I remember now the depiction of the Queen's lover at the start of 1001 Nights and find it a racist caricature and stereotype. I do not mean to be racist towards Sub-Saharans, but I give the description nonetheless:
And as he continued in this case lo! a postern of the palace, which was carefully kept private, swung open and out of it came twenty slave girls surrounding his bother's wife who was wondrous fair, a model of beauty and comeliness and symmetry and perfect loveliness and who paced with the grace of a gazelle which panteth for the cooling stream. Thereupon Shah Zaman drew back from the window, but he kept the bevy in sight espying them from a place whence he could not be espied. They walked under the very lattice and advanced a little way into the garden till they came to a jetting fountain amiddlemost a great basin of water; then they stripped off their clothes and behold, ten of them were women, concubines of the King, and the other ten were white men in drag. Then they all paired off, each with each: but the Queen, who was left alone, presently cried out in a loud voice, "Here to me, O my lord Saeed!" and then sprang with a drop leap from one of the trees a blackamoor with rolling eyes which showed the whites, a truly hideous sight. He walked boldly up to her and threw his arms round her neck while she embraced him as warmly; then he bussed her and winding his legs round hers, as a button loop clasps a button, he threw her and enjoyed her. On like wise did the other slaves with the girls till all had satisfied their passions, and they ceased not from kissing and clipping, coupling and carousing till day began to wane; when the Mamelukes rose from the damsels' bosoms and the blackamoor slave dismounted from the Queen's breast; the men resumed their disguises and all, except the negro who swarmed up the tree, entered the palace and closed the postern door as before.
Había en el palacio unas ventanas que daban al jardín, y habiéndose asomado á una de ellas el rey Schahzaman, vió cómo se abría una puerta para dar salida á veinte esclavas y veinte esclavos, entre los cuales avanzaba la mujer del rey Schahriar en todo el esplendor de su belleza. Llegados á un estanque, se desnudaron y se mezclaron todos. Y súbitamente la mujer del rey gritó: «¡Oh Massaud!» Y en seguida acudió hacia ella un robusto esclavo negro, que la abrazó. Ella se abrazó también á él, y entonces el negro la echó al suelo, boca arriba, y la gozó. A tal señal, todos los demás esclavos hicieron lo mismo con las mujeres. Y así siguieron largo tiempo, sin acabar con sus besos, abrazos, copulaciones y cosas semejantes hasta cerca del amanecer.
Now there were in King Shahzeman’s apartments lattice-windows overlooking his brother’s garden, and as the former was sitting looking on the garden, behold a gate of the palace opened, and out came twenty damsels and twenty black slaves, and among them his brother’s wife, who was wonderfully fair and beautiful. They all came up to a fountain, where the girls and slaves took off their clothes and sat down together. Then the queen called out, “O Mesoud!” And there came to her a black slave, who embraced her and she him. Then he lay with her, and on likewise did the other slaves with the girls. And they ceased not from kissing and clipping and clicketing and carousing until the day began to wane.
Not only are there crossdressers in the Burton translation but also the Queen's lover, called Saeed in that version, is caricaturized and made to look scary: "a blackamoor with rolling eyes which showed the whites, a truly hideous sight." He is monstrous. He climbs up and down the tree like a large black gorilla. And in his treatment of the Queen he embodies the stereotype of the mandingo, or hypersexual black man (compare Iago's depictions of Othello as "black ram" and "black Barbary horse"), the picture of an 'untameable' Black man with voracious, violent sexual urges and with a large penis.
Done right, portrayals of interracial relationships can be wonderful, like in the case of Othello and Desdemona (it is, after all, the villain Iago and his henchman Roderigo in whose mouths we can find all the racist ranting), but you have to tread a fine line in this balancing act. Or you might screw up like the creators of this Vogue cover, where a howling NBA superstar LeBron James, the first black man ever to grace the cover of Vogue, cradles blonde German Brazilian model Gisele Bündchen in a way so reminiscent of King Kong with Fay Wray that the magazine went viral. There you have the blonde bombshell held aloft by the brutish "ape," and even though Gisele is portrayed as having fun instead of terrified, the iconography of Hollywood about both the "stud muffin" stereotype and King Kong sends a crystal clear subject matter:
Eighteenth-century Westerners believed that large male apes, whether orangutans on Borneo or gorillas in Sub-Saharan Africa, carried off native human maidens from their villages into the jungles and raped them, reproducing and giving rise to the next generation of apes; these apes, for generations, had human blood in their veins, in other words. This was long before Darwin, and people like Thomas Jefferson, infamous for having affairs and illegitimate half-blood children with female slaves of African descent that he owned, subscribed to this notorious ape-rape theory.
In the twentieth century, post-Darwin, we had chimp testicle implants into impotent human males' scrota (there were also goat testicle implants, that became a boom or bubble in the US), and even the theoretical possibility (still held by some) of the humanzee, a human-chimp hybrid.
Still today, this mag cover is a hot potato. Hope we have learned our lesson and shy away from such iconography in mass media nowadays and in the future.
