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This essay examines the contradiction of classics for all, evident in but not exclusive to the not-for-profit enterprise by the same name (Classics for All) that seeks to promote the Greek and Latin classics in schools across the United Kingdom. Embodying a form like the classics can mean not slavish mastery, but an improvisational artistry that alters the form so that it bends to one’s will. Issues of access, however, problematize the simple assertion of classics for all. The realities that necessitated the Black Lives Matter movement, in contrast to a more hopeful, turn-of-the-twentieth-century Du Boisan notion of the removal of the Veil of segregation, run counter to classics for all. There have been sufficient signs within the twenty-first century of the rejection of a broad, democratic, multicultural movement toward American wholeness symbolized in the election of President Barack Hussein Obama. Nevertheless, economic disparities that separate black and white in the United States remain, and the post-Obama era evidences significant backlash across the “Black Atlantic” world. The classics is caught up in this backlash.