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Oyeyemi's critique of racism in the United States focuses on the visual binary between whiteness and blackness, which she shows working in multiple ways to warp and distort relationships. In the Whitman family, children are valued (or not valued) according to how their skin color registers on a scale determined by white superiority. Oyeyemi's approach to racism takes the circuitous route of retelling the fairy tale of “Little Snow White,” thus calling into her own narrative a foundational text of Western cultural aesthetics which links beauty to whiteness. (Snow White, whose skin is “white as snow,” is “fairest in the land.”) Rather than narrate a new version of the fairy tale, Oyeyemi separates out its elements – magic mirror, evil stepmother, and beautiful white stepdaughter – and develops each into a new thematic configuration. My analysis focuses on the subtle ways that Oyeyemi's reshaping of mirror, evil stepmother, and innocent beautiful young girl exposes the harms to children inflicted by allegiance to a (false) structure of visible difference between white skin and black skin.

Mirror Mirror the visual economy of race in helen oyeyemi’s boy, snow, bird