The local NPR station in St. Louis, St. Louis Public Radio, has jumped into the discussion about the city’s Confederate monument with a recent “Pro & Con” feature about the monument’s future. One of the people the station interviewed was William Stage, a writer and photographer who took the “Pro” position in support of keeping up the monument. He stated, in part, that “erasing history” is bad. “It’s all of our history and maybe it’s good that it’s there for both the people who are offended by it and the people who enjoy it because it gives us something to talk about. It could be a springboard for dialogue.”
The problem I see with this argument is that no historical organization in St. Louis has ever taken steps to lead that dialogue, nor is there anyone who’s indicated a willingness to do it in this heated political moment. What would that dialogue look like? What steps would be taken after the dialogue to promote unity and reconciliation in the community? What cultural organization would be willing to take on the long-term expense, time, and effort necessary to interpret this monument after the dialogue has finished? What if a majority of St. Louisians aren’t interested in a dialogue or a history lesson?
The only answer is I have right now is that I don’t know.
More than two years after former St. Louis Mayor Francis Slay announced that the time had come for a “reappraisal” of the Confederate Monument that sits in Forest Park in downtown St. Louis, current Mayor Lyda Krewson has announced that the monument will be coming down within three weeks. The last I had heard about the monument’s status was in December 2015 when Mayor Slay’s “St. Louis Confederate Monument Reappraisal Committee” was unable to find a cultural institution in the area willing to accept the monument and the Missouri Civil War Museum’s lone bid was deemed inadequate by the committee. The monument’s fate was not discussed much further in 2016 and it fell off my radar, but with New Orleans taking recent action to remove four Confederate/Reconstruction monuments and new protests boiling at the St. Louis Confederate monument, Mayor Krewson is taking steps to expedite the process.
As a native-born and current resident of St. Louis, I find myself still unsure what the best path forward for this monument is. The protests of the monument are becoming a political liability for the city government. Leaving the monument as is does not seem to be a practical situation moving forward, especially since I’d imagine that most of the city’s majority African American population is opposed to the monument. I have doubts about the effectiveness of writing a wayside marker to “add context” to the monument, although the current monument text is historically inaccurate Lost Cause nonsense that should be removed. I have also been disappointed with the lack of public discussion about the monument’s future, which is a great contrast to more democratic processes taking place in Baltimore, New Orleans, and numerous cities in Virginia on their Confederate monuments. To my knowledge there have been no votes taken by city residents or the Board of Alderman, no public meetings for local residents to share their perspectives, and no effort to educate the city’s residents on the monument’s history by any cultural institutions, including those of us at National Park Service sites in the area. Mayors Slay and Krewson have basically taken matters into their own hands, for better or worse.
As I have previously stated, local communities should be empowered to determine what sorts of public iconography they want to recognize and commemorate in their public spaces. The people and events these icons represent should be reflective of that community’s values and be considered something worthy of honor. If a majority in the community don’t consider that icon worthy of honor or reflective of their values, then there are sufficient grounds for the community to discuss that icon’s future, whether that be remaining in the same spot, being moved to a cultural institution like a museum for added context, removed and obliterated, or some other solution. I personally am fine with removing the monument from Forest Park and am tired of the argument that removing any public historical icon is “erasing history,” especially when the history being removed is inaccurate. My preference would be for a cultural institution in the city to take on the responsibility of interpreting this Confederate monument in a respectful way that educates residents about our city’s rich Civil War history, but at this point I have little confidence in any institution to take on the responsibility of housing this political hot potato. So for now it seems like we’ll be saying goodbye to the St. Louis Confederate Monument as it heads to a warehouse somewhere.
President Donald Trump went out of his way yesterday to honor the 250th birthday of Andrew Jackson in Tennessee, which in turn has amplified continued online conversation about who in American history is deserving of honor through public ceremony and monumentation. Writer Shaun King was quick to declare that “no President who ever owned human beings should be honored” and that “slavery was a monstrous system. Everybody who participated in it was evil for having done so. Period. No exceptions.”
