Look at the tweet below. Someone said it should be a painting. With that in mind, I doctored it a few ways.
First photo below is the original, the next two, are filtered using Prisma. In the third photo, I double exposed it with one I took on Good Friday in Assisi in 2019.
I am very moved by the picture, and of course — I was raised Catholic. It also reminds me of a ceremony I witnessed in Assisi three years ago, when they ritually removed Christ from the cross in the Cathedral of San Rufino and ceremoniously carried him down the hill to the Cathedral Basilica of St. Francis. It was quite an amazing experience.
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I am not the only one to observe that some of our collective response to this crisis surely depends on the fact that Ukrainians are white.
The Best American Essays, edited by Kathryn Schulz
First up: The Trayvon Generation, by Elizabeth Alexander, from The New Yorker. In a long, elegiac essay about violence against Blacks, particularly Black males, Alexander also looks at Black grace and creative expression.
Black creativity emerges from long lines of innovative responses to the death and violence that plague our communities. ‘Not a house in the country ain’t packed to its rafters with some dead Negro’s grief,’ wrote Toni Morrison in Beloved, and I am interested in creative emergences from that fact.
Below are two of the videos that Alexander explores.
I am reminded of something Wesley Morris wrote about music.
What you’re hearing [in Black music] that’s so appealing to so many people across all races across time is possibility, struggle, it is strife, it is humor, it is sex, it is confidence.
That joy you’re experiencing? is not only contagious, it’s necessary and urgent and irresistible.
During a Keynote presentation entitled, What Americans Can Learn from Germany’s Racial Reckoning, Susan Neiman asked, can you imagine if a comparable monument existed in Washington DC to memorialize the victims of slavery?
It took fifty years for such a conscious attitude to emerge in Germany, but we’ve had more than four hundred. Only now do the monuments to the Confederacy start to come down. Only now are state flags being revised to eliminate references to chattel slavery.
In Germany, it is illegal to display a swastika. If only confederate flags were equally taboo here (or swastikas, for that matter). If only an Anti-Lynching law could pass in the Senate!
Thanks to Bryan Stevenson, of course, we now have what’s casually referred to as the Lynching Memorial down in Montgomery, Alabama. The National Memorial for Peace and Justice. It goes a long way to recognizing the reign of terror (aka Jim Crow) and its many, many victims. I love the way the project collects soil from the sites of violence for the museum and erects markers at the site of the killings, often with surviving family members present.
The soul jars (an autocorrect for “soil” that I’m gonna let stand) are more akin to another memorial highlighted by scholar Neiman : the Stumbling Stones. These are small, engraved plaques located at the entrance to homes in 1200 cities through Europe and Russia. There are 70,000 in all.
A Guardian article compares the large memorial in central Berlin with these smaller, localized remembrances:
If Eisenman’s large monument, set in the governmental heart of Berlin, emphasises the scale and political culpability of the Holocaust, the Stolpersteine [Stepping Stones] focus on its individual tragedies.
Each stone is engraved with the following: Here Lived — the name of the former resident, their date of birth, and their fate. Some list internment, suicide, or exile, but most of them list deportation and murder.
On this side of the Atlantic, smaller American memorials to the victims of enslavement can be found here and there, with more springing up all the time. While these can never take the place of a national monument, they do matter. I know of at least two.
For example, Boston just recently erected a monument honoring those who were kidnapped from Africa and shipped here for sale. I visited The Middle Passage Memorial on Long Wharf and wrote about it here.
There’s also the African Burying Ground in Portsmouth posted about here after a trip to New Hampshire specifically to see it.
But again, let’s contemplate what it would be like if our country had the will, the sense of justice, and the dedication to righting the wrongs of the past such that we created a significant memorial in our Capitol.
It’s unthinkable right now.
I don’t want to end on such a hopeless note, so let me cite a few recent examples of reparations or even, moves toward reparations.
From KQED. One Way To Close The Black Homeownership Gap: Housing As Reparations (full article here):
Cities like Asheville, North Carolina and Evanston, Illinois have taken steps toward reparations in recent months. In Evanston, $10 million collected by the city in cannabis revenue would be used to offer African American residents $25,000 to put toward a down payment on a home.
In the case of Evanston, a suburb of Chicago, the city decided to address its history of discrimination via unfair housing policies, such as “redlining,” a practice in which lenders refused to insure mortgages in and near predominantly Black neighborhoods. So, yes, this is not reparations in the way many people traditionally think of the term — i.e., direct cash payments to Black descendants of enslaved people that attempt to correct the effects of systemic racism — but it’s likely that this program will still take some first steps toward remedying housing inequity.
Did you know that before Robert E. Lee met with General Ulysses S. Grant at Appomattox to negotiate the terms of surrender that a white dish towel was raised? A classic and yet pedestrian signal of surrender, it’s also known as the Confederate Flag of Truce.
Artist Sonya Clark wove a giant version of the dish towel and made it the centerpiece of her installation at the DeCordova Museum, in Lincoln, MA (summer 2021). She asks the provocative question, “What if this was the symbol that endured?”
You can see the historic flag of surrender here. Also, here’s an ArtNews review of the show.
A facing wall features an iconic Gordon Parks photo of a cleaning woman. Clark stitched a reproduction of the cleaner’s dress and had someone video tape her wiping a floor with a confederate flag. A proper use. A reimagined status.
There were several other rooms of exhibits. I’ll leave you to find out more about them online.
In a tangential way, Clark’s show reminded me of a popular recent television series, Watchmen. The show answered a parallel question, “What if law enforcement was serious about chasing down and punishing white supremacists?”
A historian at the site of the Appomattox surrender describes the meeting between Lee and Grant here
Responding to weekly visual prompts from the Paris Collage Collective has been productive in all the usual ways that prompts inspire. Here’s an image. Run with it. In writing sessions, it can be amazing to see what happens when you write for twenty minutes starting with the line, say, so much depended on or the ocean called her.
More specifically, the PCC challenge is freeing because I can run with pictures of black men and women in a way I might not were it a choice of mine. There’s a big footnote there that isn’t for today, but think: appropriation.
Since race and racism are central preoccupations of mine, I have OTHER images and ideas that want inclusion. Ideas flow. I don’t think I can adequately describe how liberating this has been.