I am planning a series of posts for Black History Month but when I saw this and it had to take precedent. Thank you, Eunique Jones Gibson of Because of Them We Can for this gem. Who better to call out all of our adult nonsense than our children. Jones Gibson is a Bowie State University alum; my husband Dr. Granville Sawyer is a professor there. So proud of the vision and talent HBCU’s give to our country!
We have been here before. Now is not new – it is not even original or unique. It just seems that way because it is happening to us. It is our turn. The methods (twitter, executives orders, alternative truths, etc.) may be today’s tactics but sadly, the strategy is the same. Divide the people and conquer the country. Set one group upon the other by promoting erroneous beliefs: if you have more, that means I have less; if I make you feel small, that makes me bigger; if you’re different from me then you are against me; compromise, collaboration, and compassion are weaknesses—might is right.
These beliefs have never been true and they never will be. However, all of the unrelenting reporting of half-baked breaking news from unreliable sources reverberates the rhetoric in an echo chamber of unproductive partisan communication. We are not talking to each other, we are talking to ourselves.
When we turn off the television’s not-news noise, ignore the fake headlines on our electronic device screens that are only crafted to make us click, and look to literature, we’d see the well-worn path around the same issues. The questions and concerns we have today have been explored and exposed, reasoned and wrestled with, asked and answered. Yet, here we go again.
In my search to help me understand what is going on in America today, I came across a 2012 blog post from OnlineUniversities.com entitled “The 10 Best Protest Books of All Time.” It is a wealth of literary protest gems worth revisiting because they show us who we were then, where we are once again and maybe, what we can do to get ourselves out of this recurring mess.
Henry David’s Thoreau’s Civil Disobedience advocates public resistance to unjust laws and acts of government and is so appropriate for these times it could have been written on January 20, 2017. Building on the work of Mary Wollstonecraft (A Vindication of the Rights of Woman) and Simone De Beauvoir (The Second Sex) Betty Friedan’s The Feminine Mystique positions women’s rights as human rights, still a battle cry for this generation. Ralph Ellison’s, Invisible Man, a classic from 1952, still speaks for and to us about civil rights and the intolerance of white privilege. Though it may be remembered as a book about the atrocities of food processing facilities, the journalist Upton Sinclair wrote The Jungle to addresses the treatment of immigrants. Rachel Carson’s Silent Spring sounded the alarm for environmental justice and public health that continues to warn us about the callous treatment of our planet and, Culture Jam by Kalle Lasn is still a relevant read of America’s socioeconomic situation. W. E. B. Du Bois’ The Souls of Black Folk; Poems, Protest and a Dream: Selected Writing by Sor Juana Ines de la Cruz, Harriet Beecher Stow’s Uncle Tom’s Cabin and, Nellie Bly’s Ten Days in a Mad-House round out OnlineUniversities.com’s list.
Those who do not remember the past are condemned to repeat it.
Once again we are in a struggle for America’s heart, mind, and soul. In the protest literature of the past, there’s wisdom, inspiration, courage, and perhaps a way to inch us further forward so we won’t end up in the same place—again. Never has it been more important to read, research, reflect, act and repeat.
In the comments box below, please share any protest literature that you’d add to this list. We’ve got four years of hard work to do on these issues.
I will miss everything about our President and the First Family. They served us all with grace, dignity, and determination. Our country was blessed to have them as a stellar example of what all Americans can be. Thank you.
It is a story that invites the envy of this writer of fiction. A Tolstoy-worthy tale replete with unimaginable wealth, unbounded love, profound loss, revolution, a daring escape, theft, intrigue, and a treasure trove of the world’s most remarkable art. Sergei Shchukin, a Russian textile heir, and magnate began buying art on trips to Paris. His love of the unconventional art and artists he found in Paris after the Great War lead him to start his collection. However, the deaths of his wife, sons, and brother led him to try to fill the void created by their loss, with art. His grief led to Shchukin’s frantic collection of more than 275 Impressionist, post-Impressionist and Modern paintings including multiple works by Monet, Cézanne, Renoir, Matisse and Van Gogh.