Some of the most difficult work in public history right now, in my opinion, centers around the nature of public commemoration and understanding how societies choose to remember their past. These are difficult conversations to have and the boundary lines between “good” and “bad” are arbitrary and poorly defined. King’s argument is provocative and worth considering. Generally speaking, I agree that owning slaves was a choice and that participating in the institution of slavery is inexcusable. But once you read the story of Ulysses S. Grant, our last President to be a slaveholder, you might conclude that King’s argument is simplistic and not a very satisfying resolution to the question of who and who isn’t worthy of public honor.
Now, I make my living educating people about General Grant’s life and times, so it could be easy for a reader to claim that I am “biased” or that I am a Grant apologist. I would reject that claim. All I can say is that I have my views about Grant but that those views have been developed through years of vigorous study of the man based on the best historical scholarship around. I don’t approach my job with the intention of portraying Grant as a hero or a sinner to visitors, but rather seek to humanize his experiences and increase understanding of his beliefs, motivations, and actions within the context of 19th century history.
Ulysses S. Grant lived in St. Louis from 1854 to 1859. For most of that time he worked as a farmer and lived with his family at White Haven, his In-Laws slave plantation in South St. Louis county. During this time Grant somehow obtained one slave, William Jones (see here for a more detailed essay I wrote about Grant’s relationship to slavery). We don’t know how or why he obtained Jones, nor do we know for how long he owned him. We do know, however, that he freed Jones in March 1859 before leaving St. Louis, something many other slaveholding Presidents never did with their enslaved people. That was the extent of Grant’s personal experiences in slaveholding. Unfortunately for historians, Grant didn’t leave any letters before the war stating one way or the other how he felt about the institution as a whole. It appears that Grant never challenged slavery’s presence in America or considered the politics and philosophy of slavery in writing before the war.
Something changed in Grant’s mind during the Civil War, however. He embraced emancipation as a war aim and welcomed black troops into his ranks. By the end of the war, one out of seven troops in his ranks were black. During the initial phases of Reconstruction, Grant came to believe that President Andrew Johnson’s policies towards the South were too lenient and that the freedpeople deserved more protection against violence, black codes, and overt discrimination by whites. After the Memphis Massacre in 1866 Grant called upon the federal government to arrest and prosecute the perpetrators who killed 46 African Americans, which never happened. When Grant was elected President in 1868, he immediately called upon Congress and the states to ratify the 15th Amendment preventing states from banning men from voting based on their race. On March 30, 1870, he delivered a message to Congress in which he declared that the 15th Amendment was the most significant act in U.S. history and a repudiation of the 1857 Dred Scott Supreme Court decision:
It is unusual to notify the two Houses of Congress by message of the promulgation, by proclamation of the Secretary of State, of the ratification of a constitutional amendment. In view, however, of the vast importance of the fifteenth amendment to the Constitution, this day declared a part of that revered instrument, I deem a departure from the usual custom justifiable. A measure which makes at once 4,000,000 people voters who were heretofore declared by the highest tribunal in the land not citizens of the United States, nor eligible to become so (with the assertion that “at the time of the Declaration of Independence the opinion was fixed and universal in the civilized portion of the white race, regarded as an axiom in morals as well as in politics, that black men had no rights which the white man was bound to respect”), is indeed a measure of grander importance than any other one act of the kind from the foundation of our free Government to the present day.
In 1871 Grant responded to the emergence of the Ku Klux Klan by using the KKK Act to shut down the group. That year he also used his Third Annual State of the Union Address to call upon Brazil, Cuba, and Puerto Rico to abolish slavery. He repeated the theme in his Fourth Address, stating that the Spanish Empire’s continuation of slavery in Cuba was “A terrible wrong [that] is the natural cause of a terrible evil. The abolition of slavery and the introduction of other reforms in the administration of government in Cuba could not fail to advance the restoration of peace and order. It is greatly to be hoped that the present liberal Government of Spain will voluntarily adopt this view.” In future addresses he spoke out against other White supremacist groups in the South like the White League and Red Shirts who continued to commit acts of violence and sometimes outright massacres against African Americans in the South. And during his Post-Presidency world tour, Grant stated to Otto von Bismarck about the Civil War that “As soon as slavery fired upon the flag it was felt, we all felt, even those who did not object to slaves, that slavery must be destroyed. We felt that it was a stain to the Union that men should be bought and sold like cattle.”
