This study reviews Maxine Beneba Clarke's The Hate Race (2016). Drawing from Fanon's theories from Black Skin, White Masks (1952), the present investigation inspects how the protagonist's sense of self is designed and fractured under the encumbrance of the "white gaze." Clarke's illustration of racial microaggressions, linguistic alienation, and subjugation displays how colonial hierarchies continue in modern multiethnic people. By inspecting themes of shame, resistance, and self-awareness, the paper proves that The Hate Race bears a resemblance to Fanon's theory of double consciousness as the unending reconciliation between the "black self" and the "white world." This study also reveals how Clarke re-claims voice and agency through narrative performance, translating trauma into cultural confrontation. Lastly, this review contends that The Hate Race not only repeats Fanon's denunciation of colonial psychology but also spreads it into the sphere of modern racial experience.