You offspring of serpents who warned you of the wrath to come. Matthew 3:7
There was a land of Cavaliers and Cotton Fields called the Old South. Here in this pretty world, Gallantry took its last bow. Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave. Look for it only in books, for it is no more than a dream remembered, a Civilization gone with the wind. Prelude to the film of Gone with The Wind (1939)
… by the time you can no longer avoid thinking about your history, it has become so complex and confusing that you can no longer think about it clearly, and your morality is what is gone with the wind.
Sarah Churchwell, The Wrath to Come (2023)
American cultural historian Sarah Churchwell’s book The Wrath to Come – Gone With the Wind and the Myth of the Lost Cause or its alternative title, the Lies America Tells (tells itself” is more accurate) is a harrowing read about slavery, America’s original sin; about the civil war fought to end it; the brief Reconstruction years that followed; the lingering stain of white supremacism and racial violence; and of how discriminatory and oppressive Jim Crow laws of the late nineteenth century survived well into the twentieth with lynch law, segregation, vote suppression and the civil rights struggles of the sixties.
The Wrath to Come is also about how historiography – how historians analyze and interpret history, and how “we, the people” recall and retell history.
She quotes author and civil rights advocate James Baldwin’s essay The White Man’s Guilt:
“White man, Hear me! History, as nearly no one seems to know, is not merely something to be read. And it does not refer merely, or even principally, to the past. On the contrary, the great force of history comes from the fact that we carry it within us, are unconsciously controlled by it in many ways, and history is literally present in all we do”.
Churchwell notes how in 1935, Black writer WEB Du Bois warned “against writing history for our pleasure and amusement, for inflating our national ego”, or “using a version of historic fact, in order to influence and educate the new generation along the way we wish”. Such propaganda history is merely “lies agreed upon”, and had enabled a toxic mixture of libel, innuendo and silence to poison the well of American historiography”.
The Wrath to Come is also very much about today. Running right through the narrative are the currents and crises that culminated in the great American unraveling that led to the storming of the Capitol on January 6, 2021 – and as we know well, are yet to be fully played out in November 2024, and, as is most likely, beyond it. January 6th was, in her opinion the actualization of what Baldwin called “the wrath to come”, the moral derangement – spinning the nation off its axis. “Beyond the bars of our foolish little cages”, she writes, “a reckoning looms, at a scale we can’t assimilate”.
As an article in the New Yorker wrote recently, the pertinent issue now is not what caused the Civil War but what we should have learned from it. “January 6, 2021, is not an equivalent date in our history to April 12, 1861, but the radical Republican leaders who lived through the Civil War understood a principle that has been lost on their successors: that, if entrusted with power, leaders who commit assaults on the national government once may well attempt to do so again”. Many commentators remind Americans of the time when Benjamin Franklin, one of the original framers of the US Constitution, was walking out of Independence Hall after the Constitutional Convention in 1787, when someone shouted out, “Doctor, what have we got? A republic or a monarchy?” To which Franklin supposedly responded, with a rejoinder at once witty and ominous: “A republic, if you can keep it.”
“The past is not a prediction” Churchwell writes, “but it is a precedent, creating the possibilities for what the future will tolerate. The American future would, it turns out, tolerate a great deal”.
Gone with the myth
Gone with the Wind shows what white America has believed – and wanted to believe – about its own history; it’ curates and cultivates America’s great white myths about itself.
Churchwell anchors her history around one of the most well known and loved stories of the twentieth centuries – the novel and the film of Atlanta author Margaret Mitchell’s epical Gone With the Wind. But while she may be deconstructing the iconic motion picture, it is very evident that the real target of her thesis is number forty-seven, whom she sees as America’s chaos personified. Whilst describing the brief and ineffective Reconstruction years that followed the American Civil War, with its “scallywags and carpetbaggers”, she gaslights “the greatest grifter the Republic has ever seen”. Like slavers, abortion and Vietnam, Trump is an issue that divides Americans, splitting families, straining the mystic chords of memory.
Within six months of its release in June 1936, Mitchell’s tale of tangled love set against the northern invasion and fall of the Old South, sold one million copies, making it the biggest-selling American novel to that date. It won a Pulitzer Prize and National Book Award, and has sold more than 30 million copies internationally.
The 1939 film adaptation starring Vivien Leigh as willful anti-heroine Scarlett O’Hara and Clark Gable as her rakish third husband Rhett Butler, won eight Academy Awards, including best picture, best actress for Leigh and best supporting actress for African-American actress Hattie McDaniel. McDaniel portrayed Scarlett’s outspoken chief house slave, Mammy, and made film history as the first black woman to take home an Oscar (although she was colour-barred from attending the Atlanta world premier).
Churchwell mounts an excoriating critique of the novel-turned-film for its denialism of the horrors of slavery and “shameless” historical distortions about the civil war and its aftermath. Such denialism, she contends, continues to divide America today.
Churchwell’s book adds a contemporary, political twist to such criticism: she argues America’s “most famous epic romance … provides a kind of skeleton key, unlocking America’s illusions about itself” and she links its sanitized treatment of slavery and promotion of white nationalism to Trumpism and the January 6, 2021, attack on Washington’s Capitol.
“When we understand the dark truths of American experience that have been veiled by one of the nation’s favourite fantasies, we can see how the country travelled from the start of the Civil War in 1861 to parading the flag of the side that lost that war (the Confederate flag) through the US Capitol in 2021.’’
Gone with the Wind advances a misleading version of American history known as the Lost Cause. This is the notion that “the Confederacy fought the Civil War (1861–65) as a principled defense of a noble civilization (the Old South) and its democratic rights, rather than as an unprincipled defense of the white supremacist system of chattel slavery … The specific rights in question were individual states’ rights to keep and trade enslaved people, but the Lost Cause skipped that part.’’