Frederick Douglass spoke often about Grant and was a dedicated supporter of his Presidency. At one point he stated that “Ulysses S. Grant, the most illustrious warrior and statesman of modern times, the captain whose invincible sword saved the republic from dismemberment, made liberty the law of the land. A man too broad for prejudice, too humane to despise the humblest, too great to be small at any point. In him, the negro found a protector . . .” and recalled in his 1881 book Life and Times of Frederick Douglass that:
My confidence in General Grant was not entirely due to the brilliant military successes achieved by him, but there was a moral as well as military basis for my faith in him. He had shown his single-mindedness and superiority to popular prejudice by his prompt cooperation with President Lincoln in his policy of employing colored troops, and his order commanding his soldiers to treat such troops with due respect. In this way he proved himself to be not only a wise general, but a great man, one who could adjust himself to new conditions, and adopt the lessons taught by the events of the hour. This quality in General Grant was and is made all the more conspicuous and striking in contrast with his West Point education and his former political associations; for neither West Point nor the Democratic party have been good schools in which to learn justice and fair play to the Negro (433-435).
Is Grant someone who should never be honored, as Shaun King suggests?
My biggest issue with King’s argument is that it assumes that people in the past never changed their thinking over time and that a former slaveholder like Ulysses S. Grant could never come to realize that holding humans in bondage was wrong. Grant was far from a saint: his ownership of William Jones was inexcusable, his General Orders No. 11 during the war expelling Jews from his lines was inexcusable, and his Indian policy during his Presidency was well-intentioned but flawed. But are there not actions he took in his life that were commendable and worth honoring?
One of the bigger problems I see with this whole discussion is that we as a society should really focus on understanding before honoring. I would rather see President Trump read a book about Andrew Jackson than stage a big ceremony honoring the man (who, to be sure, has a horrid record as a slaveholder, racist, and Indian fighter, and is someone I wouldn’t be comfortable honoring). I would like for Americans to go to historic sites with the intention of understanding the life and times of historic figures. I would like for people to appreciate complexity, nuance, and the basic idea that people–then and now–often hold evolving and contradictory views towards politics.
I suppose my historical training has soured me on the idea of “heroes” as a general approach to appreciating history. I admire the words of the Declaration of Independence, but I haven’t forgotten that the author of those words raped Sally Hemmings. I admire Washington’s words about entangling alliances and the importance of Union, but I haven’t forgotten that he too was a slaveholder. I think Jackson was right on the South Carolina Nullification Crisis, but I won’t forgive him for the Trail of Tears or his violent slaveholding. I think Grant was wrong for being a slaveholder, but I appreciate the efforts he undertook as President to protect the rights of all, and I appreciate that he came around to believe that slavery was an evil wrong. I appreciate moments in history when right triumphed over wrong and people in the past took principled stands for positions that protected the rights of all Americans, but I never forget that people in the past were humans, not Gods, and that even the best humans have their flaws. And I never forget that American freedom was first established in this country on a co-existence with and acceptance of slavery.
Earlier this month I was in northwest Arkansas for a conference and had an opportunity to visit a number of history museums while there. Those site visits included the Daisy Air Gun Museum, the Rogers Historical Museum, and the Walmart Museum (yes, they have one). I found each site charming and the people who work at these sites extremely friendly. Everyone made me feel welcomed and were glad to have me as a visitor. On the whole I enjoyed my experiences at these places.
