Friday, June 26, 2020

The Chicks - March March

When will this end?


Again and again police kill innocents. Think of Elijah McClain in a state of terror because he knew the three Aurora (Colorado) Police officers came to kill him. Think of all the black men who instinctively knew this was their turn. In July 2020 police will execute more black men and women and will not feel any remorse. Why should they? President Trump, Mitch McConnell and the Republican Party stands with them.


Tuesday, June 23, 2020

Trump Didn’t ‘Send In The Troops.’ They Were Already There.


Trump Didn’t ‘Send In The Troops.’ They Were Already There.


A little more than 28 years ago, a convoy of Marines drove north on Interstate 5 toward Los Angeles. I was in the convoy, a young Marine company commander, riding with misgivings. 

The city was smoldering after two nights of violence and arson following the acquittal of police officers who had brutally beaten Rodney King, an unarmed black man. President George H.W. Bush had federalized active-duty troops overnight under the Insurrection Act, an 1807 law that grants a president powers to deploy military forces against domestic rebellion or disorder. 

Before departing our base at Camp Pendleton, my company gunnery sergeant, a reasonable and world-weary grunt in his 30s who was wounded in Kuwait the year before, came to see me in my office. He thought Bush’s decision was a bad call. Our unit was packed with veterans from Desert Storm who were experienced and well trained, but we knew little about countering civil disturbance, much less the complexities of operating as agents of domestic law enforcement. And now, on essentially no notice, we were to be issued shields and batons and turned loose? 

After the gunny and I conferred, I met one of our bosses and suggested we leave our unit’s machine guns and other heavy weapons in the armory and go north only with riot-control equipment, Beretta pistols and M16s. It seemed clear enough that machine guns would almost certainly be disproportionate to the situation in Los Angeles, and that a mishap could be catastrophic. Our colonels agreed. As our company drove north, the machine-gun turrets of our Humvees were empty. 

Along the interstate between Camp Pendleton and our first stop, the now-closed Marine Corps Air Station in Tustin southeast of Los Angeles, people turned out at guardrails and overpasses to cheer the Humvees and troop-carrying trucks. I remember their pumping fists and applause. I remember ebullient faces shouting words we could not hear over the diesel engines’ low rumble. And I remember that most of the faces along the highway were white. Riding shotgun in the lead Humvee, I felt shame. 

How a government prepares for and uses violence — including when, why and against whom — contains on some level a declaration about what kind of government that government is. At Tustin, we passed out ammunition, quickly practiced riot-control formations in front of television-news crews and then headed into Los Angeles and cities nearby. As my company arrived in Compton, I’d like to say we understood the context of the role we were given: that even a limited Marine deployment in a genuinely extreme situation would run inevitably into the ugly history of state force in the United States, and who receives the brunt of it. But domestic crowd control had never been our specialty, and because this was 1992, a time before Google and smartphones, we could not readily call anyone or look anything up. We didn’t know, as we met our new police partners, that the Insurrection Act was a tool American presidents repeatedly relied on to reinforce the police or impose law when the inequities and brutalities of slavery and its enduring legacy became especially combustible: to crush Nat Turner’s rebellion, to suppress the Ku Klux Klan during Reconstruction, to enforce desegregation in Arkansas, Mississippi and Alabama and to patrol streets and enforce curfews in the wake of riots following the assassination of the Rev. Dr. Martin Luther King Jr. Our particulars were smaller and immediate. We were to help restore order after arson, mayhem and murder. Peacekeeping, we called it, whatever that meant. 

We did learn one thing fast. The Marines’ presence in greater Los Angeles during roughly the next week — part of an operation that included soldiers from the Army’s Seventh Light Infantry Division as well — felt unnecessary. By the time we arrived, the fires had burned down and the violence that killed dozens of people had subsided. California’s National Guard was already on the ground. My unit met tense cops but generally quiet streets. Troops settled into work conditions we knew well: boredom, and wondering what the bosses were thinking. 

Nonetheless, our presence soon followed the rules of Chekhov’s gun, the principle that a firearm shown onstage in one scene will be discharged at some later moment. A few nights after the city had calmed, the gunny and I were atop a parking garage in Compton when we heard an eruption of M16 fire a few blocks away. The sound of multiple rifles firing at once, some rapidly, resembled the immediate-action tactic of ambushed Marines. The gunny and I rushed toward the noise and found a scrum of police officers and patrol cars outside an apartment complex and expended rifle cartridges on the sidewalk and lawn. 

Several Marines had shot M16s into the building, we were told, at the request of police officers who were fired upon by a man with a shotgun while answering a domestic-violence call. A detective informed us that after facing rifle fire, the suspect inside dialed 911 and surrendered to a dispatcher. No one in the apartment was seriously hurt, the detective said, but a small boy suffered cut feet while dashing over the window glass shattered as bullets flew through his home. 

We had unwittingly drifted into a dilemma inherent in missions like ours: How are combat troops to mix with civilian police without blurring, or erasing, lines between the two? 

After the mass demonstrations following a white Minneapolis police officer’s killing of George Floyd while his fellow officers looked on, officials in the United States deliberated once again over whether to send American combat troops into cities. The discussion was driven by threats or calls for military action from both President Trump and Senator Tom Cotton, who urged “no quarter” against “insurrectionists, anarchists, rioters and looters” — a proposal for merciless violence against American citizens, including in ill-defined categories, that sounded both reckless and illegal. Official threats of state violence can be little more than performance, a kind of law-and-order signaling, and it was not clear how seriously Trump considered following through. But it was impossible, upon hearing Trump’s and Cotton’s bellicosity, not to remember how close my Marines came, in the confusion of a job they were not trained to do, to killing a child. 

The Pentagon did get involved. As protests swelled and thieves ransacked stores in multiple cities, Army officials shifted paratroopers from the 82nd Airborne Division from barracks in North Carolina to a base outside Washington and summoned National Guard soldiers or aircraft from 13 states to the District of Columbia. A politically and demographically diverse part-time force was posted around the White House on duties that gave it the appearance of a palace guard. (That perception was furthered by the fact that 11 of the 13 state governors who provided National Guard soldiers or equipment are Republican.) Guard soldiers also supported police officers in the violent removal of peaceful protesters from Lafayette Square, and Guard helicopters descended low over Washington’s streets, driving pedestrians before them with stinging grit and rotor wash. 

The president did not invoke the Insurrection Act, having put boots around the seat of power by other means. He didn’t have to. In a time when American police departments possess protective equipment and weapons more sturdy and sophisticated than anything my Marine company carried in Compton in 1992, state and municipal governments needed no help from paratroopers or Marines as they cleared streets and punished crowds collectively with militarized force. And the local and state rollouts, like the Marines’ drive to Los Angeles almost three decades ago, only boldfaced one question driving the protests: What did all this government violence, and the muscular display of paramilitarized police officers wearing the patches of cities throughout the land, say about how the United States chooses to relate to its own people? 

Not long after my company’s mission in Compton, I resigned from the corps to begin a journalism career, much of it spent covering organized violence and war, including crackdowns on civil society and political opponents by repressive states, often via military and police units with equipment and weapons so similar it could be difficult to tell the forces apart. 

In late 2005, I found myself in Baku, the capital of Azerbaijan, covering a demonstration in which aggrieved Azeris sought to have the results of a rigged parliamentary election annulled. Such demonstrations were part of the routine at the time for correspondents across the former Soviet Union, where citizens in many countries were rising up in mostly peaceful demonstrations against corrupt post-Soviet governments. In some countries (Georgia, Kyrgyzstan, Ukraine), the protesters drove their rulers from power. In others (Russia, Uzbekistan, Belarus), they ran into firmly entrenched regimes that quelled dissent with farcically rigged elections, strict limits on rights and force. Azerbaijan, wedged between the Caucasus Mountains and Iran on the Caspian Sea, fell in the second group. The government had issued the protesters a permit to gather in a large square until evening. Around them, formations of riot police waited, disciplined and blank-faced. They remained impassive as the crowds chanted “Freedom!” and railed against President Ilham Aliyev, who had ascended to the presidency just before the death his father, Heydar, a former senior Soviet official and K.G.B. officer who consolidated control over independent Azerbaijan in 1993. After years of Aliyev rule, no citizen could recall an honest election result. The Aliyevs, atop an oil-producing state, had become fabulously rich. 

