A Quote by Bryan Stevenson
In a landscape littered with all of this imagery about the nobility of the Civil War and the Confederate effort and struggle, the absence of markers says something really powerful.
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The landscape in Montgomery and in the South is just saturated with imagery. Markers are everywhere. There's a marker for the first Confederate post office, there's a marker for a ball that Robert E. Lee hosted, there's a marker for where Jefferson Davis had a meeting. We love reminding people about all that was going on in the mid-nineteenth century.
Growing up, my birthday was always Confederate Memorial Day. It helped to create this profound sense of awareness about the Civil War and the 100 years between the Civil War and the civil rights movement and my parents' then-illegal and interracial marriage.
When you come to Montgomery, you see fifty-nine monuments and memorials, all about the Civil War, all about Confederate leaders and generals. We have lionized these people, and we have romanticized their courage and their commitment and their tenacity, and we have completely eliminated the reality that created the Civil War.
All nations struggle in the aftermath of civil war. More than 100 years after the English Civil War, for instance, any prelate who was 'enthusiastic' about religion attracted censure and suspicion.
What it targets is not something that's really looked at a lot in terms of the war. This is stuff that's off the beaten path in terms of what we think of every time you start a Civil War history or a Civil War presentation. It's usually about the military and the soldiers and all that stuff. And this is not. It's the backdrop to a place and a time and circumstances that didn't have anything to do with that.
Germany has spent the decades since World War II in national penance for Nazi crimes. America spent the decades after the Civil War transforming Confederate crimes into virtues. It is illegal to fly the Nazi flag in Germany. The Confederate flag is enmeshed in the state flag of Mississippi.
When I see the Confederate flag, I see the attempt to raise an empire in slavery. It really, really is that simple. I don't understand how anybody with any sort of education on the Civil War can see anything else.
So about 80 years after the Constitution is ratified, the slaves are freed. Not so you'd really notice it of course; just kinda on paper. And that of course was at the end of the Civil War. Now there is another phrase I dearly love. That is a true oxymoron if I've ever heard one: "Civil War." Do you think anybody in this country could ever really have a civil war? "Say, pardon me?" (shoots gun) "I'm awfully sorry. Awfully sorry."
Imagery is powerful. Imagery is provocative - satellite imagery much more so because it is from space, and it allows us to get this perspective that we don't have to have otherwise.
Being a son of the South puts you in a different position when it comes to the Confederate flag. It means something entirely different to the people who have ancestors who fought in the Civil War on the south side of the Mason-Dixon line.
We are in a new Civil War, and just like the last, it is a struggle for the sanctity of the Union - and it's hardly civil.
There's something strange and powerful about black-and-white imagery.
In our culture, I think that there is no markers anymore. Young men don't really have something that says you're a grown up now, until you have a baby.
I think the ties to slavery and the terrible tragedy that followed the Civil War with Jim Crow and racial violence is closely linked to the Confederate flag.
Having gone through the civil rights struggle, having gone through the anti-Vietnam War struggle, by the time I was in my 20s, I had something that the current generation doesnt have. And that is a sense of efficacy.
I'm working on a script right about Civil War re-enactors who go back in time to the actual Civil War. It's kind of a big, crazy Back to the Future comedy. So, of course, it's the Civil War - I play the banjo. I was just having a conversation with one of the producers about some of the material and he was like, 'You know, we have to work in a scene where you play the banjo. And I was like I'll get behind that.
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