The unseen truth, p.45
The Unseen Truth, page 45
133. “The Correspondents’ Club: Statement of Principles,” Kendrick, Swan M., General Correspondence, 1908–1909, 1915–1918, box 8, folder 1, KBFP.
134. Kendrick to The Red Cross Magazine, Garden City, NY, January 22, 1919, box 8, folder 1, KBFP.
135. Nell Irvin Painter, The History of White People (New York: W. W. Norton, 2010), 301.
136. Swan Marshall Kendrick to Samuel G. Blythe, February 23, 1919, box 8, folder 2, KBFP.
137. Kendrick to M.A. Donahue & Co., November 24, 1919, box 8, folder 2, KBFP.
138. M. A. Donohue & Co. to S. M. Kendrick, December 22, 1919, box 8, folder 2, KBFP.
139. Kendrick to Mr. R. P. Andrews, Washington, DC, January 17, 1917, box 8, folder 1, KBFP.
140. Kendrick to Mr. Ray Stannard Baker, July 10, 1916, box 8, folder 1, KBFP.
141. Kendrick to Harrison Rhodes, c/o The Metropolitan Magazine, October 10, 1918, box 8, folder 1, KBFP.
142. Chad L. Williams, The Wounded World: W. E. B. Du Bois and the First World War (New York: Farrar, Straus, and Giroux, 2023), 125–127, 173; L. Linard, “Au sujet des tropues noires américaines,” August 7, 1918, 17N 76, Service Historique de l’Armée de Terre, Château de Vincennes, Paris; W. E. B. Du Bois, “Editing the Crisis,” The Crisis 58, no. 3 (March 1951): 149.
143. Du Bois, “Documents of the War,” The Crisis 18, no. 1 (May 1919): 21; Williams, Wounded World, 173.
144. Lorraine Boissoneault, “What Will Happen to Stone Mountain, America’s Largest Confederate Memorial,” Smithsonian.com, August 22, 2017, https://www.smithsonianmag.com/history/what-will-happen-stone-mountain-americas-largest-confederate-memorial-180964588/. For more on the enslaved labor that built the Capitol, see William C. Allen, “History of Slave Laborers in the Construction of the US Capitol,” Office of the Architect of the Capitol (June 1, 2005); Bob Arnebeck, Slave Labor in the Capital: Building Washington’s Iconic Federal Landmarks (Charleston, SC: History Press, 2014); Felicia A. Bell, “ ‘The Negroes Alone Work’: Enslaved Craftsmen, the Building Trades, and the Construction of the United States Capitol, 1790–1800,” PhD diss., Howard University, 2009. For more on the timing of monuments erected in Washington, DC, see Kirk Savage, Monument Wars: Washington D.C., the National Mall, and the Transformation of the Memorial Landscape (Berkeley: University of California Press, 2009), especially the chapter “Covering Ground,” 63–105.
145. Darcy Grimaldo Grigsby, “Blow-Up: Photographic Projection, Dynamite, and the Sculpting of American Mountains,” in Scale, ed. Jennifer Roberts (Chicago: Terra Foundation for American Art, 2016), 66–102; David Freeman, Carved in Stone: The History of Stone Mountain (Macon, GA: Mercer University Press, 1997), 62; Grace Elizabeth Hale, “Granite Stopped Time: Stone Mountain Memorial and the Representation of Southern Identity,” in Monuments to the Lost Cause: Women, Art, and the Landscapes of Southern Memory, ed. Cynthia Mills and Pamela H. Simpson (Knoxville: University of Tennessee Press, 2019), 219–233. See also Grace Elizabeth Hale, “Granite Stopped Time: The Stone Mountain Memorial and the Representation of White Southern Identity,” Georgia Historical Quarterly 82, no. 1 (1998): 22–44, http://www.jstor.org/stable/40583695; Robyn Autry, “Elastic Monumentality? The Stone Mountain Confederate Memorial and Counterpublic Historical Space,” Social Identities: Journal for the Study of Race, Nation, and Culture 25, no. 2 (2019): 69–185, doi:10.1080/13504630.2017.1376278.
146. Joseph Biden, Commencement Speech, Howard University, May 13, 2023. https://www.politico.com/news/2023/05/13/biden-howard-university-white-supremacy-terrorism-00096811.
