While looking through some “sexually explicit” images related to the Civil War I came across this interesting collection by artist, Justine Lai. The artist is based in San Francisco. Lai has this to say about her first Online exhibit titled, “Join or Die”:
In Join Or Die, I paint myself having sex with the Presidents of the United States in chronological order. I am interested in humanizing and demythologizing the Presidents by addressing their public legacies and private lives. The presidency itself is a seemingly immortal and impenetrable institution; by inserting myself in its timeline, I attempt to locate something intimate and mortal. I use this intimacy to subvert authority, but it demands that I make myself vulnerable along with the Presidents. A power lies in rendering these patriarchal figures the possible object of shame, ridicule and desire, but it is a power that is constantly negotiated.
You can find the rest of the collection here. Of course, if you are easily offended or of Puritan descent I would refrain from clicking through and move on. Although I don’t find this to be that interesting, I am always struck by the ways we choose to remember our collective past. I guess it gives new meaning to the widely held belief that the public is constantly getting screwed by the government.
Just wanted to follow up with a few thoughts that didn’t make it into yesterday’s re-published post. The pay crisis scene in the movie, Glory, is a significant moment in the film. When the soldiers of the 54th Massachusetts learn that they will be paid less than white soldiers protest erupts and leads to the tearing up of pay vouchers. Tripp (played by Denzel Washington) leads the protest and represents the beginning of his transition to identifying with the rest of the men in the regiment. Colonel Shaw’s (played by Matthew Broderick) decision to join his men by tearing up his own voucher symbolizes his growing identification with his men and their cause. The scene fits neatly into the movie’s broader theme of triumph over adversity and the challenge of building unit cohesion. This theme evolves throughout the movie in scenes involving white officers and black enlisted soldiers, between white and black enlisted soldiers, and even with the ranks of the enlisted black soldiers of the 54th Massachusetts. [Click here if you are looking for an easy way edit YouTube videos.]
The climax of the movie involving the unit’s failed attack at Battery Wagner marks their final triumph over adversity and their collective sacrifice around the flag. Thomas confidently declares that he will carry the flag in battle if necessary; Tripp dies while holding the flag and after rejecting an earlier offer from Shaw to carry it into battle; and Shaw falls after holding it briefly in the midst of a desperate attempt to rally his men just outside the fort. The unit’s “Glory” not only comes through sacrifice, but in the movie director’s decision as to where and when to end the story. The final scenes that include Shaw being buried with his men juxtaposed against Augustus Saint-Gaudens beautiful monument to the regiment leave the audience with feelings of national pride and a sense that the men did indeed triumph over adversity from within in order to take part in a war for freedom and against a government that would return them to bondage if successful. The only story that was possible to tell in 1989, and perhaps even today, is one that fits within our understanding of who was right and who was wrong. However, such simplistic moral distinctions usually come with a price tag and in the case of Glory it is in the way that facts/events are manipulated.
This post was published last year at this time and since my students are preparing essays on the subject I thought I might offer it once again.
Today my Civil War classes finished watching the movie Glory, which is still my all-time favorite Civil War movie. Students enjoy the movie in part because of the heroic story of the unit and the performances by Denzell Washington, Morgan Freeman, and Matthew Broderick. The movie does a very good job of addressing the discrimination faced by the 54th Massachusetts as well as their heroic performance at Battery Wagner in July 1863. Like all historical movies Glory gets certain things right and certain things wrong. One of the themes that the movie captures is the slow progress that Col. Robert G. Shaw experienced in learning to more closely empathize with his men as well as the gradual changes that took place among white Union soldiers as they questioned their own racial outlook in response to the battlefield prowess of black regiments like the 54th. This is an issue that my students recently read about in an article by Chandra Manning. As for problems, well, they abound throughout the movie such as the profile of the regiment, which is presented primarily as a unit of fugitive slaves. Most of the men were free blacks from Massachusetts. Other problems include the time frame for the raising and training of the regiment which began in 1863 rather than 1862 as well as the failure to acknowledge Shaw’s marriage at any point in the movie.