Extending this mythology, the film’s opening title cards briefly mention slavery but also refer to the Old South – which was home to four million slaves – as “a land of Cavaliers and Cotton fields,” and a “pretty world where Gallantry took its last bow.”
Similarly, she writes that Gone with the Wind “marks a cultural breakdown, the point where mythology triumphed over history’’. Therefore, “urging the erasure of Gone with the Wind would simply reinforce that … “
“… when a nation’s myths, no longer make sense of its reality, violence erupts. That is one of the many things that has happened to America. Mythmaking and misinformation have been spinning wildly through American political discourse, so they can be hard to catcher as they float, disembodied across our conversations … Like a carnival magician, myth-making points at something with its right hand while picking our pockets, with its left stop. If we stop looking where it’s pointing, we might just manage to protect our valuables – in this case a republic, if we can keep it … It turns out that the heart of the myth, as well as its mind, and its nervous system, most of its arguments and beliefs, it’s loves and hates, it’s lies and confusions and defense mechanisms, and wish fulfilments, are all captured) for the most part in inadvertently) in America’s most famous epic romance: Gone with the Wind.
… and when a country, become so lost in dreams, that it can no longer see reality, it loses its moral sanity … This book follows American history back down into the myth, to excavate what’s been buried – not just the fact that historians have carefully been long, bringing to light … but also suppressed psycho political realities. The lies, the distortions, justifications, the half-truths, the rampant projections, the cognitive dissonances, the negations, the flat denials all the stinging truths Americans don’t want to admit about ourselves that Gone with the Wind caught like flypaper …
It has often been said that America had to imagine itself to existence. Less often remarked is the corollary, that America is, in a very real sense, mainly a story the nation tells itself. That makes the US singularly subject to the meanings of stories and myths – all nations tell stories about themselves, but America has little to hold it together beyond those stories (which is one of the reasons it fetishes its founding documents). If Gone with the Wind is one of the most popular stories America has ever told about itself, then it matters that it is a profoundly antidemocratic, and a moral horror Show … judgment has been remarkably absent from the stories we tell about ourselves.
While Churchwell hopes that Donald Trump loses the November election, she is hardly optimistic about the republic’s future. She sees the events of the last eight years, and indeed those preceding as “portents of a much deeper dislocation in American society. For over two decades now, Americans have been battered by non-stop crises at home and abroad – from the long War on Terror to Covid and the George Floyd protests – leading to what feels like national exhaustion and a deep pessimism about the future of democracy”.
The old revolution and The Lost Cause
Gone with the Wind took a series of historical forces, and made them seem only natural
Maybe we were on the losing side. Not quite sure it was the wrong one.
Captain Mal Reynolds, Firefly (episode 3)
From the beginning of Donald Trump‘s campaign to the turbulent end of his presidency, debates raged about whether his supporters were motivated by economic anxiety or racial animus. But in America the two are intertwined in a system of racial capitalism.
Gone with the Wind doesn’t just romanticize that system – it eroticizes it. The Lost Cause provided a genesis for modern America’s racialized economics and paramilitary white nationalism, in which racial segregation was the supposedly logical outcome of a fight over states’ rights. But the most vicious fights over these supposedly principled stances on states’ rights have always consistently been over racial power. In fact, states’ rights are almost never invoked in a context that is distinct from race. States’ rights created a fig leaf, an alibi from which white America benefits so deeply that the denials continue to this day.
Slavery was America’s Original Sin, a stain running through its technicolor grain. Over the period of the Atlantic Slave Trade, from approximately 1526 to 1867, some 12.5 million men, women, and children were taken in captivity from Africa; 10.7 million were taken aboard ship to the New World and placed in bondage in the Americas – possibly the costliest in human life of all long-distance global migrations. Four hundred years of slavery ended in civil war and a wasteland.
America’s road to the Civil War took decades. It is beyond the scope of this article. but within a month of Lincoln’s victory in the presidential election of 1861, South Carolina took the fatal step, followed over the next few months by the secession of most of the Lower South. A month after his inauguration, the Civil War erupted with the bombardment of Fort Sumter in Charleston harbour. As Churchwell recounts it, “…. once a people decides that it cannot live together or when a citizenry divides into clearly opposed blocs, it is impossible to predict just how conflict may erupt. But to say that it cannot happen is to ignore history. Even Lincoln downplayed the threat of southern secession during the 1860 campaign, not believing until it was too late that the South ever would take such a final step”.
The American Civil War claimed more than seven hundred thousand American lives, tore a young nation apart, and its echoes reverberate still one hundred and sixty years later, reflecting unresolved political fault lines that go back two centuries. years. Though the war ended slavery, there was still another hundred years of toiling towards true freedom. As Martin Luther King said, “Lord, we ain’t what we want to be; we ain’t what we ought to be; we ain’t what were gonna be, but thank God, we ain’t where we was”.
“The white South grabbed the moral high ground and clung on for dear life – while the white North met it more than halfway. By the turn of the century the south was winning the war of ideas, its big lie accepted across the United States”.
It used to be said that the South would rise again. It did, and indeed, some reckon, the South finally won the war.
Dixie rising
Predictably, the ghosts of the American civil war have been haunting the ongoing presidential campaign and have forced their way back into popular consciousness.
Statues depicting figures from the war – and even of founding fathers or older presidents – and even the names of the schools, military bases and streets, have increasingly become a flashpoints for a real political and cultural struggle. A low-intensity war on the past is now being waged across many states, with the effect of hardening hearts and solidifying the battle lines being drawn in the sand.
In May 2024, it was reported that the Shenandoah County School Board in Virginia would restore the names of Confederate generals Thomas “Stonewall” Jackson, Robert E. Lee and Turner Ashby to two local schools. The controversial reversal comes nearly four years after the names were changed.