Throughout the demonstration, the troops were essentially leashed. Protesters denounced the falsified vote while the state formations let them vent in the November chill. Having once been on crowd-control duty myself, I watched the police with a small pair of binoculars from among the protesters as the deadline approached. 

No sooner had the permit expired than the supervisors standing outside each formation lifted their tactical radios to their ears. Some nodded. Others turned and faced their troops. All gave their orders, almost at once. Everyone knew what it meant: Time’s up. 

Inside the demonstration, people braced. 

The crackdown proceeded swiftly. The troops advanced on the crowd with batons and began chopping their way through, smacking anyone within reach. Tear gas drifted across the square. Trucks with water cannons followed. Demonstrators gave way as the police closed in, running pell-mell, screaming, dropping bags, flags, banners, signs and anything else that was in their hands as they sought escape. The air filled with the whacks and thuds of truncheons on jackets, flesh and bone. 

Within minutes, it was over. Two women sprawled near me on the ground, unconscious amid acres of dropped flags and lost shoes. During it all the police had taken pains not to strike journalists. Troops ran up beside photographers and reporters to beat people beside us, then looked for the next victim and moved on while the cameras clicked. 

The degree of control was chilling, reflecting the unstated but perfectly clear logic of a confident, contemptuous power. It was not just that in any contest for the street, the government and its forces enjoyed a lopsided advantage and would use it — a position hardly unique to authoritarian rule. It was that the kleptocracy wanted this crackdown seen and transmitted, so any would-be Azeri activists would know what to expect if they challenged the state’s central tenet, which was that the Aliyevs would never willingly yield what they saw as theirs. Brute force and the ability to command it — not elections — determined who got to hold power and run the national rackets. State violence did more than clear the streets. It served as lesson and show. Almost 15 years later, Ilham Aliyev is still president. 

For all Trump’s tilts toward authoritarianism and his intolerance of dissent, the United States has not yet descended to anything like this. But the tools at hand for confronting public outrage and civil disobedience have changed, with political consequences of their own. Police departments have undergone decades of arming up and mission creep, putting officers in intimidating kit and giving governing officials, in moments of tension, command of organizations that in some cases resemble the crackdown squads of countries like Azerbaijan. 

It is easy to trace the lines from Pentagon failures in Iraq and Afghanistan to the distribution of military weapons and equipment, and sometimes the attitudes that accompany them, to police departments at home. After the invasion of Iraq, small-arms ambushes and improvised bombs began killing and gravely wounding American troops in Humvees at a startling pace, exposing the Pentagon’s unpreparedness for occupation at the expense of its volunteers’ lives. Military contractors responded by rushing into production a new family of heavier armored vehicles, known as MRAPs (Mine Resistant Ambush Protected), and smaller, more maneuverable armored military trucks called M-ATVs (Mine Resistant Ambush Protected All-Terrain Vehicles). Within a few years of these vehicles’ becoming ground-force mainstays for American troops fighting the Islamic State in Iraq and the Taliban in Afghanistan, tactical vehicles from both families were on offer for civilian police agencies, at times with Department of Defense assistance or encouragement. So was other equipment developed for combat forces: sniper rifles, holographic sights, bomb-disabling robots, night-vision devices, upgraded ballistic helmets, body armor and more. 

The up-the-arsenal mentality was in part a function of the enduring post-Sept. 11 mind-set that in an age of global terrorism, even small municipalities had to be ready for anything. But the momentum toward militarization dates back further. 

One root reaches to the mass shooting in Stockton, Calif., in 1989, in which a white racist opened fire with a semiautomatic Kalashnikov rifle on an elementary-school playground, killing five children and wounding at least 30 other people. The attack became an impetus for restrictions on military-style weapons, including the federal assault-weapons ban, which prohibited the manufacture and purchase of several types of rifles and certain magazines from 1994 to 2004. Another root extends to North Hollywood in 1997, when two bank robbers wearing body armor and carrying rifles modified to fire automatically fought an extended gun battle with officers from the Los Angeles Police Department. Images of officers pinned down behind cars, and reports that officers rushed to a gun store to get more weapons for the fight, helped spur police agencies to arm themselves more heavily. 

Justifications kept coming. When the assault-weapons ban tolled in 2004, pent-up demand among firearms enthusiasts for AR-15s and similar weapons caused consumer sales of military-style rifles to soar, creating another incentive for police departments to stock up. American police officers and American citizens were in a veritable arms race. Then came more mass shootings. 

Recent Changes Sparked by the Protests 

Updated June 22, 2020 

In New York, the City Council passed a bill that for the first time will require the police to reveal information about their arsenal of surveillance tools, some of which may have been used in recent days at protests in New York. Mayor Bill de Blasio and police officials have previously opposed the bill, but changing course this week, the mayor said he was now inclined to sign it. 

Police agencies faced contradictory calls. Departments were supposed to be close to their communities and capable of a light touch but also organized to stop mass murderers who could pop up at any public gathering anywhere. One was grounds for cops on bikes, the other for expanding procurement of tools designed for war, including the M4, the carbine version of the M16. The police also bought an array of dangerous but euphemistically named “less-lethal” weapons designed for putting down civil disturbances: firearms that discharge hard foam, plastic or beanbag projectiles instead of standard metal-jacketed lead; hand grenades or small-arms cartridges that release irritating or incapacitating powders or gases; and flash-bang munitions that startle and drive off people with bright light and concussive sound. 

The manufacturer of one such weapon, a sting-ball grenade, advertises its product’s crowd-clearing cocktail of “four stimuli for psychological and physiological effects: rubber pellets, light, sound and CS,” commonly called a tear gas. Police agencies also procured spray cans of riot-control agents, larger versions of the small canisters mail carriers use to drive off unruly dogs. Many of these weapons would have been exotic to my Marines in 1992. They are common in civilian police agencies now. 

What happened next should not have been surprising. Call it Chekhov’s tear gas. Once police departments around the country had armor and armories filled with the latest generation of novel crowd-control weapons and were faced with widespread disorder, heavily equipped officers were going to put their new weapons to the kinds of uses seen in late May and early June. Video footage and photographs from many cities in the United States showed police officers in helmets and armor using dangerous weapons repeatedly against unarmed demonstrators, including at short range against people with their arms raised overhead and hands empty of objects that could be mistaken for weapons — people in postures indicating submission, compliance or an absence of any physical threat at the moment they were shot, blasted or sprayed. These weapons were in addition to the authorities’ hard plastic shields, at times wielded offensively, and the almost-ubiquitous batons. 

Many of these actions looked more than excessive; they looked unlawful, punitive and disdainful. The violence had its effects. People collapsed. Crowds scattered and gave way. Individual protesters were rendered immobile or defenseless, easier to detain and cart off. 

But a resounding lesson of the past month is that Seattle, New York and Washington are not Baku. Americans had quietly tolerated the shift to police officers bedecked in Kevlar vests, tactical pouches and equipment belts, as well as the presence of officers with M4s and helmets in public spaces and events. But the attacks on unarmed crowds, coupled with the roll call of black Americans killed by the police, one after another, produced a collective shock. The impacts of crowd-control projectiles on the heads or faces of several protesters, and at least one journalist, left the victims blind in one eye or in intensive care. Imagery of fresh cases of “less-lethal” police violence compelled more people, enlivened by outrage or surprise upon seeing police brutality as a repeated police reaction to people protesting police brutality, to join the demonstrations’ swelling ranks. 

Arming up had backfired. In a nation in which rights of dissent and assembly are constitutionally codified, the extensive use of crowd-control weapons served to summon larger crowds. In places, the crowds felt oceanic. 