147. According to research by the Southern Poverty Law Center, there are nearly five hundred symbols that honor Robert E. Lee, Jefferson Davis, and Stonewall Jackson in the United States, and most were not installed immediately after the Civil War but during segregation. See “Whose Heritage? Public Symbols of the Confederacy,” Southern Poverty Law Center, February 1, 2019, https://www.splcenter.org/20190201/whose-heritage-public-symbols-confederacy#findings; Sherrilyn Ifill, On the Courthouse Lawn: Confronting the Legacy of Lynching in the Twenty- First Century, foreword by Bryan Stevenson (Boston: Beacon, 2007). The literature on Confederate monuments is vast and includes Sarah Beetham, “From Spray Cans to Minivans: Contesting the Legacy of Confederate Soldier Monuments in the Era of ‘Black Lives Matter,’ ” Public Art Dialogue 6, no. 1 (2016): 9–33; Keisha N. Blain, “Destroying Confederate Monuments Isn’t ‘Erasing’ History. It’s Learning from It,” Washington Post, June 19, 2020; Lonnie Bunch, “Putting White Supremacy on a Pedestal,” National Museum of African American History and Culture, March 7, 2018, https://nmaahc.si.edu/blog-post/putting-white-supremacy-pedestal; Karen Cox, “The Whole Point of Confederate Monuments Is to Celebrate White Supremacy,” Washington Post, August 16, 2017; Brian Palmer and Seth Freed Wessler, “The Costs of the Confederacy,” Smithsonian Magazine, December 2018, https://www.smithsonianmag.com/history/costs-confederacy-special-report-180970731/; Dell Upton, “Monuments and Crimes,” Journal18 (June 2020), https://www.journal18.org/nq/monuments-and-crimes-by-dell-upton/; Dell Upton, “Confederate Monuments, Public Memory, and Public History,” Panorama 4 no. 1 (Spring 2018), https://editions.lib.umn.edu/panorama/article/confederate-monuments-public-memory-and-public-history/; Kirk Savage, “The Politics of Memory: Black Emancipation and the Civil War Monument,” in Commemorations: The Politics of National Identity, ed. John R. Gillis (Princeton, NJ: Princeton University Press, 2018), 127–149; Kirk Savage, Standing Soldiers, Kneeling Slaves: Race, War, and Monument in Nineteenth-Century America, new ed. (Princeton, NJ: Princeton University Press, 2018); National Monument Audit, produced by the Monument Lab in partnership with The Andrew W. Mellon Foundation, https://monumentlab.com/audit.
148. Robert Musil put it this way, “What strikes one most about monuments is that one doesn’t notice them. There is nothing in the world as invisible as monuments.” See Robert Musil, “Monuments,” trans. Burton Pike, in Selected Writings, ed. Burton Pike (New York: Continuum, 1986), 320. For a brilliant analysis of this essay and its implications on contemporary interpretations of monuments, see Joseph Koerner, “On Monuments,” Res: Anthropology and Aesthetics 67 / 68 (2016–2017): 5–20; Alois Riegl, “The Modern Cult of Monuments: Its Character and Its Origin,” trans. Kurt S. Forster and Diane Ghirlardo, Oppositions 25 (1982): 21–50; Michelle Lamprakos, “Riegl’s ‘Modern Cult of Monuments’ and the Problem of Value,” Change over Time 4, no. 2 (Fall 2014): 418–435.
149. Freeman Henry Morris Murray, Emancipation and the Freed in American Sculpture: A Study in Interpretation (Washington, DC: Press of Murray Brothers, 1916), 177.
150. Hackley-Lambert, F. H. M. Murray, 165. Freeman Henry Morris Murray to The Macmillan Company, February 15, 1915, in “Emancipation … Correspondence, G-Z,” June 25, 1915, FHMMP. The manuscript began as part of his lecture series in 1913 at the African Methodist Episcopal Church’s Summer School and the Chautauqua National Religious Training School at Durham, North Carolina in 1913 and in writings for the AME Church Review. Anita Hackley-Lambert notes that book began as early as 1904 with his studies of black art. Hackley-Lambert, F. H. M. Murray, 189.
151. Allyson Nadia Field, Uplift Cinema: The Emergence of African American Film and the Possibility of Black Modernity (Durham, NC: Duke University Press, 2015), 156; “Confers on Cuts in Photo Play Films,” Boston Daily Globe, April 13, 1915; “Progress of Negro Race,” Boston Daily Globe, April 15, 1915; “Will Improve Big Picture,” Boston Evening Record, April 15, 1915, microfilm reel 2, D. W. Griffith Papers, 1897–1954 (Frederick, MD: University Publications of America, 1982); “Will Add New Film to ‘The Birth of a Nation,” Boston Herald, April 15, 1915, Griffith Papers; “ ‘Birth of a Nation’ to Have New Film,” Traveler and Evening Herald, April 15, 1915, Griffith Papers.
152. Field, Uplift Cinema, 171–172.
153. Field, Uplift Cinema, 174; “Ohio’s Censors Ban Photo Play,” New York Age, October 7, 1915.
154. Field, Uplift Cinema, 174; Leslie Pinckney Hill to Mr. Emlen, Pennsylvania Armstrong Association, September 23, 1915, Hampton University Archives, Hampton University Museum. Hampton, Virginia (hereafter Hampton Archives).