“Residents speaking in favour of reverting to the Confederate names included Stuart Didawick, who noted that his family’s roots run deep in the community, where his ancestors received land grants in the decades before the American Revolution. “When you vote on the name restorations”, he asked board members, “will you listen to the opinions of woke outsiders who have for the most part no ties to the land, the history, or the culture of this county? Or will you listen to the voices of the people who elected you to represent them, the people whose families built and have sustained this county for generations?” To which a student and athlete responded: “I would have to represent a man that fought for my ancestors to be slaves,” adding that she would feel as if she’s being disrespectful both to her ancestors and her family’s values.
Another pervasive ghost of the Civil War, the battle flag of Dixie, has never gone away. It was long a favoured accessory above government buildings and at right wing rallies in The South, those former secessionists states that lay south of the Mason-Dixon Line. It played a cameo role in popular culture, flying in The Dukes of Hazzard, True Blood, and even The Walking Dead. The right to flaunt “the Stars and Bars”, an enduring symbol of the lost Confederate cause, and a rallying point for those who still believe the rebel cause to be just, those who take solace from an heroic defeat, and those who believed that “the South will rise again”, and indeed those who KNOW that the South has indeed risen again. For have not the white, right wing, God fearing, Clinton-baiting, and Obama-hating ‘Red’ states of the South conquered and colonized the American political system?
Failed Republican presidential hopeful Nikki Haley was governor of South Carolina, the first state to secede in 1861, in 2015, when in 2015, Dylann Roof, a young white supremacist who had draped himself in the Confederate flag, massacred nine African American parishioners at a Black church in Charleston, the state capital. Haley called for the removal of the Confederate flag from the grounds of the State House, where it had been hoisted in the early 1960s as a rebuke to the civil rights movement. When the flag came down, a ceremony that felt like the final surrender of the Civil War, little did we know that what we were actually witnessing that summer was the beginning of the white nationalist counter-offensive headed by Trump. In a strange quirk of history, he launched his presidential bid the very day before the Charleston massacre.
During the run up to the Republican primaries, POTUS aspirant and Florida Governor Ron DeSantis defended part of his state’s African American history curriculum standards that claimed some enslaved people developed skills that “could be applied for their personal benefit.” Flag-remover Nikki Haley omitted any mention of slavery when she was asked to explain the cause of the Civil War at a town hall event. It wasn’t until the next day that Haley acknowledged the war was “about slavery”. Both now failed candidates reflected unresolved political fault lines that go back nearly 200 years.
© Paul Hemphill 2024. All rights reserved
In !955, Ella Fitzgerald was jailed for singing to an integrated audience in Texas
Author’s note
Last year, my favorite podcast The Rest is History broadcast a long but informative interview with Churchwell herself. The link is below. I also republish a review of the book and its content that first appeared in The Australian in April 2023, and the unique story an escaped slave who found his way to Australia and lived to tell his tale in print – an 18,000-word essay about slavery, titled The United States Governed by Six Hundred Thousand Despots.
Such was my enthusiasm for Churchwell’s book, I transcribed many of what I considered to be memorable and cogent quotes. They are categorized and listed immediately after the following videos.
For other posts in In That Howling Infinite about the American Civil War, see Blind Willie McTell – Bob Dylan’s Americana, Cross the Green Mountain – Bob Dylan’s Americana, Rebel Yell, Land of the fearful – home of the heavily armed, and regarding American Fascism prior to World War II, see The Shoah and America’s Shame – Ken Burns’ sorrowful masterpiece
Like my father before me
I will work the land
And like my brother above me
Who took a rebel stand
He was just 18, proud and brave
But a Yankee laid him in his grave
I swear by the mud below my feet
You can’t raise a Kane back up
When he’s in defeat
Robbie Robertson, The Band
Churchwell quotes …
The Dixie Dreamtime
The story is cloaked in self-delusion far worse than Scarlet’s, and the film – which recognizes the novel’s flaws more clearly perpetuated these solutions out of commercial interests. This modern myth affirmed all the nation’s favorite illusions about itself, up to and including its faith in its own innocence – and then sold that bill of goods to all and sundry, making a fortune in the process. Scarlett’s blinkers are typical too – the willful ignorance in which American popular memory likes to trade. What she couldn’t or wouldn’t see is the subject of the rest of this book …
… the savage viciousness of Jim Crow produced the consoling legend of a noble land of Cavaliers, and ladies, who presided over loyal servants, with gentle benevolence, which would become America’s favourite story for decades to come. Listen closely to what a culture keeps telling itself, and you’ll know not only what’s on its mind, but what it needs to hear. Gone with the Wind told Americans that they could survive anything, especially if ignored it … the denialism of American culture (is) its refusal to face facts, to recognize that what it tells itself simply isn’t true …
Even as white Americans were sharply censoring the rise of Fascism in Europe, traveling to Spain to volunteer against Franco’s army, they were also longing for the good old days when the United States have enslaved millions of non-white Americans …
Good stock
Slavery was abolished by the war, but white supremacism was not. The problem was that white Americans could abhor slavery, and fight a war to end it, and also abhor Black people. They could believe that slavery was a moral abomination, and also believe in eugenicist racial science that claimed non-white people were biologically inferior to white people, and that racism was the natural order of things, even if slavery was not …
Gone with the Wind appeared a mere decade after the Scopes Monkey Trial took Darwinism to court to try to deny that humans will be related to apes. The immense anxiety sparked by this idea was bound up in older racist tropes which held the Black people were apes and white people were human. Proof that white people were also descended from apes challenged the racial hierarchy …
Once white people were forced to concede that they might’ve come out of jungles two, scientific gracious, and sort through that they had emerged much earlier, and how much farther and Black people
Playing along with lesser folks, taking from them what you can, and then, kicking them to the curb, is also the secret of social Darwinism, which is inextricable from the novels racism. Both preach survival of the fittest, defining fitness through biological determinism, as heritable traits that mean survivalism is a question of innate character rather than environmental good fortune These ideas are fundamentally eugenicist, claiming not only that some humans “stock” is biologically superior to others, but that such groups come racially and ethnically presorted. Presumptions of lesser and greater beings, the right of merit to rule, was at the heart of the argument: an aristocratic entitlement to title that claimed privilege was founded on inherited superiority, rather than brute force or the dumb luck of circumstance … the notion of “good stock” and “breeding” that underpinned scientific racism …