I am a critical viewer of museum exhibits, however, much in the same way that a musician is a critical viewer of other musicians or a filmmaker critically views rival cinema. My training in museum and historical methods ensures that I can never go back to looking at museums and public history sites as objective storehouses of artifacts and disinterested facts. I view every aspect from aesthetics to text markers to guided tours in an effort to see what larger interpretive messages these places hope to convey to their viewers. Although each site covers a wide time period that in some cases goes back to the late nineteenth century, they all had a similar interpretive centerpiece at the heart of their expererince: nostalgia for the 1950s.
Nostalgia is an inherently conservative emotion in my view. It smooths over the rough edges of history’s complexities and often focuses inward on our idealized personal memories of life experiences. Nobody looks back at a bad life memory in a nostalgic way. Nostalgia doesn’t convey how things were but how we wish they were and how we wish them to be. It tries to recreate an image of a past world that can never be recreated in the present, and the inability to bring this past world alive in the present intensifies our desire to bring it back against all odds. And above all else, we use nostalgia to reclaim our innocence – to return to a time when fear and insecurity didn’t exist and when things were simpler (at least in our minds). As Alan Jay Levinovitz argues in Aeon, “it is crucial to distinguish between wistful memories of grandma’s kitchen and belief in a prior state of cultural perfection.” Nostalgia is wistful thinking about a state of perfection that never existed. And it often sells within the context of museums.
The 1950s are a particularly unique time period shrouded in more nostalgia than any other era in recent history. Each museum I visited covered different aspects of this nostalgia. Men worked hard and had jobs to support the family; women stayed home and tended to the domestic sphere; children went to school and behaved like good little boys and girls; local law enforcement always had residents’ best interests at hand; everyone went to church and prayed to the same Christian God; racial, labor, or any other form of social strife was non-existent; everyone knew their place in society and happily accepted that place without reservation. We might call this interpretive phenomenon “Andy Griffith History.”
At one of the aforementioned sites I overheard a woman ask a museum employee why there were no exhibits on the contributions of African Americans or any other minority group to the life of the people in northwest Arkansas. The employee said that “well, we don’t have any exhibits on that topic unfortunately and the town of Rogers was a Sundown town in the 1950s.” A person visiting these sites without any sort of background in the history of the Civil Rights Movement would not realize that Walmart’s growth as a company occurred as Arkansas Governor Orville Faubus supported racial segregation of public schools and the Little Rock Nine crisis occurred. Nor would many people without prior knowledge look at the Walmart museum and learn that labor conflicts have occurred frequently throughout the company’s history. The pull of nostalgia only allows for a innocent view of the period devoid of any social conflict.
I suspect that 1950s nostalgia draws people to these places because the period has been so mythologized in popular culture and many (white) people alive today remember the era in fond terms. I do wonder, however, if this approach will continue to work over the next twenty or thirty years and if places that rely on nostalgia this way will have staying power in the long run. Again, I found a certain charm in these museums, and there were certainly good aspects of the 1950s that we should remember and celebrate. We should always heed Levinovitz’s advice, however, and avoid believing that any past era was perfect. That sort of thinking is bad for history and probably bad for determining contemporary policy too.
One of the last things I did in 2016 involved taking a short trip to New Orleans, Louisiana, to visit a good friend of mine and explore some of the historical sites in the area. The trip was wonderful and I also enjoyed the eighty-degree temperature outside, a nice contrast to winter in the Midwest.
About three years ago I had the opportunity to visit the National World War I museum in Kansas City. The National World War II museum just so happens to be located in New Orleans, and we made a point of spending nearly an entire day visiting the site. I came away from the World War II museum impressed with some aspects and less impressed with others. I’ve been thinking about the similarities and differences of my experiences at both museums since the trip, and what follows are some rough thoughts on those experiences.