A few days after the police cleared a path for President Trump to Lafayette Square in early June, I drove to Providence, R.I., the capital of my home state, for a Black Lives Matter rally in the late afternoon. The city had a 9 p.m. curfew in effect and roadblocks on the street. The crowd in the country’s smallest state was still enormous and diverse; police officials said it was the largest demonstration the city had ever seen. Waves of people moved toward the State House with a social breadth the police themselves recognized. When I asked a police supervisor watching over an intersection, Maj. Robert Lepre, if he knew any of the protesters, he replied, “I just saw my cousin.” Behind him, one of his uniformed officers, a young black woman, wore a Black Lives Matter armband over her right forearm. People chanted, “I can’t breathe,” a few of George Floyd’s dying words. 

Throughout the afternoon, the city’s Police Department opted for a generally hands-off, nonconfrontational presence. The department’s chief, Col. Hugh T. Clements Jr., and the public-safety commissioner, Steven M. ParĂ©, stood at the edge of the rally until early evening, talking with any passers-by who came forward. The chief wore a normal daily uniform. The commissioner wore a suit. They had no further security and kept their body language relaxed. 

The real test was to come. Earlier in the week, thieves smashed their way into the city’s showcase retail mall and then scuffled with the police. With the curfew looming and National Guard soldiers at prominent buildings and intersections, Providence was under emergency measures that, like a baked-in showdown, forced the consideration of next moves upon demonstrators and the authorities alike. 

Before nightfall, most of the people trickled away. But hundreds remained to face off against two law-enforcement agencies — the Rhode Island State Police and the state’s National Guard — that lined the grand staircase descending from the State House’s southern facade. A third agency, the state police of neighboring Massachusetts, flew a helicopter overhead. 

Acts of civil disobedience require disobedience; the holdouts intended to stay out past curfew. Several organizers, including a cadre of young women, loudly signaled to the police and the crowd their explicit intention of remaining nonviolent. White protesters formed a front line between the helmeted force and the protesters of color. Among them were teenagers and schoolteachers. The protest had entered its next phase. 

At about 8 p.m., the state sent out fresh soldiers wearing helmets and face shields and carrying batons, with pistols at their hips and gas masks strapped to their thighs. This marked a change. At the peak of the demonstration less than two hours before, the immediate line of police officers between the crowd and the State House was a single rank of state-police troopers, dressed in black tactical uniforms instead of their organization’s usual patrol grays. These troopers carried pistols, batons and Tasers but wore no helmets and held their batons single-handedly, keeping them low and angled toward the steps. 

Now, in the face of a far smaller crowd, National Guard soldiers had roughly doubled the size of the force. Everyone but the senior supervisors wore helmets and leg pads, and the soldiers had raised their batons near their faces in a two-handed grip. Another officer walked behind the front rank with a large police dog. 

The crowd chanted on and waved signs. One man held up a poster that read: “IF THEY SHOOT, STAND BEHIND ME.” 

A state-police officer issued a warning, telling the crowd that it was unlawfully assembled and that people had five minutes to disperse or face less-lethal munitions and arrest on charges of disorderly conduct. 

The crowd, perplexed at being asked to leave before curfew, hissed and booed. A few people left. Most stood fast. 

The five-minute deadline for arrests came and went without the police following through with their threats. The next deadline, it seemed, would be 9 p.m. 

I had briefly left the State House steps to recharge my phone a few blocks away and was jogging back to the standoff at 8:15 p.m. when I came upon a large black vehicle performing a slow turn in the intersection where Clements and ParĂ© were casually standing not long before. It was a Lenco BearCat, the police cousin of the armored trucks from which American troops engaged in gunfights in Afghanistan and Iraq. Like my old unit’s Humvees in Compton, it had no visible automatic weapon. Still, its dark color and hulking form summoned many memories at once: of tactical trucks used against demonstrators overseas; of riding in similar vehicles with American troops at war against combatants using machine guns, rocket-propelled grenades and roadside bombs; of governments that are anything but popular or democratic; of the time I carried a weapon inside a military vehicle and took up positions in an American city after unrest following police brutality against an unarmed black man; of dashing to a Compton apartment after my Marines opened fire. 

I was struck by how tone-deaf it was for the authorities to deploy the truck near a crowd that, alongside demands of justice, was calling for police de-escalation. Clements, when I contacted him later, told me that the Providence Police Department possessed no such vehicle, “basically because of the optics of militarizing local police.” A state-police major acknowledged that their organization did have a BearCat — the name is an acronym for Ballistic Engineered Armored Response Counter Attack Truck — but said that it had not been present where I saw it, because it was held back at “a secure location.” After I emailed a snippet of time-stamped video of the black armored truck at the intersection, the major amended his answer, replying: “I can confirm the vehicle to be ours.” 

At the State House steps, just uphill from the BearCat, not everyone in helmets appeared onboard with the escalation underway. There were signs of enthusiasm; one large young man rocked on his feet, clasping his baton with two hands and grinning mischievously, telegraphing what looked like eagerness to use it on the people below. Others were expressionless. Several soldiers looked nervous and uncomfortable; they wore the age-old expression of young troops wishing they were somewhere else. Protesters appealed to the line, asking whether cracking down on unarmed fellow citizens was the job they joined the National Guard to do. 

“What would your mother think of you?” someone shouted. A woman led a chant: “I don’t see no riot here, why are you in riot gear?” One soldier, a young man, cried. 

As 9 p.m. approached, the state and the city faced another choice: Enforce the curfew and remove the crowd at risk of further fueling the public mood, or accept that the curfew had created an incentive for exactly the challenge mounted here. Maj. Gen. Christopher Callahan, commander of the Rhode Island National Guard, walked the line, talking on his phone. This time, unlike in Baku, I could see official uncertainty as the deadline came. No orders moved through the ranks. Neither the soldiers nor the protesters braced. 

Just after 9 p.m., the protesters announced that they had broken the curfew and would hold a long moment of silence — 8 minutes 46 seconds, the amount of time the Minneapolis police officer pressed the weight of his body down through his knee onto George Floyd’s neck. Demonstrators knelt, fists held high, sensing that they might have won. 

When the crowd stood, Gov. Gina Raimondo arrived. Raimondo, who is short and lean, is not imposing. But her frequent pandemic news conferences throughout the late winter and spring had given her an outsize presence in Rhode Islanders’ recent lives. She passed through the helmeted ranks into the crowd, where she put her arm around one protester. Demonstrators pressed near. 

“Thank you for coming out tonight,” Raimondo said into a small microphone. “Thank you for standing up for what matters. 

“You deserve to be heard, you deserve to be seen and you deserve action,” she continued. “You deserve change.” 

Several protesters interrupted. “Lift the curfew!” one called out. 

Raimondo kept talking, telling the crowd that she wanted to work for change. “It is not fair,” she said. “It is not right, what is happening in this country.” 

“So what have you done?” a voice shouted. 

A chant broke out: “Defund the police! Defund the police!” 

The governor tried to lead a prayer, but the crowd mostly drowned her out. She yielded the mic to a protester. As she turned to leave, the voice of a young woman rose above the others. She demanded to know whether the governor was abandoning the protesters to the helmeted formation still milling on the staircase. The state police, a force that answers to Raimondo, had threatened this crowd with less-lethal munitions and arrests roughly an hour before. 

“You going to stay when they do us?” the woman shouted. 

“Yes!” Raimondo shot back, “and no one is going to do you!” 

The exchange, played out in front of the armed ranks, felt like a quiet renunciation of the reflex to see force as the solution to problems that can’t be fixed with a rifle or a baton. Raimondo offered nothing to satisfy the protesters’ many complaints and demands. But for a moment, a person doing the governing stood before the aggrieved among the governed, instead of leaving the rank and file to shove complainants with shields or shoot them with plastic projectiles or spray them in their faces with irritants that would have made them repeat for the cameras what they were saying anyhow: I can’t breathe. It was almost as if someone understood that militarized police units, like the Insurrection Act, confront symptoms of foundational American injustice — clumsily and often cruelly — but do nothing about the cause. 

C.J. Chivers, a former foreign correspondent, is a staff writer for the magazine. He received the Pulitzer Prize for feature writing in 2017 and is the author of two books, including “The Fighters,” which chronicled the experiences of six American combatants in Afghanistan and Iraq.