In the wake of first first world war and the Russian revolution, the “red scare” enabled the second Klan to maintained its white supremacism but expanded its list of enemies to include most foreigners, especially Catholics, Jews, eastern and southern Europeans, as well as communist, socialist and labor organizations, all of whom it generally equated. This broad, stroke nativism was strongly eugenicist, promising to protect the “pure stock” of white American Protestantism from the racial “pollution” of mixing with inferior breeds …
Heirs to the white supremacist cause, the replacement theorists, Tucker Carlson, Kyle Rittenhouse. Fox host Tucker Carlson professed to be “shocked” that “seventeen year olds with rifles decided they had to maintain order when no one else would”. This is precisely the alibi that was always offered for white supremacist violence, straight out of Gone with the Wind and the newspaper lynching reports that that accompanied it. Scapegoating makes violence redemptive, as savagery is projected onto its victims, who deserve what they’re getting. The Klan was a group shaped around projection and scapegoating. Apologists of white supremacist from Thomas Dixon and Margaret Mitchell to Tucker, Carlson and Ann Coulter to the hyper partisan mob that stormed the Capitol all insisted that they were defending “extralegal justice”, as if extralegal were not just another word for illegal …
History is endlessly revised, even when it’s been chiseled in stone. Newly discovered facts can improve our understanding of the past, and sometimes people even ask new questions about the same old facts.
… Black Americans are left arguing that they are the ones owed by a nation which is yet to redeem the promises it made to the makes to them. That is the entire import of Dr. King’s 1963 “I have a dream” speech, a metaphor of redemption that he makes explicit, and explicitly economic: “we’ve come to our national capital to cash a check”, King said, on the “promissory note” signed by the architects of our republic, a promise of “unalienable rights” to “life, liberty and the pursuit of happiness”. But America has “defaulted on this promissory note” King charged. “America has given the Negro people a bad check, a check which has come back marked “insufficient funds” .
… the seed of white grievance, a nostalgic, resentment that perceives only loss of individual power, refusing to consider the question of collective equality. Grievance is the politics of narcissism, the refusal to shift your ground, nursing your grudges, building spite into politics, while telling your enemies to move on in the interest of unity, a unity in which you do not believe, and which you have no intention of compromising.
Women’s rights and suffrage
Mitchell was outraged that Blacks could vote and women could not … Real estate was also entangled with women’s rights, as women gradually bou property and paid tax, but still could not vote. Her mother argued the women’s suffrage, and is very terms woman paid taxes, but we’re not allowed to vote drunken bums on the sidewalk because they were men that they haven’t paid a dime when titled to vote, and we are not …
White wealth through property ownership is what Gone with the Wind wants to exult – while trying, less than successfully, to ignore the role of slavery and it’s aftermath in the creation of that wealth.
Gone with the Wind Shows how the mythology of American success stories, including those of immigrants, were also inculpated in the bloody history of institutionalized slavery. The triumphalism of the end of the immigrant success story has worked to school the question of complicity, the suppose and dog in this town, making good does so at the expense, And More, senses of one, of an entire Other, racially marked, underclass.
Fascism and the kloning of the Klan
My summary: Fascism as represented by the KKK and the plethora of “clothes line” political groups distinguished by a colourful array of shirts was characterized by an American nativism, xenophobic, and white supremacist, conspiratorially anti-Semitic and anti-communist paramilitary groups, leveraging existing bigotries on behalf of state violence, consolidating power for one small group, while dehumanizing, persecuting, and annihilating – the eugenicist exultation of certain “bloodlines” of over others, white grievance displaced onto racialized enemies within.
Fascism as represented by the KKK and the plethora of “clothes line” political groups distinguished by a colourful array of shirts was characterized by an American nativism, xenophobic, and white supremacist, conspiratorially anti-Semitic and anti-communist paramilitary groups, leveraging existing bigotries on behalf of state violence, consolidating power for one small group, while dehumanizing, persecuting, and annihilating – the eugenicist exultation of certain “bloodlines” of over others, white grievance displaced onto racialized enemies within.
The affinities between the second Klan and European fascism had only grown clearer since they are simultaneous start in the early 20s, with their shared cults of paramilitary violence, legal apartheids, eugenicist, ideologies, and paranoid cultures … a mast native about the sacredness of the course, the purity of the nation, and the exultation of violence to defend against the enemy within.
… there is a strong case for the fascism of the Klan with its paramilitary violence, it’s extra-legal assertions of power, it’s uniforms and rituals, it’s love of esoterica, its nostalgic racial fantasies, its conspiracy theories, and its existential rejection of the legitimacy of any government that opposes it, as historians of fascism pointed out … It was ennobled by myths of national purity, performed by masculinist cults of the leader, and sold as the will of the people.
Robert O Paxton, in the five stages of fascism, characterized it as a politics, “marked by obsessive preoccupation with community decline, humiliation, or victimhood, and by compensatory cults of unity, energy, and purity, in which a mass based party of committed nationalist militants, working in un easy, but effective collaboration with traditional elites, abandons democratic liberties and pursues, with redemptive violence, and without ethical or legal restraints, goals of internal cleansing and external expansion“.
The Black and brown shirts of European fascism were met by America’s own clothesline politics, all declaring sympathy with European fascism and espousing the rights of the white Christian American herrenvolk to dominate their nation too. The American right wing “haberdashery brigade” includes silver shirts, white shirts, dress shirts, and gray shirts. They were joined by the black Legion, the order of ‘76 and as well as Cristo-fascist groups, including defenders of the Christian faith and the Christian Front, whose members called themselves the brown shirts. The Friends of the Hitler movement, the official Nazi Association in America, was established in 1933, eventually becoming the German American Bund.