If you happen to live in the vicinity of Harpers Ferry I encourage you to attend the inaugural event of West Virginia’s Civil War Sesquicentennial Commission. The event will include a panel discussion titled “Madman, Martyr, or Myth: John Brown’s Portrayal in Film” and will include clips from films and miniseries, including, among others, the “Santa Fe Trail” and “North and South”. Each clip will be followed by panel comments and discussion. Dr. Mark Snell will moderate the panel, which will consist of Dr. Charles Niemeyer of the USMC University; Ron Maxwell, director of “Gettysburg” and “Gods and Generals”; Dr. Walter Powell, a cultural historian who also is adjunct professor of historic preservation at Shepherd University and past president of the Gettysburg Battlefield Preservation Association; and Beth White, adjunct professor of journalism at the University of Charleston and a member of the WV Civil War Sesquicentennial Commission. The event takes place from 6-7:30 pm this Friday on the second floor of the John Brown Museum in Harpers Ferry NHP. It is free and open to the public but seating is very limited. The WV Civil War Sesquicentennial Commission also will have an information table set up in HFNHP on Friday and Saturday.
For more information re: upcoming events surrounding the sesquicentennial of Brown’s Raid check out the NPS/Harpers Ferry website.
I‘ve been thinking about the recent press release by the Sons of Confederate Veterans on the eve of the 150th anniversary of John Brown’s Raid at Harpers Ferry. If you remember, they have chosen to commemorate the death of Heyward Shepherd, who happened to be black and working at the local train station at the time of the raid. There are a number of things that are disturbing here. Referencing Shepherd as an “unfortunate black citizen” reflects the most basic misunderstanding of black civil rights history since the Supreme Court ruled in the Dred Scott case of 1857 that blacks could not be citizens. Unfortunately, that is about par for the course when it comes to getting the basic facts right in the SCV.
What is more disturbing, however, is the blatant way in which the SCV distorts black history to serve their own agenda. Notice that at no point in their announcement did they even mention why John Brown was in Harpers Ferry. They do mention his “nefarious scheme”, but it would be helpful if the public was told what that scheme involved: How about nothing less than the freeing of the slaves. Now please don’t misunderstand me as I am not suggesting that we should not engage in serious debate about the ethics of Brown’s life and actions in Kansas and Virginia. The problem here is that the SCV has set up the parameters of debate in a way that serves their own purposes of distancing slavery from Confederate and Southern History. More to the point, why honor Heyward Shepherd at all? It is unfortunate that he was caught in the cross-fire, but does that in and of itself constitute a sufficient reason to honor him or give him his own day? Would the SCV have taken these steps if Shepherd happened to be a white baggage handler?
The bigger problem is the choice of which black man to honor. If you were just to rely on the SCV’s press release you might think that the only black individual in Harpers Ferry was Shepherd. And here is where the intentional distortion of the past occurs. There were five black with Brown at Harpers Ferry: three free blacks, one freed slave, and a fugitive slave. How do these men fit into the SCV’s understanding of this event? Why aren’t they being honored as opposed to Shepherd. I think I have an idea. Notice in the press release that Shepherd is characterized as a “faithful employee.” What possible reason could the SCV have in characterizing an employee as faithful? Of course, anyone familiar with the historiography of Southern history knows that that one word, ‘faithful’, resonates throughout the Lost Cause literature, which characterizes slavery as populated by faithful and obedient slaves.
This morning I came across an excellent video on the black legacy of John Brown and Harpers Ferry. The documentary did not focus on Brown, but on the five blacks who accompanied him: Dangerfield Newby, Lewis Sheridan Leary, Shields Green, John Anthony Copeland, Jr., Osborn Perry Anderson.
Although I skipped around a bit I am pretty sure that you will not find Shepherd’s name mentioned (perhaps a brief reference) in this 48 minute video. The importance of the Harpers Ferry Raid in the local black community is to be found in the actions of the five men mentioned above. The distance between the SCV’s preferred memory of Brown and Harpers Ferry and the history of black Americans in the area couldn’t be wider. As you will see in the video, for example, Heyward Shepherd’s death, however tragic and unfortunate, does not explain the rise of Storer College and its rich history of education and black civic activism.