, werewolves (piggybacking off @raptured-night‘s above response again) which was traditionally intended to represent mental illness as a moral/religious affliction and trying to repurpose it to represent victims of HIV and AIDs so you unintentionally create a really disconcerting connection between people with HIV or AIDs and …..child predators who either can’t help themselves or don’t want to. So, personally, I appreciate the conversations about Severus’s coding because I don’t really see it as much of a reach (the coding is there after all and as a result so is all of the history behind it) and it can only make more people aware of the way certain elements of the white-cis authored fiction that went into our literary canon was constructed around imperialist and colonialist thinking and how those traditions have carried over into modern fiction and will continue to do so unless we can recognise them and challenge them.
The racist bullying you had to endure growing up is truly heartbreaking. I’m so very sorry you had to go through that @idealistic-realism00. Thank you for sharing your experiences and some of the reasons Snape’s character is important to you.
You also raise an important point about how even hygiene can be racialized which I had not even considered. When discussing Snape’s appearance I’ve reflected a few times on class-barriers and classism and the effects that mental illness can have when it comes to self-care and hygiene. That being said, people of different racial and ethnic backgrounds have long been stereotyped by white people as “less clean” for no reason other than they fact they are of a different race/ethnicity. In those cases, “hygiene” becomes another threadbare excuse for racism and prejudice.