Denialism it had nothing to do with European Fascism ….
Racial bigotry in America, the times insisted, was just unthinking in the good, old, thickheaded, prejudiced, irrational human fashion. Whether unthinking racism is preferable to thinking racism is probably immaterial to its victims, as if lynching would be less objectionable if it weren’t defended on the grounds of rationality … i.e. white supremacism was just good old thickheaded American prejudice.
If Gone with the Wind is broadly fascistic in its outlook, the lost cause is even more so, in its glorification of the confederate causus belli, the cults of its leaders of its dead, its propaganda, it’s wars for territorial expansion, and the insistence on the sacred rebirth of the nation in the ashes reconstruction, the new order founded on the ongoing defiance of the federalist government of the United States, and a fundamental rejection of pluralist democracy.
A collection of material at Ferris State’s Jim Crow Museum of Racist Memorabilia, Grand Rapids, Michigan, 2004. Jim Prichard/AP
The Grapes of Wrath
Eight months before the film premiered in Atlanta, John Steinbeck published the grapes of broth, which would become the most popular novel of 1939. Widely hailed as a testament to human endurance, the novel took its title from the battle hymn of the Republic, Julia Ward Howe’s mighty Civil War anthem …Howe’s Bible steeped language comes from the book of revelation, in invoking divine Justice, when God’s truth will force the wine of freedom from the grapes of wrath. It is an image of anger, accumulated, even cultivated, long march of times.
What defined fascist propaganda was never its lies, wrote Hannah Arendt in 1945, for all propaganda is based on lies. What distinguishes fascist lies is that they are intended to negate reality, making “that true, which, until then could only be stated as a lie”. Fascists don’t lie to deceive; they lie to change reality. Lies about the Lost Cause did just that, using fiction to displace reality until the fiction has become a reality. Soon that fiction spread beyond the cult of true believers, normalizing itself in the body, politic for the best part of the century, a cancer legitimating unreason that metastasized long ago Mythology replaced history as the arbiter of American truth.
Line is not only the Hitlerian big lie of propaganda, but a culture of perversive, lying, what a Arendt called “lying as a way of life” and “lying on principle”. It is a systematic dishonesty that destroys the collective space of historical-factual reality.
The Birth of a Nation
In February 1915, upon viewing The Birth of a Nation at a special White House screening, President Woodrow Wilson reportedly remarked, “It’s like writing history with lightning. My only regret is that it is all so terribly true. This line has appeared in numerous books and articles over the past seventy years. But it was appended twenty years after the event to add a spurious authority- from a former president no less – to the mythical account of reconstruction told in the birth of a nation that gone with the wind recycled, creating a very efficient closed circle of mythmaking.
The Birth of a Nation, by all accounts the first American blockbuster, the first historical epic, the first Hollywood film to resemble what movies are like today, premiered in Los Angeles exactly 100 years ago on Sunday. But the centennial won’t be celebratory. It will likely be awkward, sobering even — because in director D.W. Griffith’s 12-reel Civil War saga, the Ku Klux Klan members are the glorious heroes.
Since its premiere on Feb. 8, 1915, the film has been at once wildly popular and widely condemned. It inspired the revival of the KKK but also galvanized what was then a nascent NAACP into action. It helped define what cinema means for American audiences. It was the first film ever shown inside the White House.
After 100 years, it has left a complicated, powerful legacy, but a legacy of what, exactly?
“Excuses are sometimes made by scholars of film for the content, but I don’t think that for the last ten to 15 years there has been any doubt that this is an unequivocally, viciously racist film,” says Paul McEwan, Associate Professor of Media and Communications at Muhlenberg College. McEwan has been studying and writing about the history of Birth of a Nation for 12 years. “I mean, this film makes Gone With the Wind look very progressive.”
Griffith claimed to be filming history, but Birth of a Nation, based on the novel The Clansman by Thomas Dixon, features a stunning revision of Reconstruction. White actors in blackface portray members of a barbaric, sex-crazed militia of freedmen that terrorizes and disenfranchises cowering whites. Black men overtake South Carolina’s judicial system and legislature, swigging whiskey and eating fried chicken on the floor of the State House. After the blackface character Gus attempts to rape a white woman, the protagonists don their hoods and apprehend him, lynching him after their version of a fair trial. The film is ostensibly about white national reconciliation at the expense of emancipated black Americans. A title card punctuates the action toward the end of the silent film to declare, “The former enemies of North and South are united again in defense of their Aryan birthright.” Despite its objectionable content, the film remains an essential part of the discussion about American cinema because of Griffith’s pioneering technical innovations. Things that today are completely taken for granted — like close-ups, fade-outs and even varying camera angles — originated with The Birth of a Nation‘s director and crew.
From the poverty shacks, he looks from the cracks to the tracks
And the hoofbeats pound in his brain
And he’s taught how to walk in a pack
Shoot in the back
With his fist in a clinch
To hang and to lynch
To hide ‘neath the hood
To kill with no pain
Like a dog on a chain
He ain’t got no name
But it ain’t him to blame
He’s only a pawn in their game
Bob Dylan
In the courtroom of honor, the judge pounded his gavel
To show that all’s equal and that the courts are on the level
And that the strings in the books ain’t pulled and persuaded
And that even the nobles get properly handled
Once that the cops have chased after and caught ’em
And that the ladder of law has no top and no bottom
Stared at the person who killed for no reason
Who just happened to be feelin’ that way without warnin’
And he spoke through his cloak, most deep and distinguished
And handed out strongly for penalty and repentance
William Zanzinger with a six-month sentence
Bob Dylan, The Lonesome Death of Hattie Carroll
In !955, Ella Fitzgerald was jailed for singing to an integrated audience in Houston, Texas
Goosestepping back to political relevance
Artist Barry Blitt’s “Back to the Future.” In another year of political chaos, he “looks forward to depicting the pageantry, solemnity, and awe of the upcoming Presidential election”.
