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Title: Yes, you’re a racist… and a traitor.
Source:
Huffington Post
URL Source: https://medium.com/@thejohnprice/ye ... ist-and-a-traitor-6c4bb12c5b63
Published: Jun 23, 2015
Author: John E. Price
Post Date: 2015-06-23 12:03:50 by Willie Green
Keywords: None
Views: 13684
Comments: 48
While I was out jogging this morning, I passed a neighbor's house that I have passed every day for almost three years. Usually I stroll right on by without giving it a second thought. Today, though... today was different. I stopped in my tracks and blankly stared until a car honked at me to move out of the way. This house flies a Confederate flag. I don't live in South Carolina or even Maryland. I live in a small town in Central Pennsylvania, 50 miles north of Gettysburg -- the site of the most famous victory of the Civil War. Yet even here, a few hundred feet from my front door flies the unambiguous symbol of hatred, racism and treason. Normally, this would elicit some fleeting contempt and I would go about my day. But with the slayings in Charleston very much on my mind, I found myself getting angry... very angry. Angry at this person, this "neighbor" of mine. Angry at the culture that permits such blatant hatred. Angry at the media who provide cover for the ignorant. Angry at the teachers who perpetuate historical falsehoods. Angry at myself for not being angry before. You see, I study traditional culture. More specifically, I study the ways in which today's culture manufactures and reinforces traditions through mass media. Folklorists have a unique disciplinary perspective for this sort of analysis because there was this period of time when the field was mired in "romantic nationalism." The "true character" of a people was said to be rooted in the culture of the volk and was glorified and incorporated into more modern political movements. Like Nazism. So folklorists have a keen interest in serving as the sort-of keepers of cultural authenticity, if you will. If anyone should be highlighting the ways in which "traditions" are being manufactured, distorted and consumed, it is us... me. In America today, the most prominent, prevalent and pernicious of these revisionist movements is the Lost Cause narrative: the idea that the Civil War was a romantic struggle for freedom against an oppressive government trying to enforce cultural change. There are scores of books on this topic, and you should check those out at your local library. But probably the most famous popular culture Lost Cause text is Gone With The Wind (both book and movie). I hate Gone With the Wind. I hate everything about it. I hate its portrayal of the Civil War. I hate its portrayal of Southern aristocrats. I hate its popularity. I hate that it's become an iconic movie. I hate that it was ever made in the first place. Gone With the Wind is Birth of a Nation with less horses. The movie, and its position among the American cinematic pantheon, has done more to further the ahistoric Lost Cause bullshit than any other single production. Because that's the fundamental problem with the Lost Cause narrative: it's not true. Let's go one-by-one through some typical Lost Cause-tinged revisionist talking points: The Civil War was about economics, not slavery! The Civil War was about states' rights, not slavery! That's not the Confederate flag! Heritage not hate! The savagery of slavery is offensive enough to justify any level of outrage. The disgusting post-war history of the Ku Klux Klan is offensive enough to justify any level of outrage. But what might be the most absurd part of this neo-Confederate "heritage" romanticism is that its advocates are simply glorifying treason. Remember that time South Carolina attacked Fort Sumter? That's the literal definition of treason. And I quote Article III, Section 3 of the U.S. Constitution: "Treason against the United States, shall consist only in levying war against them, or in adhering to their enemies, giving them aid and comfort." Not exactly abstract legalese that requires a ton of parsing. The states that seceded to become the Confederacy were actively engaged in open war against the United States government. A war they started because of the election of a man they deemed "hostile to slavery." A war they fought to maintain the "heaven ordained supremacy of the white man over the inferior or colored race." A war they lost. But it was a war based on a fundamental social conflict that is still not resolved and simmers under the zeitgeist, rearing its ugly head every so often to remind us it hasn't gone anywhere. It was not resolved in 1865, not in 1965, and sadly, not in 2015. The "heritage" of the Confederacy, the enduring belief in Lost Cause romanticism, the invention and adoption of revisionist "traditions" and culture, has become society's Old Faithful: a cultural geyser that periodically lets off steam; a spectacle at which we ogle and wax poetic about the fragility of our condition. But one day it'll