Monday, June 22, 2020

America Explodes


America Explodes 

Adam Shatz on Trump’s domestic war Londoon Review of Bookls

In July​ 1999, the writer Joe Wood vanished while attending a conference of journalists of colour in Seattle. He was 34, a brilliant essayist, ferocious in his critiques of racism – not least as he experienced it in the ‘liberal’ publishing world. The last time we met, a week before his trip to Seattle, he was wearing a Malcolm X cap and carrying a well-worn copy of William Gaddis’s novel The Recognitions. On 8 July, after a breakfast with the Democratic presidential candidate and former basketball star Bill Bradley, Joe went to Mount Rainier to do some birdwatching. He never returned. The most likely explanation is that he fell down a ravine and lost consciousness (he had a heart condition), but Washington is a very white state, and some of his friends and family suspected racist foul play. At the time I doubted this; now I am not so sure. One of his friends told a reporter that he had not packed any provisions because he was only ‘going out for a couple hours ... sort of like going to Central Park’. 

I thought of Joe when I read about Christian Cooper, the black birdwatcher who crossed paths with a white woman and her dog in Central Park on the morning of 25 May, the same day George Floyd was killed when a police officer in Minneapolis knelt on his neck for nine minutes. There are ‘white spaces’ in Central Park, and the Ramble, a wooded area popular with birdwatchers, is one of them. Cooper is 57 – almost exactly the age Joe would have been – a Harvard graduate, a member of the Audubon Society and a civil rights activist. He politely asked the woman to put her dog on a lead, as is required in the park. She refused and grew increasingly aggressive, eventually calling the police to report that ‘there’s an African American man ... threatening me.’ As W.E.B. Du Bois wrote in a 1932 essay for the Crisis: ‘Nothing in the world is easier in the United States than to accuse a black man of crime.’ 

The same could be said today, more than half a century after the end of legal segregation. In 1989 five black and Latino teenagers, described by the police as a pack of ‘wilding’ youths, were wrongfully convicted of the assault and rape of a white female jogger in Central Park. Donald Trump took out advertisements in four New York City newspapers calling for the death penalty to be reinstated in New York; although the men were later cleared of all charges, he continues to insist on their guilt. Amy Cooper may have known to use the polite expression ‘African American’, but she grasped intuitively that in the eyes of the police Christian Cooper would be guilty until proved innocent. In fact, as Ida B. Wells pointed out in 1895, black women ‘have always had far more reason to complain of white men in this respect than ever white women have had of Negroes’: one of the engines for maintaining the supply of slave labor was the rape of black women. (The fact that Christian and Amy Cooper have the same surname is a reminder that many white and black Americans have mixed ancestry.) But the idea of the violent, rapacious black male is deeply embedded in the American unconscious, and Cooper tried her best to tap into it, even if, this time, the strategy backfired: she lost her job at an investment firm, and her dog. But her performance provided an extraordinary demonstration of the way the myth of white female fragility is used against black men. 

Later that day, in Minneapolis, there was a harrowing demonstration of black fragility, which is all too real and has been magnified by the Covid-19 pandemic. The ‘crime’ that cost George Floyd his life was (reportedly) buying a packet of cigarettes with a counterfeit $20 bill. (No wonder if he did: he was one of the forty million Americans who have lost their jobs since the pandemic began.) Derek Chauvin, the white police officer who knelt on Floyd’s neck for eight minutes and 46 seconds as he complained he couldn’t breathe and called for his dead mother, had faced at least 17 previous misconduct complaints and taken part in three police shootings, one of them fatal. His three fellow officers also applied pressure to Floyd’s neck and protected Chauvin while he stared defiantly at a woman filming the incident. Police officers in Minneapolis are seven times as likely to use force against blacks as against whites; while the city’s population is only 20 per cent black, they represent 60 per cent of those subjected to physical force on the part of the police. 

In his letter from Harlem in 1960, ‘Fifth Avenue, Uptown’, James Baldwin writes that the police officer moves through the inner city 

like an occupying soldier in a bitterly hostile country, which is precisely what, and where, he is, and is the reason he walks in twos and threes ... He can retreat from his uneasiness in only one direction: into a callousness which very shortly becomes second nature. He becomes more callous, the population becomes more hostile, the situation grows more tense, and the police force is increased. One day, to everyone’s astonishment, someone drops a match in the powder keg, and everything blows up. 

The killing of George Floyd falls into the gruesome pattern Baldwin described, but it’s also different; and the difference helps explain why the explosion has spread to three hundred cities and developed into a near insurrection. The Black Lives Matter movement, which emerged during the Obama presidency, succeeded in drawing attention to police violence against black people, but the protests against the killings of Trayvon Martin, Michael Brown and Freddie Gray were mostly confined to the cities in which the deaths had occurred. Obama was seen as sympathetic to BLM’s concerns, even if he offered little more than memorable speeches. Floyd’s death not only follows the killings of Breonna Taylor, an emergency medic shot dead while asleep in bed in her home in Kentucky by police officers looking for drug dealers operating out of a different house, and Ahmaud Arbery, a jogger murdered by a group of men who claimed to be making a ‘citizen’s arrest’ (a term that harks back to slavery, when any white person could arrest any black person), but it took place under a president who has made white supremacy a pillar of his administration’s domestic and international outlook. White nationalism has found expression not merely in Trump’s defence of the Charlottesville white nationalists as ‘very fine’ people, or in the building of the wall against migrants from Mexico and Central America, but in his attack on ‘shithole countries’ and his decision to remove the US from the World Health Organization in the middle of the pandemic – ‘white flight’ translated into foreign policy. 

And then there’s the pandemic itself. Floyd’s murder came just as the US death toll exceeded a hundred thousand. An alarming number of those who have died have been people of colour, especially black people, many of whom suffer from pre-existing health conditions and don’t have access to adequate healthcare. Covid-19 has made clear how little black lives matter in the US, even as it has underscored the country’s dependence on black and brown ‘essential’ workers, who provide care, deliver packages and prepare food – all lines of work that have exposed them to the virus. The growing awareness that Covid-19 is a ‘black plague’, as the Princeton academic Keeanga-Yamahtta Taylor has called it, has inspired a call to action among civil rights activists. But many whites, especially in red states, have responded with demands to end the shutdown. Trump cheered on the armed and unmasked white protesters in Michigan who seized the state capitol and advocated ‘liberation’ from the shelter-in-place order issued to limit the spread of the virus. When Georgia (whose governor, Brian Kemp, a right-wing Republican, won the election from the Democrat Stacey Abrams through brazen voter suppression) reopened, the New York Times ran a front-page photograph of a black woman in a white mask, serving coffee to a white man without a mask at a lunch counter, a reminder that Jim Crow hasn’t so much died as been reconfigured. The message of such scenes was that whites had no reason to concern themselves with a ‘black plague’, except to make sure the help was taking precautions. 

The method of Floyd’s killing is no less significant. It almost doesn’t matter whether Chauvin intended to kill him; he didn’t care whether he lived or died. Trump did not kill Floyd, but he has fanned the politics of white supremacy and sanctioned the humiliation of black Americans. It is this assault, on Floyd’s dignity as well as his person, that has provoked the most serious challenge yet to Trump’s presidency. 

Trump ran in part on his opposition to costly overseas engagements, but he’s no pacifist and has always looked at domestic politics as a theatre of combat. Opponents are to be bullied, and if they can’t be bullied, crushed. Nothing has infuriated him as much as challenges from people of colour: it was, after all, Obama’s mockery of him at the White House Correspondents’ Dinner in 2011 that made him decide to run. Some on the left drew a strange consolation from Trump’s hostility to foreign wars, as if it meant he could be a tactical ally against American imperialism. They failed to see that he wanted to wage war at home: his furious inauguration speech with its talk of ‘American carnage’ was a declaration of war on urban racial liberalism, especially as represented by New York, the city that had rejected him. 