A slave writes to a Sydney paper
I’m trying to imagine what it might have been like to be the editor of a little Sydney newspaper called The Empire in the 1850s when a “fugitive slave” – owned from birth by the invalid daughter of an innkeeper in North Carolina – walked through the door, asking for a copy of the US Constitution.
He wanted to write about the slavery endured by whole branches of his family, and he needed the Constitution for reference.
It seems that this actually happened in Sydney in 1855. The New York Times had a story about it on the weekend. And you’re not going to believe how that story ends.
The slave in question was John Swanson Jacobs, described by the editors of The Empire (they are sadly not named) as “a man of colour, with bright intelligent eyes, a gentle firm voice, and a style of speech decidedly American.”
Jacobs had escaped bondage and made his way to Australia where he was desperate to find somebody willing to tell the story of slavery. By chance, the editors had “the last edition of the United States’ Constitution authorised by Congress” in their offices, and they agreed to lend it to Jacobs, who returned it after a fortnight, with an 18,000 word essay about slavery, titled The United States Governed by Six Hundred Thousand Despots.
The editors of The Empire agreed to publish it, and “scarcely altered a word”.
A first-hand account of slavery by an escaped slave has been found in an Australian newspaper archive.
“The writer is in Sydney; we understand he has been among the successful gold-diggers,” they said. “We shall be much mistaken if his narrative is not read with a lively interest.”
More than 160 years later, you are being offered the opportunity to read that essay, because it has rather amazingly been re-discovered, and published in book form, and oh, it’s so harrowing.
It begins: “I was born in Edenton, North Carolina, one of the oldest States in the Union, and had five different owners in 18 years.
“My first owner was Miss Penelope Hannablue, the invalid daughter of an innkeeper. After her death I became the property of her mother.”
He describes the slavery endured by his father: “To be a man, and not to be. A father without authority – a husband and no protector … Such is the condition of every slave throughout the United States; he owns nothing – he can claim nothing. His wife is not his – his children are not his; they can be taken from him, and sold at any minute, as far as the fleshmonger may see fit to carry them.
“Slaves are recognised as property by the law and can own nothing except at the consent of their masters.
“A slave’s wife or daughter may be insulted before his eyes with impunity; he himself may be called on to torture them, and dare not refuse. To raise his hand in their defence, is death by the law. He must bear all things and resist nothing. If he leaves his master’s premises at any time without a written permit, he is liable to be flogged; yet they say we are happy and contented.”
He describes the death of Mrs Hannablue, and the sale of her slaves: “Here they are, old and young, male and female, married and single, to be sold to the highest bidder … They began to sell off the old slaves first, as rubbish; one very old man sold for one dollar; the old cook sold for 17 dollars; from that to 1,600 dollars, which was the price of a young man who was a carpenter.
“Dr Norcom, whose daughter owned my sister, bought me for a shop boy. It would be in vain for me to attempt to give a description of my feelings while standing under the auctioneer’s hammer.”
Jacobs escaped, and spent years on a whaling ship before landing in Australia. His essay was discovered just a few years ago, by an American literary scholar, Jonathan D.S. Schroeder, who came across it while digging through the Australian online newspaper database, Trove.
It is being published by the University of Chicago Press, who says accounts of slavery by the slaves themselves are exceedingly rare, and precious. They believe that Jacob was the brother of Harriet Jacobs, whose 1861 autobiography, Incidents in the Life of a Slave Girl is revered in the US as one of the first, first-hand published accounts of slavery, and therefore a treasure, as this essay also so very clearly is. You may read the whole thing on Trove or buy the book here.
The 20th century’s most famous fictional lovers had ‘profoundly fascistic worldviews’, according to an author who has mounted an excoriating critique of the novel-turned-film for its denialism of the horrors of slavery.
Clark Gable and Vivien Leigh in Gone with the Wind
American author Margaret Mitchell expected her first and only novel, Gone With The Wind, to sell about 5000 copies. Yet from the day it was published on June 30 1936, Mitchell’s 1037-page fable about the American Civil War and the pampered, manipulative daughter of a Georgia plantation owner, was not merely a bestseller: it evolved into an enduring – and polarising – cultural phenomenon.
Within six months of its release, Mitchell’s tale of tangled love set against the northern invasion and fall of the Old South, sold one million copies, making it the biggest-selling American novel to that date. It won a Pulitzer Prize and National Book Award and has sold more than 30 million copies internationally.
The 1939 film adaptation starring Vivien Leigh as willful anti-heroine Scarlett O’Hara and Clark Gable as her rakish third husband Rhett Butler, won eight Academy Awards, including best picture, best actress for Leigh and best supporting actress for African American actress Hattie McDaniel. McDaniel portrayed Scarlett’s outspoken chief house slave, Mammy, and made film history as the first black woman to take home an Oscar.
The film’s melodramatic love story — Scarlett spends years pining for a man she cannot have — along with its elegant balls, burnt orange skies, hooped gowns and epic scenes of dead and injured Confederate troops, proved a hit with moviegoers around the world. When adjusted for inflation, Gone with the Wind, which tracks Scarlett’s journey through civil war, near-starvation, three marriages and the loss of her only child, remains the highest-grossing film of all time, ahead of Avatar and Titanic.
American author Sarah Churchwell recounts these milestones in her provocative book, The Wrath to Come: Gone with the Wind and the Lies America Tells — and goes on to mount an excoriating critique of the novel-turned-film for its denialism of the horrors of slavery and “shameless” historical distortions about the civil war and its aftermath. Such denialism, she contends, continues to divide America today.