One of the major aspects of the World War II museum is its use of technology throughout the museum. Upon arriving at the museum, visitors have the option of obtaining a “Dog Tag” card that looks like a credit card. Computer stations throughout the museum have a spot where you can put your card on a scanner, upon which the computer shows a short video of a World War II solider who is assigned to your card. Five stations throughout the museum tell a different aspect of your soldier’s experiences before, during, and after the war (if they survived it). Notwithstanding the difficulty of finding some of the computer stations (I missed two of them) and the lack of available computers (I don’t think I’ve been to a museum that was so busy and people were almost always hounded around the computers), I though the activity was thoughtful and educational. My “Dog Tag” had the story of four-star General Benjamin O. Davis, who happens to be an extremely important and heroic figure in U.S. military history. Elsewhere there was an interactive activity about the USS Tang, a ship that sunk thirty-three enemy ships during the war, that was immersive and interesting. Visitors were assigned to a station within a recreated model of the Tang and given a specific duty on the ship to complete during a mission.
Other uses of technology in the World War II museum were not as successful, in my opinion. The museum was full of videos throughout the exhibits, all of which had sound. The sounds from each of the videos often bled into each other, creating a wall of cacophonous sound that distracted from the exhibit text and artifacts in a given area. Equally frustrating was how the walkways throughout the exhibits were not large enough to isolate video-watchers from the rest of the crowd. People would stop to watch the videos and block the walkways for other museum-goers, creating cramped hallways and little breathing room to maneuver through the museum. The World War I museum, by contrast, doesn’t utilize as much digital technology in its exhibits but uses its resources in ways that are more user-friendly. Videos about the political situation in the 1910s, the coming of World War I, and the United States’ decision to enter the war are isolated from the rest of the museum exhibits, allowing visitors who want to see the videos the freedom to do so while not distracting from others who want to visit the museum’s other exhibits. While the World War I museum doesn’t offer a “Dog Tag”-type activity for visitors, it did offer one interactive activity in which visitors created their own propaganda posters using graphics and artwork from posters used in various countries at the time.
The other noticeable aspect of both museums is the role of politics in their interpretive exhibits. The World War I museum does a masterful job in both its exhibits and videos of analyzing the political conditions that existed in Europe before the coming of the Great War. Topics such as nationalism, colonialism, imperialism, racism, and entangling alliances are explained with clarity and precision without sacrificing complexity. Equally important, the World War I museum places particular interpretive emphasis on conditions in Europe, not the United States. I believe this distinction is really important. While the museum is tasked with educating visitors about the American role in war, the staff at the museum astutely understand that this role must be fit within a larger story that spends several years in Germany, England, France, Austria-Hungary, Serbia, and the rest of Europe before the U.S. became a leading actor. The museum’s splitting into two sections between the years of 1914-1916 and 1917-1918 (when the U.S. entered the war) reinforces the importance of not focusing on the war’s history through too strong of an American lens.
The World War II museum, however, struggles to address the equally messy politics of that conflict. The exhibits throughout the museum barely touch political matters beyond the interactions between politicians and generals with regards to military strategy and tactics. A film narrated by the actor Tom Hanks does acknowledge that the U.S. faced two growing enemies in fascist Europe and imperial Japan, but doesn’t explain how these two forces came to be. Visitors are told, for example, that the Nazi party ruled Germany through the ideological lens of hatred and Aryan racial purity, but doesn’t explain how the Nazi party appealed to a wide swath of German voters or point out that Hitler was democratically elected. Likewise, Japan is portrayed as a militaristic, land- and -resource-hungry empire bent on conquering all of Asia, but why Japan held these ambitions and how they gained such power in the first place is left unexplained.