Trump’s outlook was formed during the bitter racial conflicts of New York City in the Koch and Giuliani years, when blue-collar whites – joined by many ‘liberal’ members of the white middle class – embraced ‘tough’ policing measures such as stop and search, which were aimed almost entirely at black and Latino men. One of those men, a Haitian immigrant called Abner Louima, who in 1997 was sodomised with a stick in a Brooklyn police station, claimed that one of his torturers had said: ‘It’s Giuliani time.’ Although Louima later retracted this, ‘Giuliani time’ is what Trump wants to institute on a national scale with his calls for state governors and law enforcement officers to ‘dominate’ the protests and his denunciation of domestic ‘terrorists’. (Trump has promised to classify ‘antifa’, the network of antifascist groups, as a terrorist organisation, though US law grants him no such power.) He has styled himself as a war commander, talking tough to Democratic governors and mayors, deploying the National Guard, surrounding the Lincoln Memorial with soldiers and promising to use the military’s ‘unlimited power’ against American citizens if state governors fail to do the job. The protesters in Lafayette Park, outside the White House, were dispersed with tear gas and rubber bullets so that Trump could strut across to St John’s Church, flanked by an entirely white group of officials, and pose for a photograph holding a Bible. 

Once again, Trump has shown a flair for evoking some of the most hideous periods in American history. ‘When the looting starts, the shooting starts,’ he wrote in one tweet, a phrase coined in 1967 by the Miami police chief Walter Headley, who also said: ‘We don’t mind being accused of police brutality.’ Trump claimed not to know the source of the quote, but his advisers did. And no one with even a rudimentary knowledge of American history could have failed to spot the implication of his threat to set ‘vicious dogs’ on the protesters outside the White House. Slave owners used Cuban bloodhounds to hunt down escaped slaves; Eugene ‘Bull’ Connor, the commissioner of public safety in Birmingham, Alabama, attacked civil rights protesters with snarling dogs. Trump also said that in his effort to restore ‘law and order’, he would protect not only property but ‘your Second Amendment rights’ – a message to reassure his white supporters that they need not hesitate to use armed ‘self-defence’, a practice legalised in recent years by ‘stand your ground’ laws (walking or driving in some white neighborhoods has become an increasingly dangerous activity for black people). He has stoked divisions and released his followers from any inhibitions. ‘Maga [Make America Great Again] loves the black people,’ Trump says, and the ‘the’ tells you everything you need to know about his ‘love’. 

In the early days​ of the protests, as Trump fulminated against antifa and the ‘spilling of innocent blood’, and police sirens and helicopters were an almost constant soundtrack in my Brooklyn neighbourhood, it was easy to slip into fatalism. New York’s profoundly disappointing mayor, Bill de Blasio, who often boasts about his biracial children (his daughter was arrested at a protest), offered shameful excuses when a police car rammed into a group of protesters. Then came the curfew. ‘I lived under a dictatorship for more than twenty years,’ a Syrian friend wrote to me, ‘and I know how it usually starts: link the media to outside actors, call journalists “fabricators” and publicly shame them so they get scared, cast doubt to create rumours and conspiracy theories.’ A journalist in Sacramento sent me a photograph of armoured personnel carriers in the street: he’d been followed home from a protest by National Guardsmen with rifles. 

There’s no denying the authoritarian aspirations behind Trump’s response. But he is finding it increasingly hard to pass himself off as a latter-day Nixon, come to rescue America’s cities from chaos, as Nixon claimed he would do in 1968. For one thing, he’s the incumbent – the explosion occurred on his watch. As Jamelle Bouie has argued in the New York Times, a president who thrives on permanent disruption, let alone a leader whose gross mishandling of Covid-19 has brought about real ‘American carnage’, can hardly present himself as an agent of stability. (And Nixon’s ranting wasn’t broadcast on Twitter.) Trump has also conspicuously failed to steer the conversation away from police brutality to rioting and looting. The American press has been supplying the kind of context it has usually ignored when covering urban uprisings; the space for radical criticism, even with regard to attacks on private property, has noticeably expanded. Although some police departments have doubled down in their attacks on protesters – especially in Washington DC – others have shown solidarity by kneeling, a gesture popularised by the NFL quarterback Colin Kaepernick, who in 2016 began kneeling during the national anthem as a protest against racism and police brutality. The following year Trump said teams should fire players for kneeling: Kaepernick hasn’t been offered a new contract since his protests, but the NFL, oblivious to the irony, has issued a statement condemning the murders of Floyd, Taylor and Arbery. 

Still more significant are the criticisms of Trump by the military establishment. ‘It sickened me yesterday to see security personnel – including members of the National Guard – forcibly and violently clear a path through Lafayette Square to accommodate the president’s visit outside St John’s Church,’ Mike Mullen, the former chairman of the Joint Chiefs of Staff, wrote in the Atlantic, under the title ‘I cannot remain silent.’ Mullen criticised Trump’s ‘overly aggressive use of our military’ and said he was ‘deeply worried that as they execute their orders, the members of our military will be co-opted for political purposes’. American cities, he added, ‘are not “battle spaces” to be dominated, and must never become so’. He was echoed the next day by James Mattis, Trump’s former secretary of defence, who explicitly compared Trump’s divide-and-rule tactics to those of the Nazis. Mattis’s replacement, Mark Esper, who accompanied Trump on his walk to St John’s Church, also spoke out against deploying troops, contradicting his boss. In his January 2017 speech at CIA headquarters, Trump boasted that he and the military were ‘on the same wavelength’. As it turns out, they aren’t – at least not all of them. And if he succeeds in sending troops to the states, over the heads of governors and mayors, he will upset some of his strongest supporters, who, after all, are advocates of states’ rights. 

Mullen’s article has reassured many that there are institutional obstacles to Trump’s naked assertion of force. The deep state, once an object of suspicion among liberal Americans, has turned into an object of longing under Trump; Mullen has won much praise – and no little gratitude – for his article (finally, the military is coming to the rescue!). But even if America’s cities don’t become ‘battle spaces’ in Trump’s war against the protesters, they will remain the scene of a lower-grade battle between increasingly militarised police forces and black people for whom equal protection under the law remains an illusion. That conflict has its origins in the American colonies. The first slave patrols, created in South Carolina in the early 18th century, tracked down runaway slaves, prevented slave revolts through the strategic use of terror and imposed labour discipline. Black slaves were described in legal terms as ‘unfree persons’ and for all the ‘progress’ that black people are told America has helped them to make since then, their freedom remains conditional and precarious – especially in the hands of the police. A twisted road leads from slavery to Jim Crow, and from Jim Crow to the age of mass incarceration. Those ensnared by today’s carceral state are citizens, but in the eyes of the state they remain marked by their blackness. 

It is​ this older war over police brutality and mass incarceration that has brought protesters onto the streets across the country. At the demonstration I attended in Brooklyn on 1 June there was no mention of Trump. The demonstrators understand that he’s merely a symptom of an old American disease – and that victory for Joe Biden is hardly a cure. They chanted ‘no justice, no peace’ and the names of Breonna Taylor, Eric Garner, George Floyd and others. The slogans I saw included: ‘I can’t breathe’ (Eric Garner’s last words, and now Floyd’s); ‘I’m not Black, but I will fight for you’; ‘Prayer to God to stop the virus of racism in America’; ‘White silence equals death’; and, of course, ‘Black lives matter.’ 

The protesters are mostly young, multiracial, the generation that came of age in the aftermath of the financial crisis, found themselves saddled with student debt and have spent the last two and a half months stewing indoors, prisoners of a pandemic that has eviscerated the economy. The uprisings in Watts, Detroit and Newark in the 196os broke out when overall unemployment was at a historic low, in communities that felt they’d been denied their share of the American dream; today’s protesters don’t even believe in the dream. They’ve been ridiculed for their sense of entitlement by those who’ve enjoyed far more prosperity and, for all the mainstream criticism of identity politics, they understand far better than previous generations that racism is a system, rather than a matter of individual hatred, prejudice or ‘ignorance’; they know that it’s embedded in institutions, and that unless it’s rooted out, American democracy will remain an unequal and unsafe space for black and brown people. They’re the children of what Matthew Yglesias has called the ‘great awokening’, which seems to have had a stronger effect on young whites than their black counterparts. This ‘awokening’ has absorbed Baldwin’s lessons, though not his eloquence or redemptive humanism; its invocation of ‘intersectionality’ evokes the seminar rather than the church; its characterisation of white supporters as ‘allies’, rather than ‘comrades’ or, as Martin Luther King put it, ‘brothers and sisters’, gives the impression that distrust between black and white activists is not being fought against but institutionalised. On 1 June I saw a group of young people ritually renounce their white privilege in a ceremony led by a black activist. They seemed unaware that such gestures amount to little: it is oppressive conditions that produce racism, rather than the reverse. As Barbara Jeanne Fields has written, ‘People are more readily perceived as inferior by nature when they are already seen as oppressed.’ The cleansing of white souls doesn’t mean much without radical change to America’s political and economic structures. 

