By Beth Roy
While 4 big apple urban cops killed Amadou Diallo in 1999, the 41 photographs they fired echoed loudly around the kingdom. In dying, Diallo joined a protracted record of younger males of colour killed via police fireplace in towns and cities all throughout the US. via innuendos of illegal activity, lots of those sufferers might be discredited and, by way of implication, held liable for their very own deaths. yet Diallo used to be an blameless, a tender West African immigrant doing not anything extra suspicious than returning domestic to his Bronx condominium after operating difficult all day within the urban. Protesters took to the streets, effectively challenging that the 4 white officials be delivered to trial. while the officials have been acquitted, in spite of the fact that, horrified onlookers of all races and ethnicities despaired of justice. In forty-one photographs . . . and Counting, Beth Roy deals an oral heritage of Diallo's loss of life. via interviews with participants of the neighborhood, with cops and attorneys, with executive officers and moms of younger males in jeopardy, the booklet strains the political and racial dynamics that positioned the officials outdoor Diallo's condominium that evening, their arms on symbolic in addition to genuine triggers. With lucid research, Roy explores occasions within the court, in urban corridor, within the streets, and within the police precinct, revealing the interlacing clash dynamics. forty-one photographs . . . and Counting permits the reader to think about the consequences of the Diallo case for our nationwide discourses on politics, race, classification, crime, and social justice.
Read or Download 41 Shots . . . and Counting: What Amadou Diallo's Story Teaches Us About Policing, Race, and Justice (Syracuse Studies on Peace and Conflict Resolution) PDF
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Additional resources for 41 Shots . . . and Counting: What Amadou Diallo's Story Teaches Us About Policing, Race, and Justice (Syracuse Studies on Peace and Conflict Resolution)
In the dark of night five living men came face to face in the Bronx; four white, one black. In the details of their meeting, in the subtleties of their gestures, in the nuances of their perceptions of each other and their interpretations of each other’s intentions lay tragedy, but also clues to the underlying dynamics that set up the confrontation to be what it was. If social structure is abstract and hard to see, gestures, as John Patten wisely understood, tell concrete and eloquent stories. I turn now to a different reconstruction of the drama of Diallo’s killing, one no more true or false than that built during the trial.
But they also brought into the confrontation some stark similarities. Who were they, and how did they come to occupy that particular moment in time? Diallo We know relatively little about Amadou Diallo. 1 Two pictures of him appeared in the press: the first profiles him as an earnest and hardworking young immigrant, the other focuses on the one illegal act he seems to have committed. By his mother’s account, he was an unusual young man, quiet and simple, relatively privileged in his homeland, but willing to make sacrifices to follow his star.
In transit to the station, Louima was beaten by several different cops, including a white man named Justin Volpe. Once at the police station, Volpe and another officer took Louima into a bathroom, and Volpe sodomized him with a plunger handle. So extensive were Louima’s injuries that medical attendants reported the torture to authorities. Some five thousand New Yorkers took to the streets, demonstrating against police brutality. Two months before Diallo’s killer was acquitted, Louima’s torturer received a thirtyyear sentence.