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In Voices in Our Blood, Newsweek managing editor John Meacham accurately samples the complexity of the civil rights movement's underlying themes, assembling an impressive, eclectic array of commentary, journalism, and interviews. Here is a running narrative of America's deep midcentury moral crisis, as recorded by the era's finest writers. In his stirring introduction, Meacham quotes Richard Wright's prophetic 1945 statement regarding the abolition of legalized segregation: "If this country can't find its way to a human path, if it can't inform conduct with a deep sense of life, then all of us, black as well as white, are going down the same drain."
Jim Crow, while a reality for black Americans, was peripheral to post-WWII white Americans, who were more intent on pursuing prosperity than tackling racial discrimination and answering the "Negro Question." Many black and white contemporary thinkers, though, pushed the nation's social conscience, and their brilliantly written reportage and commentary fills Voices in Our Blood. Meacham's anthology illuminates the human lives at risk, as well as the broader cultural and philosophical aspects of the struggle.
The collection is both a literary delight and a documentation of racism's pervading poisons. Willie Morris's North Toward Home (1967) peers behind a small Mississippi town's façade of normality, exposing the legalized apartheid and soul-warping prejudice that define life and its parameters. For Maya Angelou, in passages excerpted from 1970's I Know Why the Caged Bird Sings, poverty and racism become almost living entities in her Arkansas childhood. Meanwhile, James Baldwin eloquently and poetically describes the bitter toll exacted by prejudice and denied opportunity on a black Harlemite in Notes of a Native Son. A stellar (surprise) inclusion is Rebecca West's 1947 article "Opera in Greenville," detailing the racial killing of a black man in South Carolina and its terrifying aftermath.
In these and many other selections, Meacham ably captures the civil rights movement in motion, balanced between hope and despair. And ever for the oppressor, the ultimate price of inequality is high. As novelist William Faulkner poignantly asks (of his fellow white southerners), "Why didn't someone tell us this before? Tell us this in time?" (Robert Fleming)
Robert Fleming is the author of many books, most recently The African-American Writer's Handbook: How to Get in Print and Stay in Print. He is also a contributor to Brown Sugar: A Collection of Erotic Black Fiction. Mr. Fleming lives in New York City
| Introduction | 3 | |
| I | Before the Storm | 9 |
| Inheritors of Slavery | 13 | |
| North Toward Home | 32 | |
| Notes of a Native Son | 41 | |
| A Pageant of Birds | 57 | |
| I know Why the Caged Bird Sings | 61 | |
| Opera in Greenville | 75 | |
| II | Into the Streets | 105 |
| America Comes of Middle Age | 111 | |
| American Segregation and the World Crisis | 120 | |
| The Moral Aspects of Segregation | 123 | |
| The Cradle (of the Confederacy) Rocks | 129 | |
| Parting the Waters: America in the King Years | 150 | |
| Prime Time | 154 | |
| Letter from the South | 162 | |
| Segregation: The Inner Conflict in the South | 167 | |
| Travels with Charley | 203 | |
| Liar by Legislation | 209 | |
| Harlem Is Nowhere | 214 | |
| An Interview with Malcolm X: A Candid Conversation with the Militant Major-domo of the Black Muslims | 218 | |
| Wallace | 235 | |
| Mystery and Manners | 267 | |
| The Negro Revolt Against "The Negro Leaders" | 268 | |
| III | The Mountaintop | 281 |
| "I Have a Dream ..." | 285 | |
| Capital Is Occupied by a Gentle Army | 288 | |
| Bloody Sunday | 292 | |
| Mississippi: The Fallen Paradise | 318 | |
| This Quiet Dust | 328 | |
| When Watts Burned | 346 | |
| After Watts: Violence in the City - And End or a Beginning? | 348 | |
| The Brilliancy of Black | 352 | |
| Representative | 367 | |
| The Second Coming of Martin Luther King | 370 | |
| Martin Luther King Is Still on the Case | 389 | |
| IV | Twilight | 409 |
| "Keep On A-Walking, Children" | 413 | |
| "We in a War - Or Haven't Anybody Told You That?" | 450 | |
| Radical Chic: That Party at Lenny's | 463 | |
| Choosing to Stay at Home: Ten Years After the March on Washington | 478 | |
| A Hostile and Welcoming Workplace | 486 | |
| State Secrets | 499 | |
| Grady's Gift | 517 | |
| Acknowledgments | 529 | |
| Permissions Acknowledgments | 531 | |
| Index | 533 |
1. What is the vision of black America painted by Richard Wright in "Inheritors of Slavery" and what is the vision of white America painted by Willie Morris in "North Toward Home"? And how did the themes and passions Wright and Morris identified shape the beginnings of the movement?
