CHARLIE KIRK USED WAR LANGUAGE
He demonized Black Americans across high school and college campuses for over a decade, spoiling potential allies on the vine. He knew what he was doing.
Yesterday’s killing shook many of us. I condemn political violence, period. My response isn’t more heat; it’s infrastructure: books that teach, supply chains that deliver, safe civic rooms where people read and reason. If you’re tired of outrage cycles, build with me—publish, print, mentor, and move product that lifts communities. Kirk died immediately after he offered a massive crowd his take on (black) gang violence. The work outlasts the noise.
In Ace Boon Coon, I showed us Charlie Kirk, an Illinoisan of passion, as I am by birth and rearing. He was fashioned into “The Cardinal,” a mash-up of Charlie Kirk’s pro-white economic bontons and Donald Trumps peans to racist rhetoric amongst his most influential supporters. I situated him around the same time as Father Charles Coughlin, the racially rabid Midwestern radio star his parents and grandparents and mentors may have been influenced by.
The Cardinal in Ace Boon Coon isn’t a man; it’s a broadcast discipline—a white-lilted “official” voice that anoints panic, laundering theology into certainty, certainty into orders. In the book he even reads the sponsor roll on-air—National Association for the Advancement of White People, National Vanguard, White Circle League—while trucks in the corn belt blare “the Vatican’s Huey P. Long, Cardinal Mahoney,” turning frequency into a riot line: make terror sound pastoral, make violence feel like virtue. Father Charles Coughlin, popular worldwide for his racist speech on the new medium of radio, and Charlie Kirk, the penetrator of elite white spaces who searches for the socially alienated to plant racial nationalism as belonging.
America has heard that instrument before—Coughlin’s radio priesthood scaled grievance into mass, midwifed the Christian Front, and taught the country how a sermon becomes street muscle; the decade and the medium changed, not the method. Charlie Kirk helped build and ride a modern version of that rail—tours, podcasts, feeds—and his assassination is abhorrent and sobering; the same machine will try to bottle the blood and sell it as sacrament for grievance and counter-grievance. My answer—on the page and in Bronzeville—is unchanged: we answer chaos with competence—books moving, rooms reading, doors opening—starve the Cardinal’s market while we build a country worth inheriting.
Ace Boon Coon is a worthy sequel to A Negro and an Ofay and the opening movement of a cycle that maps the exact mid-century hinge where America rehearsed our present. No amount of silence for the dead equals the truth: since the Voting Rights Act of 1965, a cold war on Black civic life has mutated rather than ended, and too many of us missed the mutation while racing one another to the bag. Platforms monetized the teardown; a decade of touring and feeds demonized us to the most impressionable, and those seeds now wear badges, white coats, and bar cards. I won’t whisper.
On 11.11.2025, the 10th Anniversary Edition of A Negro and an Ofay—expanded, re-edited to restore the Black American heart mainstream publishing trimmed—will be available globally through the only Black American–owned supply chain for books. Consider it a field manual for the middle of a war we did not start: read it, teach from it, argue with it. Say Less, Read More—and when you want something to read, make it a Bronzeville book.
Say Less. Read More. Build More.
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