It is easy to mock such spectacles of white contrition, which appear naive to the point of narcissism (a ‘guilty eroticism’, in Baldwin’s words), or to regret the absence of a cohesive political ideology and programme. The protesters offer an inchoate mix of Marxism, anti-colonialism, Black Power rhetoric, intersectional feminism, radical self-care and (this is America, after all) appeals to Jesus and other prophets. But this is a time of action, and the protesters are working out their ideas, and their plans, on the streets and without charismatic leaders of the sort who shaped the civil rights struggles of the 1950s and 1960s (an initial strength that could, as in the Arab revolts, turn into a liability). They deserve credit for grasping something that eluded their elders, especially the liberal advocates of ‘humanitarian’ interventions in the Middle East: that America’s human rights agenda should begin at home, and that efforts to export democratic principles scarcely observed in our own cities amount to moral evasion. It is in large part thanks to their persistence that Derek Chauvin has been charged with second-degree murder (he was initially charged with third-degree murder), and that his three fellow officers were also finally charged, on 2 June. Their actions even compelled the ever reticent Barack Obama to respond, in a speech that was striking for its lack of eloquence – or urgency. His cheerful praise for the demonstrators and moderate calls for police reform felt obsolete, the voice of a well-meaning father whose children have long since grown up. 

What​ we’re seeing isn’t so much a movement as a wave of protest. Its concerns are those of earlier black freedom struggles, although its structure and spontaneity are more reminiscent of the Occupy movement, or even the gilets jaunes, than the civil rights era. Some protesters call for prison reform and the demilitarization of the police; others for the abolition of prisons and an end to police funding. Some want to transform the system, others to smash it. (Some people are there simply because they’re fed up with being indoors and there’s a party in the streets.) In contrast with the almost entirely black urban revolts of the late 1960s, they’re willing to take their protests to white neighborhoods. Malcolm X said that the long, hot summer of 1964 ... has given an idea of what could happen, and that’s all, only an idea. For all those riots were kept contained within where the Negroes lived. You let any of these bitter, seething ghettos all over America receive the right igniting incident, and become really inflamed, and explode, and burst out of their boundaries into where whites live! 

This is exactly what has happened. 

The biggest reason for this shifting geography of protest, as the urban historian Thomas Sugrue points out, is that commercial spaces – in sharp contrast with schools – are America’s most successfully desegregated, even if the problem of ‘shopping while black’ persists. Numerous sites of class and racial privilege, from CNN’s corporate headquarters to Macy’s, have been targeted, sometimes violently. Some of the more serious incidents of looting and property destruction appear to have been fomented not by black people but by whites in strange groupuscules – themselves obscure reflections of the nihilistic universe that is Trumpworld. (As Jeremiah Ellison, a city councilman in Minneapolis, pointed out, no one in a black community would torch a barbershop.) Impassioned criticisms of these manifestations have come from black people defending their communities, notably the rapper Killer Mike, who gave a moving speech in Atlanta, and Terrence Floyd, George Floyd’s brother. Some older progressives have recoiled from the violence of the demonstrations, partly out of fear that it will play into Trump’s hands in November, but it scarcely measures up to the violence committed by the police with their tasers, mace, tear gas and rubber bullets. In any case, the protesters have more pressing concerns than an election six months away. Militant but overwhelmingly non-violent, they have succeeded in achieving their first, but hardly their final, objective: Floyd’s killers have been charged and his name won’t be forgotten. 

Floyd has rapidly achieved the status of an international martyr, a symbol of racial injustice like the Scottsboro Boys, wrongfully imprisoned for raping a white woman, or Emmett Till, the 14-year-old lynched in Mississippi in 1955 after allegedly whistling at a white woman. After 9/11, Le Monde declared: ‘Nous sommes tous amĂ©ricains.’ The headline is unimaginable today – who would want to be American now? – but America’s decline has only made Floyd’s killing reverberate more strongly. Holding posters of George Floyd, twenty thousand people marched against police brutality in Paris. Floyd’s image has been displayed in Iraq, Syria and Palestine – countries that have experienced first-hand the ruthlessness of American power. ‘We are the muthafuckin world,’ someone posted on Instagram. This remarkable demonstration of American soft power, which looked as if it had evaporated under Trump, belongs almost entirely to black America. 

Trump couldn’t care less about the international outcry. He wants to divorce the rest of the world and retreat to his fantasy of an armed white America as conjured on Fox Television. But the United States now faces a serious challenge to its international legitimacy – as serious as the one it faced during the Jim Crow era. The demonstrators have put not just the police but the nation on trial. As much as structural change, they’re fighting for what Martin Luther King, in his 1967 Riverside Church speech against the Vietnam War, called a ‘revolution in values’. They may not look on each other as ‘lovers’, as Baldwin urged the ‘relatively conscious whites and the relatively conscious blacks’ to do in The Fire Next Time, but they are trying, in their own fashion, and in their own language, to ‘achieve our country and change the history of the world’. For the moment, they are all that stands between us and the ghosts of our ugly past. 

Friday, June 19, 2020

How Racist Was Flannery O’Connor?

How Racist Was Flannery O’Connor?

She has become an icon of American letters. Now readers are reckoning with another side of her legacy.


By Paul Elie The New Yorker


A habit of bigotry, most apparent in her juvenilia, persisted throughout her life.
In 1943, eighteen-year-old Mary Flannery O’Connor went north on a summer trip. Growing up in Georgia—she spent her childhood in Savannah, and went to high school in Milledgeville—she saw herself as a writer and artist in the making. She created illustrated books “too old for children and too young for grown-ups” and dryly titled an assemblage of her poems “The Priceless Works of M. F. O’Connor”; she drew cartoons and submitted them to magazines, noting that her hobby was “collecting rejection slips.”

On her travels, she and two cousins visited Manhattan: Chinatown, St. Patrick’s Cathedral, and Columbia University. Then they went to Massachusetts, and visited Radcliffe, where one cousin was a student. O’Connor disliked both schools, and said so in letters and postcards to her mother. (Her father had died two years earlier.) Back in Milledgeville, O’Connor studied at the state women’s college (“the institution of higher larning across the road”). In 1945, she made her next trip north, enrolling in the Iowa Writers’ Workshop, where she dropped the Mary (it put her in mind of “an Irish washwoman”) and became Flannery O’Connor.

Less than two decades later, she died, in Milledgeville, of lupus. She was thirty-nine, the author of two novels and a book of stories. A brief obituary in the Times called her “one of the nation’s most promising writers.” Some of her readers dismissed her as a “regional writer”; many didn’t know she was a woman.

We are still learning who Flannery O’Connor was. The materials of her life story have surfaced gradually: essays in 1969, letters in 1979, an annotated Library of America volume in 1988, and a cache of personal items deposited at Emory University in 2012, which yielded the “Prayer Journal,” jottings on faith and fiction from her time at Iowa. Each phase has deepened the portrait of the artist and furthered her reputation. Southerners, women, Catholics, and M.F.A.-program instructors now approach her with devotion. We call her Flannery; we see her as a wise elder, a literary saint, poised for revelation at a typewriter set up on the ground floor of a farmhouse near Milledgeville because treatments for lupus left her unable to climb stairs.

O’Connor is now as canonical as Faulkner and Welty. More than a great writer, she’s a cultural figure: a funny lady in a straw hat, puttering among peacocks, on crutches she likened to “flying buttresses.” The farmhouse is open for tours; her visage is on a stamp. A recent book of previously unpublished correspondence, “Good Things Out of Nazareth” (Convergent), and a documentary, “Flannery: The Storied Life of the Writer from Georgia,” suggest a completed arc, situating her at the literary center where she might have been all along.