In fact, Churchwell — one of the headline speakers at next month’s Melbourne Writers Festival — argues that society belle-turned-wily survivor, Scarlett O’Hara, and gambler turned doting father, Rhett Butler, are “homicidal white supremacists with profoundly fascistic worldviews’’. Not the kind of academic who pulls her punches, she adds that Mitchell’s novel is “about enslavers busily pretending that slavery doesn’t matter — which is pretty much the story of American history’’.
The novel and film’s depiction of loyal, happy enslaved people — neither Scarlett’s family nor their wealthy plantation neighbours mistreat their slaves — has long been criticised. “Gone with the Wind does such violence to American history that it practically lynches it,’’ black journalist Ben Davis Jr wrote in 1940.
Scarlett (Vivien Leigh) being laced into a corset by Mammy (Hattie McDaniel)
Churchwell’s book adds a contemporary, political twist to such criticism: she argues America’s “most famous epic romance … provides a kind of skeleton key, unlocking America’s illusions about itself” and she links its sanitised treatment of slavery and promotion of white nationalism to Trumpism and the January 6, 2021 attack on Washington’s Capitol. Significantly, just months before this attack, Donald Trump invoked Gone with the Wind at a rally while complaining about the South Korean film, Parasite, winning the Best Picture Oscar. Trump said he wished America would “bring back” films like the 1939 classic: “Can we get, like, Gone with the Wind back please?’’
As an American who lives in London and writes about US culture and history, Churchwell is often asked, “What has happened to America?”, since the 2016 election of Trump as US president “dumbfounded most of the watching world’’. She writes: “When we understand the dark truths of American experience that have been veiled by one of the nation’s favourite fantasies (Gone With The Wind), we can see how the country travelled from the start of the Civil War in 1861 to parading the flag of the side that lost that war (the Confederate flag) through the US Capitol in 2021.’’
In a Zoom interview, Review asks Churchwell whether she has faced pushback over her claims Scarlett and Rhett are homicidal white supremacists. A professor of American Literature at the University of London, she grins and says: “People have noticed it.’’
She says the book hasn’t come out in the US yet – it will be published there in June – “so we’ll see what they think’’ of her revisionist history of this popular American classic.
With her curtain of long blonde hair, Churchwell cuts a glamorous figure as she delivers her rapid-fire answers, which, like her writing, are mercifully free of academic jargon. She says of her denunciation of Scarlett and Rhett: “It is a statement of fact because they both espouse white supremacism over and over and over again. So it’s not an interpretation. It is a simple description of the things that they do and the things that they say.’’
The Wrath to Come – which British critics have described as “extraordinary” and as prising opening “often jaw-dropping history’’ – documents how, when under pressure, Scarlett uses the n-word in the novel. This racial slur appears in Mitchell’s book more than 100 times but was removed from the film’s script after black cast members and activists lobbied the blockbuster’s powerful producer, David O. Selznick.
In Mitchell’s novel, during one wartime crisis, Scarlett threatens to sell a young, flighty slave, Prissy, “down the river’’ and also threatens her with: “You’ll never see your mother again or anybody you know’’. Later, when Scarlett and her Tara household are facing starvation following the siege of Atlanta, she again loses her temper with Prissy, uses the n-word against her for the first time and threatens to “wear this whip out on you’’.
During Reconstruction, Scarlett refers in disparaging terms to “damned n—-r lovers” and when she starts a timber mill business, she is troubled by “free nxxxxrs’” who won’t work for her (because ex-slaves now have the right to resign). All of these racial insults are omitted or softened in the film.
As for those homicidal claims, Scarlett shoots a white Yankee deserter who invades her family’s plantation house, in self-defence, takes his money and hides the body. In the novel, she is initially shocked at her violence, but Churchwell notes how she later mused she “could have … taken sweet pleasure in the feel of his warm blood on her bare feet’’. Rhett Butler, a self-interested gambler who eventually joins the Confederacy, admits in the book he killed a Yankee soldier in a bar-room argument, and murdered a black man because “he was uppity to a lady, and what else could a Southern gentleman do?’’
Then there is the racist language of Mitchell’s novel, which is “far more extreme”, says Churchwell, “than those who haven’t read it probably imagine’’. She argues: “Gone with the Wind never once refers to Black people as people or human beings – not a single time. They are only dehumanised and generic racial categories. Black people are either (various) animals, especially all sorts of apes; or they are savages, just out of the jungle; or they are ‘slaves’, ‘blacks’, ‘darkies’, ‘pickaninnies’, ‘negroes’, ‘mulattos’, or ‘nxxxxrs’.
“ … Tara’s field hands have ‘huge black paws’ and ‘caper with delight’ at encountering Scarlett, while freed slaves run wild ‘like monkeys or small children’ after emancipation, ‘as creatures of small intelligence might naturally be expected to do’.’’
The film uses the now-objectionable term “darkies” and as mentioned above, dropped the n-word. This toning down of the book’s racism “had the perverse outcome of reinforcing the Lost Cause myth that white Southerners treated Black people courteously,’’ Churchwell argues.
For the academic and author, the novel’s racial prejudice goes beyond its extensive use of offensive words: “It’s unreflective in its racism. It thinks there’s such a thing as a willing slave without stopping to think about the fact that those two words literally mean the opposite.’’ Although slavery ended because of the Civil War, she also contends that Gone with the Wind presents America’s post-war reconstruction and new era of rights for freed slaves as a tragedy – for Scarlett, and her slave-owning plantation class.
Churchwell, who has also written cultural histories of other American icons Marilyn Monroe and The Great Gatsby, says Gone with the Wind advances a misleading version of American history known as the Lost Cause. This is the notion that “the Confederacy fought the Civil War (1861–65) as a principled defence of a noble civilisation (the Old South) and its democratic rights, rather than as an unprincipled defence of the white supremacist system of chattel slavery … The specific rights in question were individual states’ rights to keep and trade enslaved people, but the Lost Cause skipped that part.’’