explode and it'll be a catastrophe from which we might not recover. The tragedy of America is that this is all self-inflicted. This trajectory to self-destruction doesn't have to be the outcome. As Jon Stewart so eloquently pointed out, "Al Qaeda... ISIS... they're not shit on the damage we can apparently do to ourselves on a regular basis." The troglodyte that killed those people in South Carolina wanted to fire the opening shots in a new race war. He is a Confederate in every sense of the word. He is a white supremacist. He is a terrorist. He is a traitor. The worst part is that he is not some aberration. Oh, we want to comfort and assure ourselves that he is, that he has some mental issue, or that he's evil, or some other easy excuse that absolves us all of responsibility. His actions were heinous, but he is the product of a media environment and culture that protects the ignorant and glorifies division. This is the "heritage" celebrated by those who fly the Confederate flag. By those like my neighbor. And what about my neighbor? In a perfect world, I would ring his doorbell and have a reasonable discussion with him about how what he's doing is offensive and ahistoric and I'd love to correct his understanding of the entire mess. But the sad fact is, he's not alone, either. In my time here I've seen scores of Confederate bumper stickers, license plates, and even other flags. Neo-Confederate revisionism is everywhere. It's not confined to "dumb rednecks" or red-state voters or Nascar fans or any other easy stereotype we use to deceive ourselves and dismiss painful realities. It's not even confined to older generations. The killer in South Carolina is 21. He's a Millennial. He's one of us. And every day that we don't react to that information, every day we don't internalize this conflict, every day we tell ourselves nothing is wrong, every day we claim we can't be racist because we have black friends, every day we share some viral cat video instead of watch the news, every day we don't knock on our neighbor's door... is another day nothing will change. 
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Begin Trace Mode for Comment # 38.
#16. To: Willie Green, TooConservative (#0)
(Edited)
It has been a while but outside of showing the plantation life before the Civil War, I found it anti Southern aristocratic and anti-war. Rhett Butler pretty much declares the South lost in the first scene and refuses to fight for the south - I think he became a smuggler instead (the first Han Solo). At the end you see how far the aristocratic family had fallen and you feel sympathy but that is not a bad thing. You see Scarlett reject the old way and becomes like an emerging business woman with her attitude rather than an aristocrat being waited on hand and foot.
A notion far more possible for genteel Southern women in a historical novel than it ever was in real life. A vanishingly small number of women in the South ever had any such opportunity.
Be that as it may, but - with the idea that I have not seen this movie in decades - I did not find it being "pro slavery or pro confederacy" in the least. Here is Rhett being anti-Confederate: All We Got Is Cotton, Slaves, and ARROGANCE!
The movie injects the sensibilities of the Thirties into the Civil War. You can't consider it history in any sense. It's a romantic novel set against the history of the Civil War. It is not historically accurate or representative of Southern society of the era.
You can't consider it history in any sense. It's a romantic novel set against the history of the Civil War. It is not historically accurate or representative of Southern society of the era. Of course. A more romantic view of the south was in a movie with Ronald Reagan and Errol Flynn where they play cavalry officers that defeat John Brown and the slaves are grateful they were rescued by the union and placed back into slavery. https://www.youtube.com/watch?v=fwpaq1d_RhQ On contemporary standards--this film is racist. Blacks are portrayed as noble sufferers who don't know how to cope with the freedom Brown gave them. In one scene, Brown abandons a group of slaves--leaving them to burn to death in a barn fire with Stuart. And Brown treated the Harper's Ferry hostages well--in this movie, Brown shoots one. The abolitionist stronghold of Palmyra is referred to as "the cancer of Kansas."
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#34. To: Pericles (#16)
You see Scarlett reject the old way and becomes like an emerging business woman with her attitude rather than an aristocrat being waited on hand and foot.
#35. To: TooConservative (#34)
A notion far more possible for genteel Southern women in a historical novel than it ever was in real life. A vanishingly small number of women in the South ever had any such opportunity.
#36. To: Pericles (#35)
#38. To: TooConservative (#36)
he movie injects the sensibilities of the Thirties into the Civil War.
Replies to Comment # 38.
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