Another contrast of equal interest is the use of patriotic themes through these museums. The World War I museum takes a somber, reflective tone throughout its exhibits. The most notable example is the Paul Sunderland Glass Bridge. Underneath the bridge lies 9,000 poppy flowers in a field. Each flower represents 1,000 deaths during World War I, symbolizing the nine million people worldwide (not just Americans) who died in that conflict. No such display is exhibited in the World War II museum, and while the Tom Hanks film points out that 65 million people worldwide died in World War II, it becomes evident in the film and surrounding exhibits that the 400,000-plus Americans who died during the war will get particular attention in the interpretive programs. Nothing demonstrated this fact more than a musical program in one of the World War II museum’s buildings. Three women in 1940s-style dresses–one red, one white, and one blue–sang patriotic songs for roughly thirty minutes, including the songs of each military branch and Lee Greenwood’s “God Bless the USA.” During Greenwood’s song the women pulled out a U.S. flag, which in turn led to rancorous applause among the museum’s visitors. This exercise isn’t necessarily wrong or out of place at a museum of American history, but I can’t help but feel like such a display would feel unusual at the World War I museum. Likewise, similar exercises would feel awkward in a German museum like the Jewish Museum, Berlin, or the German Historical Museum, both of which I visited in 2015, where such open displays of patriotism and nationalism are fraught with their own difficulties and historical baggage. The musical program reinforces the history of World War II as a “Good War” in American memory, as historian John Bodnar explains in his 2010 book on the topic. U.S. involvement in World War II was good, of course, but the story is more complicated than singing a Lee Greenwood song.
In sum, the interpretive focus of the World War I Museum is a warning in the dangers of excessive nationalist sentiment and an elegiac meditation on the destructiveness of war, particularly one in which modern technology further amplifies the killing. Conversely, the interpretive focus of the World War II Museum is openly nationalist, Ameri-centric, and a borderline glorification of war. The World War I museum explains the causes of the war, its effect on world affairs, and the consequences of an inadequate peace treaty that helped foster another tragic world war just a few decades later. The World War II museum only mentions the causes of the war in passing through a video. While it does highlight the bloodshed of the war, particularly the blood shed by American soldiers, it struggles to tie in the conflict with other global affairs and chooses to stop at the war itself. The messy politics of the Cold War are put to the side in favor of a simple narrative of American progress and freedom.
I enjoyed both museums and believe that everyone would benefit from visiting both, but I believe that the World War I museum is superior in its interpretive programming and educational themes. It remains one of the best museums I have ever visited.
Back in August Kevin Levin of Civil War Memory wrote a short blog post about the Missouri Division of the Sons of Confederate Veterans. He mentioned that the MO SCV paid to have two billboards put up–one “near Kansas City” and one “outside St. Louis”–with three men posing in Civil War outfits, a Confederate flag in the background, a listing of the organization’s website, and a very strange question: “75,000 Confederates of Color?” I read Kevin’s post and subsequent comments while having a good laugh but didn’t think much about it after that.
Well, I just happened to have found the billboard “outside St. Louis” yesterday while driving on Interstate 70. It is located in High Hill, a tiny town of 200 people about an hour west of St. Louis, and can be seen when going eastbound towards St. Louis.
In recent years there has been a push within some quarters of the Civil War history world to suggest that there were thousands–if not tens of thousands–of African American men who voluntarily chose to serve in the Confederate military during the war. I’ve chosen to stay out of this particular conversation because I think Levin and a number of other Civil War bloggers have done a fine job of covering the topic. Kevin’s also got a forthcoming book on the myth of Black Confederates that I look forward to reading when it comes out. But what I do know is that historians generally acknowledge that a small number of blacks may have served in the Confederate military following the Confederate Congress’s passing of General Order No. 14 on March 13, 1865, a month before General Lee’s surrender at Appomattox. The act gave President Jefferson Davis the authority to “ask for and accept from the owners of slaves, the services of such number of able-bodied negro men . . . to perform military service.” But the idea that tens of thousands of African Americans slaves, much less 75,000 of them, voluntarily chose to fight for the Confederacy is simply wrong and without evidence. Suffice to say it would have been literally impossible for most enslaved African American males to voluntarily choose to fight for a government dedicated to their continued enslavement.