The arc is not complete, however. Those letters and postcards she sent home from the North in 1943 were made available to scholars only in 2014, and they show O’Connor as a bigoted young woman. In Massachusetts, she was disturbed by the presence of an African-American student in her cousin’s class; in Manhattan, she sat between her two cousins on the subway lest she have to sit next to people of color. The sight of white students and black students at Columbia sitting side by side and using the same rest rooms repulsed her.

It’s not fair to judge a writer by her juvenilia. But, as she developed into a keenly self-aware writer, the habit of bigotry persisted in her letters—in jokes, asides, and a steady use of the word “nigger.” For half a century, the particulars have been held close by executors, smoothed over by editors, and justified by exegetes, as if to save O’Connor from herself. Unlike, say, the struggle over Philip Larkin, whose coarse, chauvinistic letters are at odds with his lapidary poetry, it’s not about protecting the work from the author; it’s about protecting an author who is now as beloved as her stories.

The work largely deserves the love it gets. O’Connor’s fiction is full of scenarios that now have the feel of mid-century myths: an evangelist preaching the gospel of a Church Without Christ outside a movie house; a grandmother shot by an escaped convict at the roadside; a Bible salesman seducing a female “interleckshul” in a hayloft and taking her wooden leg. The late story “Parker’s Back,” from 1964, in which a tattooed ex-sailor tries to appease his puritanical wife by getting a life-size face of Christ inked onto his back, is a summa of O’Connor’s effects. There’s outlandish naming (Obadiah Elihue Parker), blunt characterization (“The skin on her face was thin and drawn as tight as the skin on an onion and her eyes were gray and sharp like the points of two icepicks”), and pungent speech (“Mr. Parker . . . You’re a walking panner-rammer!”). There’s the way the action hurtles to an end both comic and profound, and the sense, as she put it in an essay, “that something is going on here that counts.” There’s the attractive-repulsive force of religion, as Parker submits to the tattooer’s needle in the hope of making himself a holy image of Christ. And there’s a preoccupation with human skin, and skin coloring, as a locus of conflict.

O’Connor defined herself as a novelist, but many readers now come to her through her essays and letters, and the core truth to emerge from the expansion of her body of work is that the nonfiction is as strong and strange as the fiction. The 1969 book of essays, “Mystery and Manners,” is both an astute manual on the craft of writing and a statement of precepts for the religious artist; the 1979 book of letters, “The Habit of Being,” is bedside reading as wisdom literature, at once companionable and full of barbed, contrarian insights. That they are books was part of O’Connor’s design. She made carbon copies of her letters with publication in mind: fearing that lupus would cut her life short, as it had her father’s, she used the letters and essays to shape the posthumous interpretation of her fiction.

Even much of the material left out of those books is tart and epigrammatic. Here is O’Connor, fresh from Iowa, on what a writing program can do for a writer:

It can put him in the way of experienced writers and literary critics, people who are usually able to tell him after not too long a time whether he should go on writing or enroll immediately in the School of Dentistry.

Here she is on life in Milledgeville, from a 1948 letter to the director of Yaddo, the writers’ colony in upstate New York:

Lately we have been treated to some parades by the Ku Klux Klan. . . . The Grand Dragon and the Grand Cyclops were down from Atlanta and both made big speeches on the Court House square while hundreds of men stamped and hollered inside sheets. It’s too hot to burn a fiery cross, so they bring a portable one made with electric light bulbs.

On her first encounter, in 1956, with the scholar William Sessions:

He arrived promptly at 3:30, talking, talked his way across the grass and up the steps and into a chair and continued talking from that position without pause, break, breath, or gulp until 4:50. At 4:50 he departed to go to Mass (Ascension Thursday) but declared he would like to return after it so I thereupon invited him to supper with us. 5:50 brings him back, still talking, and bearing a sack of ice cream and cake to the meal. He then talked until supper but at that point he met a little head wind in the form of my mother, who is also a talker. Her stories have a non-stop quality, but every now and then she does have to refuel and every time she came down, he went up.

Reviewers of O’Connor’s fiction were vexed by her characters’ lack of interiority. Admirers of the nonfiction have reversed the charge, taking up the idea that the most vivid character in her work is Flannery O’Connor. The new film adroitly introduces the author-as-character. The directors—Mark Bosco, a Jesuit priest who teaches a course on O’Connor at Georgetown, and Elizabeth Coffman, who teaches film at Loyola University Chicago—draw on a full spread of archival material and documentary effects. The actress Mary Steenburgen reads passages from the letters; several stories are animated, with an eye to O’Connor’s adage that “to the hard of hearing you shout, and for the almost-blind you draw large and startling figures.” There’s a clip from John Huston’s 1979 film of her singular first novel, “Wise Blood,” which she wrote at Yaddo and in Connecticut before the onset of lupus forced her to return home. Erik Langkjaer, a publishing sales rep O’Connor fell in love with, describes their drives in the country. Alice Walker tells of living “across the way” from the farmhouse during her teens, not knowing that a writer lived there: “It was one of my brothers who took milk from her place to the creamery in town. When we drove into Milledgeville, the cows that we saw on the hillside going into town would have been the cows of the O’Connors.”

In May, 1955, O’Connor went to New York to promote her story collection, “A Good Man Is Hard to Find,” on TV. The rare footage of O’Connor lights up the documentary. She sits, very still, in a velvet-trimmed black dress; her accent is strong, her demeanor assured. “I understand you are living on a farm,” the host prompts. “Yes,” she says. “I only live on one, though. I don’t see much of it. I’m a writer, and I farm from the rocking chair.” He asks her if she is a regional writer, and she replies:

I think that to overcome regionalism, you must have a great deal of self-knowledge. I think that to know yourself is to know your region, and that it’s also to know the world, and in a sense, paradoxically, it’s also to be an exile from that world. So that you have a great deal of detachment.

That is a profound and stringent definition of the writer’s calling. It locates the writer’s art in the refinement of her character: the struggle to overcome an outlook that is an obstacle to a greater good, the letting go of the comforts of home. And it recognizes that detachment can leave the writer alone and apart.

At Iowa and in Connecticut, O’Connor had begun to read European fiction and philosophy, and her work, old-time in its particulars, is shot through with contemporary thought: Gabriel Marcel’s Christian existentialism, Martin Buber’s sense of “the eclipse of God.” She saw herself as “a Catholic peculiarly possessed of the modern consciousness” and saw the South as “Christ-haunted.”

All this can suggest points of similarity with Martin Luther King, Jr., another Georgian who was infused with Continental ideas up north and then returned south to take up a brief, urgent calling. Born four years apart, they grasped the Bible’s pertinence to current events, and saw religion as the tie that bound blacks and whites—as in her second novel, “The Violent Bear It Away,” from 1960, which opens with a black farmer giving a white preacher a Christian burial. O’Connor and King shared a gift for the convention-upending gesture, as in her story “The Enduring Chill,” in which a white man tries to affirm equality with the black workers on his mother’s farm by smoking cigarettes with them in the barn.

O’Connor lectured in a dozen states and often went to Atlanta to visit her doctors; she saw plenty of the changing South. That’s clear from her 1961 story “Everything That Rises Must Converge.” (The title alludes to a thesis advanced by the French Jesuit Pierre Teilhard de Chardin, who saw the world as gradually “divinized” by human activity in a kind of upward spiral.) A white man, living at home after college, takes his mother to “reducing class” on a newly integrated city bus. The sight of an African-American woman wearing the same style of hat that his mother is wearing stirs him to reflect on all that joins them. The sight of a black boy in the woman’s company prompts his mother to give the boy a gift: a penny with Lincoln’s profile on it. Things get grim after that.

The story was published in “Best American Short Stories” and won an O. Henry Prize in 1963. O’Connor declared that it was all she had to say on “That Issue.” It wasn’t. In May, 1964, she wrote to her friend Maryat Lee, a playwright who was born in Tennessee, lived in New York, and was ardent for civil rights:

About the Negroes, the kind I don’t like is the philosophizing prophesying pontificating kind, the James Baldwin kind. Very ignorant but never silent. Baldwin can tell us what it feels like to be a Negro in Harlem but he tries to tell us everything else too. M. L. King I dont think is the ages great saint but he’s at least doing what he can do & has to do. Don’t know anything about Ossie Davis except that you like him but you probably like them all. My question is usually would this person be endurable if white. If Baldwin were white nobody would stand him a minute. I prefer Cassius Clay. “If a tiger move into the room with you,” says Cassius, “and you leave, that dont mean you hate the tiger. Just means you know you and him can’t make out. Too much talk about hate.” Cassius is too good for the Moslems.