As it is in Russian tragedies, Shchukin would not only lose his family but his country, home, art collection and ultimately, his name. When Lenin began his purge of the bourgeois during the Russian Revolution, Shchukin, fled to Paris — his opulent home and prized art collection were seized by the state. The new Russian government had no use for Shchukin or his decadent art; they planned to dismantle the collection and destroy it. The wife of the director of the Hermitage was thankfully a lover of modern art and convinced her husband to distributed the collection to Russian Museums away from Moscow. For nearly 100 years, the magnificent paintings languished in obscurity. Shchukin’s name was erased from the collection’s provenance and from the history of commerce and art in Russia.
Shchukin’s story is the stuff of fiction, except that it is real. And in August of 2016, through his grandson’s efforts, the collector and the collection once again made art history in the landmark exhibition, “Icons of Modern Art: The Shchukin Collection,” at the Louis Vuitton Foundation in Paris. The exhibition, featuring 130 Impressionist, post-Impressionist and Modern works from the collection of this early 20th-century collector, is scheduled to close on March 5, 2017. If, like me, Paris is not on your itinerary, Richard Nahem, an ex-New Yorker who writes his I Prefer Paris blog from “a fabulous 18th-century apartment in the fashionable Marais district of Paris,” has taken some stunning photographs of the showstoppers in the exhibition.
Every art collection tells the collector’s story but rarely is one as vivid in art and as exciting and tragic in life as that of Sergei Shchukin; a story so real, it seems the stuff of fiction. Though I did not know about Sergei Shchukin when I wrote my novel, Provenance, the similarities between Shchukin and my protagonist, Lance Henry Withers, are striking. Because of government persecution, they both sought refuge in Paris. Shchukin and Withers lost the countries of their birth, their homes, and their names. They used art to heal the profound loss of home and loved ones. Influenced by Gertrude and Leo Stein, they became lovers of what was unpopular art during their time in Paris—Impressionism, post-Impressionism, and Modern art. And by collecting art, they found a way to once again experience love and life. They were truly kindred souls—real and imagined—in life and in art.
In my novel, Provenance, secrets are buried, and revealed, in Richmond, Virginia’s Evergreen Cemetery. The same can be said for the cemetery itself. When slavery ended and African-Americans in the South could claim a final resting place, approximately 5,000 African-Americans chose Evergreen Cemetery. Now the two historic African-American cemeteries in Richmond, through neglect and civic indifference, lie under decades of overgrowth and underbrush. The same freedoms that made black cemeteries possible also became reasons they turned into woodland—families moved away, some migrated North establishing a home place away from the segregated south. In time, some folks forgot or just never knew the significance and the secrets buried along with black bodies during the early 20th century. However, through the efforts of some people in the 21st century, secrets long kept and compacts long hidden are being revealed.
One of the diligent excavators of the secrets within Evergreen and East End Cemeteries is Brian Palmer, a photographer, writer and adjunct professor at Virginia Commonwealth University. I discovered Palmer’s work while doing research for Provenance. Through his photographs, Palmer tells the story of people and situations that he knows might otherwise remain untold—Evergreen and East End Cemeteries are such stories. In a recent New York Times opinion piece, Palmer uses his pen to illustrate and illuminate complicit compacts in states like Virginia, Alabama, and Mississippi. These states award thousands of taxpayer dollars annually to preserve the burial sites and erect monuments for traitors and oppressors while ignoring American citizens who were oppressed. Read Palmer’s eloquent opinion piece, For the Forgotten African-American Dead, where he calls on the Virginia General Assembly to pass House Bill 1547 and provide some taxpayer support to preserve historical graves and cemeteries of African-Americans.
In The Significance of a Final Resting Place, I wrote about Palmer’s work, the prominent African-Americans buried in Evergreen Cemetery and, how the historic site became a pivotal scene in my novel. You can see more of Palmer’s work at http://www.brianpalmer.photos/
If you live in Virginia, contact your state legislative representative and insist that they vote for House Bill 1547. If you live in other states turning a blind eye and providing paltry or non-existent funding for African-American historic sites – speak up on behalf of history for all of us.
I am so passionate about art because it is a mirror and a crystal ball. It shows us who we are and at the same time who we could be. True creatives often use their craft to help us see, and hopefully, see beyond the lies and misrepresentations – we can really use that now.
The French artist, Edgar Degas, said, “Art is not what you see, but what you make others see.” That is a powerful message and an even more powerful mission. A stellar example of that power is Sons: Seeing the Modern African American Male, a current exhibition at the Reginald F. Lewis Museum in Baltimore. It is the work of Charlotte-based photographer and filmmaker, Jerry Taliaferro who photographed 34 African American men and then challenges the viewer by asking, “Who do you see when you look at me?”
