This is a monument in York County, South Carolina, to memorialize the “Faithful Slaves” of the the Civil War.
Faithful Slaves Memorial, York County, South Carolina; from The Historical Marker Database
The monument reads in part:
Dedicated to the faithful slaves who loyal to a sacred trust toiled for the support of the army with matchless devotion and sterling fidelity guarded our defenceless homes, women and children during the struggle for the principles of our Confederate States of America.
Full details of the monument are here. The comments at the link say that the thirteen-foot marble monument “is a tribute to the faithfulness of the Southern negro to the women and children of the South during the war… (and) probably the only one of its kind in the South.”
The folks who built this monument may well have been heartfelt in their motivations. But looking at it from my own vantage point, I find the thing disturbing and perverse.
I am going to describe the memorial with a metaphor that some might find objectionable… don’t say I didn’t warn you. To me, this memorial is akin to a rapist thanking a rape victim for being quiet during the act, thereby not alerting others to what was happening.
In both cases, thanks are being given for an action that benefits the victimizer, but does nothing to help the victim.
I can see why these folks would feel gratitude toward the slaves that are honored by this monument. In 1860, there were over three and a half million slaves in the South. But by the end of the Civil War, some estimates say that over 500,000 slaves fled their masters to go to contraband camps, head North, or otherwise seek freedom. Many males slaves joined the Union army or served the army in support roles. Meanwhile, many of the slaves who didn’t flee aided and abetted the Union effort by serving as spies, guides, or providing other support.
So, any slave who stayed with and supported their masters and masters’ families was undoubtedly seen as a blessing.
The thing is, this memorial is all about what the slaves did for their masters. I think it’s fair to ask, what did the slaves receive in return? Did they receive their freedom? Did they receive land or property, or reimbursement at a fair wage for their labors? Did they receive any political rights? The answer to these questions appears to be no.
Ultimately, I find this memorial to be self-serving and hollow.
I’m sure that the monument’s builders believed they were doing a good thing. But thanking a slave for being a good slave… that doesn’t resonate with me at all. If I was a slave, my reaction would be “thanks massa… thanks for nothing.”
Now, here’s a memorial I’d like to see. It features a huge statue, with a group of white men on one side, and a group of slaves on the other. The white men include Jefferson Davis (President of the Confederacy), Alexander Stephens, (Vice-President of the Confederacy) or John C. Calhoun (a leading proponent of slavery and secession prior to the Civil War). Their mouths are open, their faces etched with a mournful apology. On the other side, the slaves have a blank but measuring stare, as if they are trying to make sense of words that they never expected to hear.
On the base of the monument, there are two words: “We’re Sorry.”
Are there any such monuments in the South, or anywhere in this country? There should be.
(Hat tip to cwmemory.com )
Dorothea Lange is a famous American photographer. She worked for the Farm Security Administration (FSA) during the 1930s, going across the country and taking pictures that documented the effects of the Great Depression on the American people.
She is most known for her Migrant Mother picture, which has been called “an iconic image of the Great Depression.” Lange’s work took her all over the South, where she took pictures of both struggling blacks and whites. Many of her FSA photographs are available from the Library of Congress’ online archives.
I used several of the photos to create this slideshow of black life in the South during the Great Depression.
There photographs are a vivid reminder of how tough those days were. But it’s notable that the black folks in these pictures look hardened, but not broken. They are lean, strong, and unbowed. Life is hard, and they accept it as such. Indeed, for many of them, a hard life is the only life they’ve known.
These pictures were taken in Arkansas, Georgia, Florida, Mississippi, North Carolina, Tennessee and Texas during the mid to late 1930s.
The music is from a traditional spiritual performed by Texas gospel singer Blind Willie Johnson (vocal and guitar) and Willie B. Harris (vocal) in 1927. The song is titled “Keep Your Light Trimmed and Burning.”