That passage, published in “The Habit of Being,” echoed a remark in a 1959 letter, also to Maryat Lee, who had suggested that Baldwin—his “Letter from the South” had just run in Partisan Review—could pay O’Connor a visit while on a subsequent reporting trip. O’Connor demurred:

No I can’t see James Baldwin in Georgia. It would cause the greatest trouble and disturbance and disunion. In New York it would be nice to meet him; here it would not. I observe the traditions of the society I feed on—it’s only fair. Might as well expect a mule to fly as me to see James Baldwin in Georgia. I have read one of his stories and it was a good one.

O’Connor-lovers have been downplaying those remarks ever since. But they are not hot-mike moments or loose talk. They were written at the same desk where O’Connor wrote her fiction and are found in the same lode of correspondence that has brought about the rise in her stature. This has put her champions in a bind—upholding her letters as eloquently expressive of her character, but carving out exceptions for the nasty parts.

Last year, Fordham University hosted a symposium on O’Connor and race, supported with a grant from the author’s estate. The organizer, Angela Alaimo O’Donnell, edits a series of books on Catholic writers funded by the estate, has compiled a book of devotions drawn from O’Connor’s work, and has written a book of poems that “channel the voice” of the author. In a new volume in the series, “Radical Ambivalence: Race in Flannery O’Connor” (Fordham), she takes up Flannery and That Issue. Proposing that O’Connor’s work is “race-haunted,” she applies techniques from whiteness studies and critical race theory, as well as Toni Morrison’s idea of “Africanist ‘othering.’ ” O’Donnell presents a previously unpublished passage on race and engages with scholars who have offered context for the racist remarks. Although she is palpably anguished about O’Connor’s race problem, she winds up reprising those earlier arguments in current literary-critical argot, treating O’Connor as “transgressive in her writing about race” but prone to lapses and excesses that stemmed from social forces beyond her control.

The context arguments go like this. O’Connor was a writer of her place and time, and her limitations were those of “the culture that had produced her.” Forced by illness to return to Georgia, she was made captive to a “Southern code of manners” that maintained whites’ superiority over blacks, but her fiction subjects the code to scrutiny. Although she used racial epithets carelessly in her correspondence, she dealt with race courageously in the fiction, depicting white characters pitilessly and creating upstanding black characters who “retain an inviolable privacy.” And she was admirably leery of cultural appropriation. “I don’t feel capable of entering the mind of a Negro,” she told an interviewer—a reluctance that Alice Walker lauded in a 1975 essay.

All the contextualizing produces a seesaw effect, as it variously cordons off the author from history, deems her a product of racist history, and proposes that she was as oppressed by that history as anybody else was. It backdates O’Connor as a writer of her time when she was a near-contemporary of writers typically seen as writers of our time: Gabriel GarcĂ­a MĂ¡rquez (born 1927), Maya Angelou (1928), Ursula K. Le Guin (1929), Tom Wolfe (1930), and Derek Walcott (1930), among others. It suggests that white racism in Georgia was all-encompassing and brooked no dissent, even though (as O’Donnell points out) Georgia was then changing more dramatically than at any point before or since. Patronizingly, it proposes that O’Connor, a genius who prized detachment, lacked the free will to 

Another writer of that cohort is Toni Morrison, who was born in Ohio in 1931 and became a Catholic at the age of twelve. Morrison published “Playing in the Dark: Whiteness and the Literary Imagination” in 1992. “The fabrication of an Africanist persona” by a white writer, she proposed, “is reflexive: an extraordinary meditation on the self; a powerful exploration of the fears and desires that reside in the writerly consciousness.” Invoking Morrison, O’Donnell argues that O’Connor’s fiction is fundamentally a working-through of her own racism, and that the offending remarks in the letters “tell us . . . that O’Connor understood evil in the form of racism from the inside, as one who has practiced it.”

The clinching evidence is “Revelation,” drafted in late 1963. This extraordinary story involves Ruby Turpin—a white Southerner in middle age, the owner of a dairy farm—and her encounter in a doctor’s waiting room with a Wellesley-educated young woman, also white, who is so repulsed by Turpin’s condescension toward people there that she cries out, “Go back to hell where you came from, you old wart hog.” This arouses Turpin to quarrel with God as she surveys a hog pen on her property, and calls forth a magnificent final image of the hereafter in Turpin’s eyes—the people of the rural South heading heavenward. Some say this “vision” redeems the author on That Issue. Brad Gooch, in a 2009 biography, likened it to the dream that Martin Luther King, Jr., spelled out in August, 1963; O’Donnell, drawing on a remark in the letters, depicts it as a “vision O’Connor has been wresting from God every day for much of her life.” Seeing it that way is a stretch. King’s “I Have a Dream” speech envisioned blacks and whites holding hands at the end of time; Turpin’s vision, by contrast, is a segregationist’s vision, in which people process to Heaven by race and class, equal but separate, white landowners such as Turpin preceded (the last shall be first) by “bands of black niggers in white robes, and battalions of freaks and lunatics shouting and clapping and leaping like frogs.”

After revising “Revelation” in early 1964, O’Connor wrote several letters to Maryat Lee. Many scholars maintain that their letters (often signed with nicknames) are a comic performance, with Lee playing the over-the-top liberal and O’Connor the dug-in gradualist, but O’Connor’s most significant remarks on race in her letters to Lee are plainly sincere. On May 3, 1964—as Richard Russell, Democrat of Georgia, led a filibuster in the Senate to block the Civil Rights Act—O’Connor set out her position in a passage now published for the first time: “You know, I’m an integrationist by principle & a segregationist by taste anyway. I don’t like negroes. They all give me a pain and the more of them I see, the less and less I like them. Particularly the new kind.” Two weeks after that, she told Lee of her aversion to the “philosophizing prophesying pontificating kind.” Ravaged by lupus, she wrote Lee a note to say that she was checking in to the hospital, signing it “Mrs. Turpin.” She died at home ten weeks later.

Those remarks show a view clearly maintained and growing more intense as time went on. They were objectionable when O’Connor made them. And yet—the argument goes—they’re just remarks, made in chatty letters by an author in extremis. They’re expressive but not representative. Her “public work” (as the scholar Ralph C. Wood calls it) is more complex, and its significance for us lies in its artfully mixed messages, for on race none of us is without sin and in a position to cast a stone.

That argument, however, runs counter to history and to O’Connor’s place in it. It sets up a false equivalence between the “segregationist by taste” and those brutally oppressed by segregation. And it draws a neat line between O’Connor’s fiction and her other writing where race is involved, even though the long effort to move her from the margins to the center has proceeded as if that line weren’t there. Those remarks don’t belong to the past, or to the South, or to literary ephemera. They belong to the author’s body of work; they help show us who she was.

Posterity, in literature, is a strange god—consecrating Dickinson and Melville as American divines, repositioning T. S. Eliot as a man on the run from a Missouri boyhood and a bad marriage. Posterity has favored Flannery O’Connor: the readers of her work today far outnumber those in her lifetime. After her death, the racist passages were stumbling blocks to the next generation’s encounter with her, and it made a kind of sense to sidestep them. Now the reluctance to face them squarely is itself a stumbling block, one that keeps us from approaching her with the seriousness that a great writer deserves.

There’s a way forward, rooted in the work. For twenty years, the director Karin Coonrod has staged dramatic adaptations of O’Connor’s stories. Following a stipulation of the author’s estate, she uses every word: narration, description, dialogue, imagery, and racial epithets. Members of the multiracial cast circulate the full text fluidly from actor to actor, character to character, so that the author’s words, all of them, ring out in her own voice and in other voices, too. ♦

Published in the print edition of the June 22, 2020, issue, with the headline “Everything That Rises.”

Rosewood