In his artist’s statement Taliaferro writes, “Recent events point to the urgent need for conversations about the contemporary black American male. Sons is a humble attempt to reveal how black American males see themselves while encouraging a thought-provoking examination of how they are perceived. Perhaps this project can be the start of a conversation.”
When you enter the Sons exhibition gallery you start in a section called “Perceptions,” black and white photographs of just the faces of black men. The images are not identified, labels only ask Taliaferro’s provocative question. There are no clues or social cues to depend on for your answers; simply faces making your assumptions a testament to your experiences and beliefs.
As you move further into the gallery you enter the “Realities and Reconciliation,” area. The same subjects from the previous section are named and identified through short bios as well as videos that are accessible using QR codes that you can scan with a smart phone or tablet. Once identified, you see men who run the gamut of the black experience. You can hear them talk about their experiences when others’ perceptions of them are inconsistent with who and what they really are. Dr. John T. Bullock, a Towson University professor and recently elected Baltimore City Councilman, talks in his video about what he and his wife, Jacquelyn, call the “Double oh!” When he introduces himself as a professor, or now as an elected city official, he often gets that surprised look and response, “Oh! Oohh! So, you’re a councilman?”
The video by comedian, Jason Weems, is a heartbreaking contrast to his occupation as he talks about having to keep his son from playing with a toy gun in the park fearing that a childish game of cops and robbers could lead to a real-life cop shooting first and asking questions later. Other subjects—all sons and fathers—include a hospital administrator, a county executive, a police officer, a disc jockey, a musician, a tech executive. community activists, educators, and attorneys; they demonstrate the diversity of black men, however, their experiences are strikingly similar.
During the preview, I had the opportunity to meet several of the men who are subjects in the exhibition. Many attended with their own sons and I was impressed by the confidence and optimism they exuded. Through Jerry Taliaferro lens these black men are now art, and to repeat the words of Degas, “Art is not what you see, but what you make others see.” Sons forces you beyond the perception to see, really see, fathers and sons—black men—as they are and as they hope to be—mirror and crystal ball.
Sons: Seeing the Modern African American Male is on view at the Reginald F. Lewis Museum of Maryland African American History & Culture through 2017. If you’re in or near the Baltimore area, please go. It will change the way you see.
You’ll find more information on the exhibition and there’s a short film featuring some of the men in the exhibition at, http://lewismuseum.org/special-exhibition/sons-seeing-the-modern-african-american-male
Turn off the television, the radio and the Internet news sites. Beef up your reading list because it is going to be a very long four years. I hear this book is pretty good…
I am not a historian or a student of military history yet, as I was writing my recent novel, Provenance, I did a lot of research about America’s wars. Provenance takes place in the American South soon after the Civil War and, in Paris just before World War II. Throughout this research I kept finding example after example of the exceptional valor of African-Americans in the military.
When I went to school, the significant military contribution of African-Americans in defending the freedom of the United States was not part of the history we learned (I hope they teach it now). Through family, friends and community I learn about some of it but, as I did my research, I learned there was more than I could imagine. What a sad revelation to know that these heroes sacrificed so much for freedoms they would not attain, yet they fought non-the-less.
In light of the election results this week, Veteran’s Day provides an opportunity to remind or enlighten us about the contribution so many people of color have made in service to this country and the world. There is so much history to tell and much has been written – if you choose to find it. The following images, and links that take you to the stories behind them, are just a fraction of the rich and unsung history of exceptional valor. On this day let us honor, remember and respect the sacrifices veterans of all colors, and their families, made in the past and continue to make every day.
1. The Revolutionary War
Crispus Attucks is believed to be the first person killed in the American Revolution at the Boston Massacre. Read more.
2. The Civil War
Captain William Mathews –a free black, a businessman and station master on the Underground Railroad–recruited former slaves into the 1st Kansas Colored Volunteer Infantry Regiment at Fort Scott. He lost his rank when the unit was federalized but later served as an artillery officer. Read more
The Massachusetts Fifty-Fourth Regiment Infantry 1863 – 1865.
The 54th Regiment Massachusetts Volunteer Infantry saw extensive service in the Union Army and was one of the first official African-American units in the United States during the Civil War. Read more.