There are many reasons to explain the rise of this phenomenon. One is a simple misreading of so-called “Black Confederate Pensions” that some former camp servants received after the war. Since the United States government did not award pensions to former Confederate veterans in the years after the war, former Confederate states took it upon themselves to establish a pension system for former soldiers. But some of these pensions dollars also went to former black camp servants who could prove that they had rendered some sort of service for the Confederacy, be that building earthworks, cooking and cleaning, or attending to the needs of a white enlisted soldier. These pension records are sometimes misinterpreted to suggest that Black men were enlisted in the Confederate military and treated as soldiers at the time when in fact they were not. For example, our old friend George Purvis once attempted to argue on this blog that he could find “10,000 names and numbers [phone numbers???] of Negroes” based on his own misreading of these pension records, and, in an odd extension of this argument, suggested that it was actually black soldiers in the United States military who were forced to serve! In other situations I suppose the black Confederate argument emerges as a way of arguing that the war had nothing to do with slavery or, as seems to be the case of the Missouri SCV, to promote a preferred narrative of the war and boost membership in and awareness of the organization.
If the motivation of the SCV in raising these billboards is to promote awareness and support of the organization, why does the statement “75,000 Confederates of Color” end with a question mark? While High Hill gets tens of thousands of drivers on a daily basis driving through on Interstate 70, why is the sign located there and not closer to the St. Louis regional area, where upwards of three million people live and commute daily? And while we know that numerous Indian tribes and a smattering of other racial groups in small numbers supported the Confederacy during the war, how does the Missouri SCV come to conclude that the correct number of people of color who served in the Confederate military is 75,000? Why not 10,000, 100,000, or four million? Where is the evidence for this claim?
But, you may say, herein lies the power of effective advertising! The billboard is provocative and challenges you to learn more by visiting the MOSCV.ORG website, where you can find the answer to this question. Fair point.
Well, I did just that today, and in the course of researching every nook and cranny of this website I can pass along to you that there is not a single resource on it to substantiate the claim that there were 75,000 “Confederates of Color” in the Confederate military during the Civil War. The lone piece of evidence the Missouri SCV offers is a 1903 newspaper article from the Confederate Veteran about one “Uncle” George McDonald, who is identified as “a colored Confederate veteran” but whose military assignment and regimental unit go unmentioned. There are no other primary source documents or references to reliable historical scholarship on the topic of “Confederates of Color” listed anywhere on the site.
Since there wasn’t much else on the Missouri SCV’s website about this topic, I opened up the most recent newsletter to see if there was any mention of the billboards there. Nope. There was news about recent Confederate flag rallies throughout the state, including one in the St. Louis area that I didn’t realize was organized by the Missouri SCV when I wrote this blog post about it last year. And there was a rather interesting editorial that included the following commentary:
As I am sure ya’ll are aware, our heritage is under attack from every angle imaginable. Our enemy our opportunists and they do not rest; NOR SHOULD WE. Even within our borders of our sovereign MISSOURAH, the flags of our ancestors have been removed from the sacred grounds of their final resting places and monuments to their memory are moved or relocated. The very sight or mention of anything Confederate sends college students scurrying for their “safe zones.” In St. Louis, the politically correct liberal bastion of insanity, the Confederate Memorial at Forest Park has been deemed unfit for common public view by the historically incompetent Mayor Francis Slay of St. Louis. Mayor Slay wants the memorial out of Forest Park. His actions are tantamount to what ISIS is doing worldwide as they spread their version of hate.
Is this approach really the best one for making your point and convincing others of your arguments? To be sure, I’m not interested in making blanket generalizations about the views and opinions of the Missouri SCV as a whole, but we learn a few things about the editors of their publications in this commentary. Obviously there is a tinge of contemporary politics underlying the SCV, particularly the belief that liberals can’t handle dissenting opinions (although this screed makes you wonder if these newsletter editors can handle dissenting opinions without going off the rails) and that places that lean liberal are bastions of “insanity.” Most interesting is the implied proclamation (to me at least) that a true Missourian supports Confederate heritage and proudly calls this state “Missourah” while the city of St. Louis is some sort of otherized foreign entity whose residents don’t represent that values of the state as a whole. What’s equally odd about all of this is how the SCV boldly proclaims on its homepage that it has taken steps to “[educate] the public about the ethnic diversity that existed in the Confederate ranks,” yet these newsletter editors have no qualms saying such nasty things about St. Louis, a place where, you know, many PEOPLE OF COLOR live.