Extending this mythology, the film’s opening title cards briefly mention slavery but also refer to the Old South – which was home to four million slaves – as “a land of Cavaliers and Cotton fields,” and a “pretty world where Gallantry took its last bow.”
Churchwell, who has a PhD in English and American literature from Princeton University, is not the only cultural expert to question Gone with the Wind’s use of racist terms and extreme euphemism. This month, British journalists revealed that Pan Macmillan, publisher of Mitchell’s epic, had added a detailed trigger warning to the 2022 edition, pointing out the novel “includes problematic elements including the romanticisation of a shocking era in our history and the horrors of slavery’’.
In 2020, HBO Max temporarily pulled the film in the wake of George Floyd’s murder. It has since been restored to the streaming service with accompanying videos that denounce its racial representations and examine the film’s historical context.
The African-American rapper Queen Latifah has said the film should have been permanently banned by HBO Max. “Let Gone with the Wind be gone with the wind,’’ she said. Actress and TV host Whoopi Goldberg – the second black woman to win an acting Oscar after McDaniel – disagreed. She favoured educating viewers on the film’s context, adding: “If you start pulling every film, you’re going to have to pull … a very long list of films.’’
Churchwell’s inspiration for her book, which took her five years to write, were the American and UK statue wars. “I initially envisioned it as a much shorter, faster book,’’ she says. “ … At the same time, history kept galloping forward and Gone With the Wind kept coming into the news and Donald Trump kept pushing things forward. And so it was like it had more and more to say to our moment.’’
Sarah Churchwell
She does not advocate cancelling Gone with the Wind or destroying statues. She argues it is better to place key statues of controversial historical figures in museums, with accurate contextual information. Similarly, she writes that Gone with the Wind “marks a cultural breakdown, the point where mythology triumphed over history’’. Therefore, “urging the erasure of Gone with the Wind would simply reinforce that failure’’.
Mitchell disliked nostalgic characterisations of the Old South as a land of “magnolias and moonlight’’. She describes Rhett – the embodiment of masculine virility – as “dark of face, swarthy as a pirate”, and conceived of Scarlett as a not especially beautiful anti-heroine: she was perplexed when her self-centred protagonist became a national heroine. An ex-journalist from Atlanta, Mitchell saw the adoration of Scarlett as “bad for the mental and moral attitude of a nation” and once complained: “The mythical Old South has too strong a hold on their (the public’s) imaginations to be altered by the mere reading of a 1037-page book.’’
The Wrath to Come acknowledges all this but notes that while Mitchell condemns Scarlett’s failings such as her greed and lack of self-awareness, she doesn’t challenge her racism. “Her white supremacism isn’t part of what makes her not admirable for Mitchell,’’ Churchwell tells Review.
Mitchell maintained that her black characters, including Tara’s slaves Mammy, Pork and Big Sam – the latter saves Scarlett’s life when she is attacked – behaved in a more noble manner than their white mistress. “It’s true most of the black characters in the novel are admirable in the sense they’re not evil,’’ responds Churchwell. However, she says that after the Civil War, as slaves were freed, Mitchell’s text often falsely characterised them as “a danger to civilised society’’.
Published in 27 languages, the novel has often been praised as a powerful account of the effects of war on innocent civilians, especially women, and Scarlett has been seen as a proto-feminist — a selfish but determined young woman who endures the chaos of war and flouts the stifling gender conventions of her time by going into business for herself. Former Democrat first lady Eleanor Roosevelt was a fan of the book, writing that it made the lingering enmity of the south “easy to understand … even to those who haven’t understood it before”. As a result, she sympathised, she said, with southern women whose “bitterness persisted so long” against the “northern invaders”.
Churchwell writes scornfully of this: “Even a white liberal like Eleanor Roosevelt sympathised after reading the novel not with enslaved people but with the women fighting to keep them in chains. This is what it means to naturalise a value system.’’ In our interview, Churchwell says Roosevelt’s sympathetic take “was obviously very representative of the ways that Americans read the book at that time’’.
The university professor concedes Scarlett has some winning qualities: “Vivien Leigh’s portrayal of Scarlett is one of the things that makes the film quite indelible. I think it’s an incredible performance. And she takes this character who is unlikable in all kinds of ways — is kind of stupid — and makes her a lot more interesting, charming and sympathetic.’’
McDaniel’s parents had been enslaved and she famously retorted to critics of her devoted house-slave role that she had chosen between $7 a week to be a maid, or $700 a week to play a maid. Even so, on the night she made Oscars history, McDaniel was forced to sit apart from white cast members during the awards ceremony in Los Angeles. Says Churchwell: “A lot of people now have the idea of a Jim Crow segregation in the US as being something that only happened in the south, but …. a kind of an apartheid line ran all the way across the US.’’
What about the notion Mitchell was a product of the early 20th century era, and that adult readers of her saga would understand this? “It’s true up to a point,” replies Churchwell. She says Mitchell’s contemporaries, Hemingway and Fitzgerald, also reflected the casual racism of their era, but “considerably less viciously” than she did. Unlike Mitchell, who defended her right to use the n-word, “they both evolved”.
Although Leigh’s Scarlett and Gable’s Rhett were arguably 20th century film’s most recognisable lovers, Churchwell maintains that Gone with the Wind’s historical distortions are still “vastly underestimated.’’.
“The book has always been recognised as racist,’’ she says. “I certainly didn’t write the book to be like, ‘Hey, I’ve got a revelation, ‘Gone With the Wind is racist – we never knew’.
“But the more that you go into it, the more you realise that there are ways in which we still haven’t reckoned with some of the truths about their (Scarlett and Rhett’s) positions. And (this is) despite the fact that they are both homicidal white supremacists — they just are.’’
In That Howling Infinite 