155. Field, Uplift Cinema, 159.
156. Field, Uplift Cinema, 174.
157. Field, Uplift Cinema, 174.
158. The first antilynching bill in Congress was H.R. 6963, A Bill for the Protection of All Citizens of the United States against Mob Violence, and the Penalty for Breaking Such Laws. It was introduced on January 20, 1900, by Representative George Henry White of North Carolina.
159. Richard J. Powell, Black Art: A Cultural History, 3rd ed. (London: Thames and Hudson, 2021), 16.
160. Murray, Emancipation and the Freed, 2, xx.
161. Murray, Emancipation and the Freed, 45.
162. Murray, Emancipation and the Freed, xx.
163. Draft of a lecture, box 1, folder 5, FHMMP.
164. Murray, Emancipation and the Freed, xx.
165. Alfred A. Moss Jr., The American Negro Academy: Voice of the Talented Tenth (Baton Rouge: Louisiana State University Press, 1981), 119, 209.
166. Murray to the Librarian, The Public Library, New London, Connecticut, May 15, 1916, “Emancipation and the Freed … Correspondence, G-Z,” FHMMP.
167. Murray, Emancipation and the Freed, 92–101.
168. Their correspondence shows a respectful but frank exchange as Murray often wrote to Du Bois asking for more attention to the meaning of particular words. As one of many examples, when editing one of Du Bois’s essays for The Horizon, Murray had taken issue with the use of the word “business.” He said, “I do not wish to be hypocritical, but I do not like the word ‘business,’ ” and asked Du Bois to make it plain. “If ‘business done,’ … means money actually taken in. Why not say the latter, in so many words?” F. H. M. Murray to W. E. B. Du Bois [fragment], 1907, W. E. B. Du Bois Papers (MS 312), Special Collections and University Archives, University of Massachusetts Amherst Libraries.
169. Hills, “ ‘History Must Restore What Slavery Took Away,’ ” 3–15; Early draft of the Preface, not dated, box 2, folder 1, FHMMP.
170. See Adrienne Brown and Britt Rusert, “Introduction,” to “W. E. B. Du Bois: The Princess Steel” in Little Known Documents: Publications of the Modern Languages Association of America 130, no. 3 (2015): 819–829.
171. Whitney Battle-Baptiste and Britt Rusert, W. E. B. Du Bois’s Data Portraits: Visualizing Black America, ed. Whitney Battle-Baptiste and Britt Rusert (New York: Princeton Architectural Press, 2018), 22.
172. Beyond the scholarship already cited regarding Du Bois’s design, please note the exhibition at the Cooper Hewitt, Deconstructing Power: W. E. B. Du Bois at the 1900 World’s Fair, 2022–2023, curated by Devon Zimmerman, associate curator of modern and contemporary art at the Ogunquit Museum of American Art, in consultation with Lanisa Kitchiner, chief of the African and Middle Eastern Division, Library of Congress, and with support from Yao-Fen You, senior curator and head of product design and decorative arts at Cooper Hewitt, and Christina De Léon, associate curator of Latino Design at Cooper Hewitt.
173. Hills, “ ‘History Must Restore What Slavery Took Away,’ ” 6. See exchange with former Atlanta University president Dr. Horace Bumstead. The falling out with Du Bois was over Murray’s son’s management of The Horizon and later Murray’s attacks on the NAACP through a jeremiad in The Guardian. Du Bois to F. Morris Murray, November 1, 1910, Hackley-Lambert Family Papers, cited in Hackley-Lambert, F. H. M. Murray, 163–165.
174. W. E. B. Du Bois Papers, Numerical Listing of Books in Du Bois’s Library, 1952, Special Collections and University Archives, University of Massachusetts Amherst Libraries, https://credo.library.umass.edu/cgi-bin/pdf.cgi?id=scua:mums312-b239-i003.
175. “Leaders of Negro Race to Meet Here: Writers and Scholars of American Academy to Gather this Month,” Evening Star (Washington, DC), December 16, 1923. The listing indicates that that the following officers of the academy would be present: Arthur A. Schomburg, Brooklyn, NY; vice presidents J. R. Clifford, Charles D. Martin, L. Z. Johnson, Joseph J. France; recording secretary Thomas M. Dent; librarian T. Montgomery Gregory; treasurer Lafayette M. Hershaw; executive committee members John W. Cromwell, Kelly Miller, Alain LeRoy Locke, F. H. M. Murray, and John E. Bruce, and corresponding secretary Robert A. Pelham, Washington, DC.