2. It's often thought that the North was ahead of the South on race relations. Based on the piece by James Baldwin, do you think that's true? And if not, why not?
3. Rebecca West wrote a powerful piece for The New Yorker about a lynching trial in Greenville, South Carolina, just after she had written about Nuremberg. "Lately Europe had not been really what any of us could call a peaceable community," she said. Are there parallels between Hitler's Germany and the Jim Crow South? If so, what are they?
4. When Robert Penn Warren returned to the South to talk to people about the desegregation decisions, a Southern woman he knew who lived in the North said to him, "'I feel it's all happening inside of me, every bit of it. It's all there.' I know what she meant.'" What did she mean? And how do the voices collected in Warren's long essay illustrate the conflicting forces that shaped the movement?
5. After reading Taylor Branch's portrait of King from "Parting the Waters" and "An Interview with Malcolm X," what do you think were the key issues both uniting and separating the two leaders? Were they more alike, or unlike? And do you think Louis Lomax had it right in "The Negro Revolt Against 'The Negro Leaders,'" which tries to shed light on the fissures within the movement?
6. In "Bloody Sunday," John Lewis recalls the day he was beaten on the Pettus Bridge in Selma, Alabama, and links the images of that day to President Johnson's call for voting rights legislation. Do you agree or disagree with the proposition that the moral witness in the streets led directly to action in Washington?
7. In both Lewis's memoir and Bernard Weinraub's profile of Stokley Carmichael, the principals discuss tensions within the movement. What were those tensions? Do you think there were avoidable or at least manageable? And given the accumulated weight of the narratives about the key figures--King, Lewis, Malcolm X, Carmichael--do you think the movement was made by certain personalities or would have largely unfolded the same way no matter who stood at the pinnacle of the organizing forces? In other words, was the movement the product of personalities or more impersonal, inexorable forces?
8. Why the overarching sense of bleakness in Pat Watter's "Keep On A-walking, Children"? What in his view had produced such chaos so relatively quickly, and do you think there is an implicit prescription for ongoing social action in his essay?
9. Using David Halberstam and Tom Wolfe's reporting, weigh the interplay of social movements in those days, from race relations to Vietnam, in the North and the South. What happened to the seeming clarity of the early sixties?
10. What is the nature of the relationship between whites and blacks in Howell Raines' "Grady's Gift"? Do you think the characteristics of that relationship were more or less prevalent in those decades, and, if so, what influence do you think those forces had on the course and climax of the movement?
From the Trade Paperback edition.
Anonymous
Posted August 12, 2010
No text was provided for this review.
Overview
Voices in Our Blood is a literary anthology of the most important and artful interpretations of the civil rights movement, past and present. It showcases what forty of the nation's best writers — including Maya Angelou, James Baldwin, Ralph Ellison, William Faulkner, John Steinbeck, Alice Walker, Robert Penn Warren, Eudora Welty, and Richard Wright — had to say about the central domestic drama of the American Century.Editor Jon Meacham has chosen pieces by journalists, novelists, historians, and artists, bringing together a wide range of black and white perspectives and experiences. The result is an unprecedented and powerful portrait of the movement's...