Durham’s ManBites Dog Theater hosts “The Best of Enemies,” a play based on the book by Osha Gray Davidson about the unlikely friendship between a poor white member of the KKK and a poor black civil rights activist in 1960s North Carolina.
Eager to discuss African American participation in the Civil War, we are nonetheless troubled by the aura of Confederate nostalgia surrounding the ceremony, as well as the news coverage that (at least in the Charlotte-area press) seemed intent on calling the ten men Confederate soldiers or veterans.
Everything you have heard about the film 12 Years a Slave is true; it is exceptionally well acted, gorgeously filmed, and brutally honest about antebellum slavery. There are moments that are extremely difficult to watch and this is as it should be, leaving audiences stunned into numbness. Film critics and historians alike have praised it as a watershed in the depiction of slavery in American cinema, and this is certainly true. Nevertheless, the film demonstrates that Hollywood has not yet fully caught up with current interpretations of slave life in the antebellum South.
Blair L. M. Kelley and Kathryn Cramer Brownell consider the assassination of JFK in the contexts of the civil rights movement, media spectacle, and shifting political structures.
Soldiers on both sides pegged environmental circumstances as some of the most serious stressors of the war. Privates through non-commissioned officers, common soldiers rarely had traveled far from home before deploying. That meant the vast majority of them were transported to foreign environments that appeared extremely threatening based on popular notions of disease causation. Lacking conceptions of germ theory or insect-borne illness (theories developed in the 1870s and 80s respectively), mid-century Americans widely believed that a sudden change of location or weather and the air, water, and terrain of certain locales (particularly those of the South) caused life-threatening diseases, such as dysentery, malaria, and typhoid. It was clear to soldiers that disease claimed far more mortalities than combat; indeed, two-thirds of soldier deaths by war’s end would be from sickness rather than wounds. Nature appeared to be the soldiers’ fiercest enemy.
What’s a “shoaller”? Or a “hough”? How about the “pride of the beaver”? Berland explores these ideas and more.
It is fitting that in this 80th anniversary year of the 1933 rally the North Carolina NAACP is once again in the headlines, this time for its leading role in the recent Moral Monday protests at the state legislature.
The elections in Virginia and New Jersey have been touted as indicators of where the Republican Party, and indeed the entire country, will head in 2014 and beyond. The North Carolina governor’s race in 1864 served a similar role. Though often overshadowed in discussions of Civil War politics by the U.S. presidential election of 1864, the North Carolina race, which pitted incumbent Zebulon Baird Vance against newspaper editor William W. Holden, tells an equally important story about shifting political winds.
I still rely on and value deeply these brick-and-mortar archives, but my research in Jim Crow Wisdom has taught me to value the archive of the imagination as well. Like any archive, the imagination is a place that is fundamentally about assemblage: a mixture of our best efforts to remember the past accurately, the eroding effects of time, and a desire for narrative clarity and poignancy. Relying on the imagination for its archival properties is central to this book and helps us develop a richer sense of memory and of history.
As an immigrant, something I’m familiar with myself, one’s sense of identity is heightened by the immigration experience. In your new country, even when your language is the same as the natives, you suddenly you have an “accent,” your religion and culture are different, and you must adapt to new social and political realities. Immigrants then give us valuable insights, not only into their own changing identity, but also that of the host country. Irish immigrants in the South had to become Americans and Confederates. They had to negotiate the cultural traits they brought from Ireland with the demands of loyalty to their new home. And, it was this Irish cultural baggage which played the key role in binding them to the United States and the Confederacy
The modern civil rights movement fought for racial equality and to create an interracial “beloved community.” People in the movement did not make a distinction between action in the schools, the voting booth, or the streets toward those goals. Education was another arena for fighting racism and securing equal resources and opportunity. Seeing school desegregation as an integral part of the civil rights movement reminds us that an equal education is a basic human right that has been fought for but not yet achieved, and that overcoming racism in the classroom as in the community remains a moral imperative. For many local people, like Suzy Post, in Louisville and Jefferson County, the civil rights movement continues because the struggle to protect desegregation and through it achieve educational equity and better human understanding has not yet been won.
The film tells the story of Solomon Northrup (Ejiofor), a free man and fiddle-player from New York who was drugged, kidnapped, and sold into slavery in Louisiana. It explores Northrup’s efforts to retain his dignity in the face of inhumanity as he longs for the family he was taken from and hopes for freedom throughout time in the employ of three different masters, ranging from a kindly preacher (Benedict Cumberbatch) to a cruel plantation owner (Fassbender). Remarkably, and horrifically, the story is a true one.
Rather than becoming southern “under fire,” they became southern by misremembering, reimagining, and reinterpreting the real experience of being under fire.
Even though the museum recognizes Smith’s protest, if only barely, her protest tells us something valuable about the production of history and the sanctification of certain experiences over others. Here, a single person with a particular set of memories and a determination to remember a figure of such importance as King in a specific way finds herself facing an institution with a public commitment to remembrance that has become her own horror.