176. Moss, American Negro Academy, 121.
177. W. E. B. Du Bois, “The Art and Art Galleries of Modern Europe,” ca. 1895, W. E. B. Du Bois Papers (MS 312), Special Collections and University Archives, University of Massachusetts Amherst Libraries, https://credo.library.umass.edu/view/full/mums312-b196-i033. See pages 10–13 for Du Bois’s focus on sculpture. The speech might have also interested Murray, because Du Bois paid particular attention to the origins of sculpture, the topic of Murray’s 1916 publication.
178. Stewart, New Negro, 396.
179. Richard J. Powell, “Review of Freeman Henry Morris Murray, Emancipation and the Freed in American Sculpture,” Art Bulletin 95, no. 4 (December 2013): 646–649; Smalls, “Freeman Murray,” 132. Murray’s work had inspired, as Smalls also notes, seminal books including James A. Porter’s Modern Negro Art (1937) and Kirk Savage’s Standing Soldiers, Kneeling Slaves. As Powell notes, the digital life of Murray’s Emancipation and the Freed nearly a century after it had long been out of print is thanks to the work of art historian Albert Boime (1933–2008).
180. David Levering Lewis, W. E. B. Du Bois: A Biography (New York: Henry Holt, 2009), 216, 227.
181. Hackley-Lambert, F. H. M. Murray, 222.
182. Ifill, On the Courthouse Lawn; also see the Bryan Stevenson–founded Equal Justice Initiative publication Lynching in America: Confronting the Legacy of Racial Terror, https://eji.org/wp-content/uploads/2019/10/lynching-in-america-3d-ed-080219.pdf; Ida B. Wells-Barnett, “Lynch Law in Georgia” (Chicago: Chicago Colored Citizens, 1899); Ida B. Wells-Barnett, On Lynchings (Amherst, NY: Humanity Books, 2002); Robyn Wiegman, “The Anatomy of Lynching,” Journal of the History of Sexuality 3, no. 3 (1993): 445–467.
183. “John Hartfield Will Be Lynched by Ellisville Mob at 5 O’Clock This Afternoon,” New Orleans States, June 26, 1919.
184. It is important to note that these lynchings were a nodal point for the formation of racial identity for white citizens. See David Marriott, On Black Men (New York: Columbia University Press, 2000).
185. C. Porter to P. G. Cooper, March 13, 1919, Federal Surveillance of African Americans. See Robert Whitaker, On the Laps of the Gods: The Red Summer of 1919 and the Struggle for Justice That Remade a Nation (New York: Crown, 2008), 38.
186. Committee of the Negro Silent Protest Parade, “Petition re: Lynching: To the President and Congress of the United States,” typeset carbon, signed and printed version, July 28, 1917, James Weldon Johnson and Grace Nail Johnson Papers (JWJ MSS 49), Series II: Writings, Beinecke Rare Book and Manuscript Library, https://collections.library.yale.edu/catalog/16748066.
187. Jacqueline Goldsby describes the visual rule by which lynching was represented to and known by the broader American public. See Jacqueline Goldsby, A Spectacular Secret: Lynching in American Life and Literature (Chicago: University of Chicago Press, 2006); also see Dora Apel, Imagery of Lynching: Black Men, White Women and the Mob (New Brunswick, NJ: Rutgers University Press, 2004); Ken Gonzalez-Day, Lynching in the West, 1850–1935 (Durham, NC: Duke University Press, 2006); Leigh Raiford, “The Consumption of Lynching Images,” in Only Skin Deep: Changing Visions of the American Self, ed. Coco Fusco and Brian Walls (New York: International Center of Photography and Harry N. Abrams, 2003), 266–273; Shawn Michelle Smith and Dora Apel, Lynching Photographs (Berkeley: University of California Press, 2007).
188. Syreeta McFadden, “What Do You Do After Surviving Your Own Lynching?” Buzzfeed News, June 23, 2016, https://www.buzzfeednews.com/article/syreetamcfadden/how-to-survive-a-lynching, quoting an 1988 article in the Marion Chronicle Tribune.
189. Kerry James Marshall, Smart Museum of Art, Chicago, video interview: https://vimeo.com/45605233.
190. US Congress, House Select Committee on Reform in the Civil Service, Hearing on Segregation of Clerks and Employees in the Civil Service, 63rd Cong., 2nd sess., 20–21.
191. The story of Parks’s first days recounted here is from Gordon Parks, A Choice of Weapons (St. Paul: Minnesota Historical Society Press, 1986), 222–223.
192. Parks, Choice of Weapons, 223.
193. Parks quoted in Martin H. Bush, “A Conversation with Gordon Parks,” in Bush, The Photographs of Gordon Parks (Wichita, KS: Wichita State University, 1983).