3. The Spanish-American War
Buffalo Soldiers fought during the Spanish-American War, including the Battle of San Juan Hill , the Philippine-American War (1899 – 1903 and the 1916 Mexican Expedition. Read more.
4. World War I
Harlem Hellfighters, the Black Rattlers and the Men of Bronze
The U.S. gave the 369th Infantry Regiment military to the French during World War I rather than have white Americans fight along side them. The nickname “Hell Fighters” was given to them by the Germans due to their toughness and that they never lost a man through capture, lost a trench or a foot of ground to the enemy. Read more.
Eugene Jacques Bullard
Eugene Jacques Bullard makes an appearance in my novel, Provenance. He was America’s first black military aviator – though he could not fly for his country. He flew for the Lafayette Flying Corps of the French Air Service and took part in 20 combat mission earning the nickname, “Black Swallow of Death.” Read more.
5. World War II
Doris “Dorie” Miller (October 12, 1919 – November 24, 1943) was a Mess-man Third Class that the United States Navy noted for his bravery during the attack on Pearl Harbor on December 7, 1941. He was the first African American to be awarded the Navy Cross, the third highest honor awarded by the U.S. Navy at the time, after the Medal of Honor and the Navy Distinguished Service Medal. Read more.
The Tuskegee Airmen, were the first African-American military pilots (fighter and bomber) in the then segregated United States military. They fought in Europe and North Africa during World War II. Read more.
6. The Korean War
The 77th Engineer Combat Company, 25th Infantry, 8th US Army in Korea, UN Command committed to Korean War action 7-12-50, and inactivated 6-30-52, was the last black combat unit of the US Army ever to engage an enemy of the US and is said to be the most decorated American unit in the Korean War. Read more.
The Arts & Leisure section of Sunday’s New York Times featured an article on Paris’ next landmark exhibition, “Icons of Modern Art: The Shchukin Collection,” opening at the Louis Vuitton Foundation on October 22. The exhibition features 130 Impressionist, post-Impressionist and Modern works from the collection of this early 20th-century collector.
Shchukin, a textile heir and magnate, began buying art in the late 1890s, building a collection of 275 works before the start of World War I. He fled to Paris when his home and collection were seized by the state during Lenin’s purge of the bourgeois. The Russian government dismantled, nearly destroyed, but thankfully distributed his art to Russian Museums where the magnificent paintings languished in obscurity and the collector’s name was erased from their provenance. Now, though his grandson’s efforts, the collector and the collection are once again making art history.
Shchukin’s story, through real, is the stuff of fiction. I couldn’t help but see the similarities between this real art lover-collector and, Lance Henry Withers, a fictional character in my recent novel, Provenance. Because of government persecution, they both sought refuge in Paris. Shchukin and Withers used art to heal the loss of home and loved ones. By collecting, they experienced Paris and life through the arts. Influenced by Gertrude and Leo Stein, they learned how to find beauty and meaning in Impressionism, post-Impressionism and Modern art—what they first perceived as canvases of colorful chaos.
The disposition of Lance Henry Withers’ collection is a primary theme in Promise, the second volume my Provenance series, due out in early 2017. Promise continues Withers’ story with the fate of his fictional and fabulous collection informed by research on collectors J. Paul Getty, Arthur Barnes, Walter Chrysler, Joseph Hirshhorn, The Steins, The Rockefellers and others. Perhaps Sergei Shchukin should be on that list. Sounds like a great reason to do research in Paris this fall.
You can see the New York Times article about the Paris exhibition of the Shchukin collection here and, you can read about Lance Henry Withers’ collection in my novel, Provenance. You can find more information about the “Icons of Modern Art” exhibition at the Louis Vuitton Foundation here.
I’m so excited that The Harlem Book Fair chose my novel, Provenance, as a First Fiction Finalist for the 2016 Wheatley Book Awards. The Harlem Book Fair is the largest African American book fair in the United States and the Wheatley Awards are named in honor of American Poet Phillis Wheatley (1752 – 1784), the first published African-American female writer. The mission of the annual competition is to recognize literary work and advocacy that transcends culture, country and perception.
While Provenance did not win, I was in great company and I am very honored to have my work recognized by this renowned national competition. Thank you, Harlem Book Fair!
For more information on the winners and other finalists see the Phillis Wheatley Book Award Winning Books feature on the aalbc.com website. More information about Phillis Wheatley is available here.