(Also, just to clarify, Mayor Slay did not call for the Confederate Memorial at Forest Park to be removed, only that it was “time for a reappraisal” and a broader conversation within the St. Louis community about the merits of the monument remaining in Forest Park. Mayor Slay’s committee looked into finding an institution willing to take the monument without success and it remains in Forest Park today).
It’s never a dull day here in Missouri.
Back in February I had the opportunity to travel to the University of Memphis to hear a talk from Dr. Andre E. Johnson and meet leaders at both the University of Memphis and the larger Memphis community to discuss efforts to commemorate the Memphis Massacre of 1866. The formal ceremony commemorating the event occurred in May. What follows is a brief essay I wrote following my trip to Memphis. At this point it is slated to be published in a future National Park Service Handbook on the Memphis Massacre, but I want to also share it with readers here on the blog.
My job with the National Park Service at the Ulysses S. Grant National Historic Site (ULSG) in St. Louis, Missouri, requires that I interpret difficult and contentious topics in nineteenth century American history, including slavery, the causes of the Civil War, and the politics of postwar Reconstruction. The programs we offer at the park are reflective of a larger interpretive shift within the NPS over the past twenty years. This shift explicitly ties stories of emancipation and political debates over civil rights to the military aspects of the Civil War experience. By connecting political and military conflicts within a broader interpretive framework, the agency’s educational initiatives aim to demonstrate how the Civil War Era represented a prolonged and violent struggle over the meaning of American freedom. One such initiative is taking place at the University of Memphis, where NPS officials at ULSG recently began working with the university and other community members to raise awareness of one particularly harrowing event from the era: the Memphis Massacre of 1866.
One major takeaway from learning about the massacre and meeting community leaders in Memphis pushing for a public commemoration of this tragic event is that I’ve gained a better understanding of the evolving terminology scholars are currently using to describe racialized violence in American history. The words we use to describe historical events can say much about the ways we understand and remember the past, and they play a crucial role in providing context for describing historical events. Historically the May 1866 mass killing of African Americans in Memphis by white residents has been described by scholars and popular media as a “race riot.” This has also been the case with similar events in Wilmington, North Carolina (1898), East St. Louis, Illinois (1917), and Tulsa, Oklahoma (1921). But the leaders of this commemorative effort in Memphis have boldly and correctly reframed this event as a “massacre.” I believe riots and massacres are distinct from each other in two different ways.
The first distinction lies in the use of violence. In a riot there are usually two groups of people engaging in violence. One group attacks property, other citizens, and/or a government authority, while the second group—typically the government authority—responds by using law enforcement to shut down the first group, often through their own use of violence. In a massacre, however, only one group uses violence, and that violence is often targeted towards powerless groups unable to defend themselves. Under this terminology we can clearly say that what happened in Memphis was indeed a massacre of innocent victims, not a riot. In fact, governmental authorities in Memphis actually encouraged the plundering of black lives and property in the area. General George Stoneman, in charge of black and white Army troops at nearby Fort Pickering, stated as much in later Congressional testimony about the violence.
The second distinction lies in emphasis. The language of riots places the interpretive focus on groups engaging in violent attacks. The language of massacres, however, places the interpretive focus on the victims of those violent attacks, forcing us to ask why these people were targeted for the destructive treatment they received from oppressive social groups and government entities. By rebranding the events in Memphis in 1866 as a massacre, the National Park Service, scholars at the University of Memphis, and other community members are leading an important effort to commemorate the lives of black Memphians who attempted to carve an existence for themselves as freedpeople in a newly reconstructed country, but whose hopes and dreams for the future were destroyed over three days of deadly racialized violence towards their community.