THE POWER OF THE DISABLED: FLANNERY O'CONNOR’S “THE LAME SHALL ENTER FIRST”

Flannery O'Connor’s (1925-1964) "The Lame Shall Enter First" (1962) deals with three characters: Sheppard, a widower, his son Norton, a ten years old boy and Rufus, a miscreant teenager, whom Norton dislikes. Rufus has a clubfoot, is very intelligent and fond of violence. Sheppard is a philanthropist and likes to help Rufus inviting him to live with them, contrary to Norton’s wishes. In fact, Rufus despises Sheppard, resists help and is aware of his own evil nature. He makes Sheppard embarrassed and causes Norton’s death deliberately, leaving both of them as victims. O’Connor in this context, de/reconstructs the prejudice against the disabled people; in the American South the disabled are regarded as evil characters. On the other hand, although it is generally accepted that the disabled people are good, she shows them as ordinary people having both good and wicked sides. Moreover, they may refuse help and prove personality despite the fact that non-disabled people are inclined or regard it duty to help them. She problematizes the disabled body as ‘the other/marginalized’ being pitiful and pitied. Thus, it becomes clear that O’Connor acknowledges the disabled people as normal as the non-disabled, or powerful, not physically but spiritually and intellectually. The tenets of ‘Disability Studies’ are insightful to discuss the work. Keywords: Flannery O'Connor, "The Lame Shall Enter First", “Disability Studies”, American South

African American history in Natasha Trethewey’s “Native Guard”

The article presents interpretations of the poetry collection “Native Guard” of the American writer Natasha Trethewey — the Pulitzer Prize winner (2007), and Poet Laureate (2012–2014). Through the lens of African American and Critical Race studies, Trethewey’s “Native Guard” is analyzed as the artistic Civil War reconstruction which writes the Louisiana Native Guard regiments into national history. Utilizing the wide range of poetic forms in the collections “Domestic Work” (2000), “Bellocq’s Ophelia” (2002), “Thrall” (2012), — ekphrastic poetry, verse-novellas, epistolary poems, rhymed and free verse sonnets, dramatic monologues, in “Native Guard” (2006) Natasha Trethewey experiments with the classical genres of villanelle (“Scenes from a Documentary History of Mississippi”), ghazal (“Miscegenation”), pantoum (“Incident”), elegy (“Elegy for the Native Guard”), linear palindrome (“Myth”), pastoral (“Pastoral”), sonnet (the ten poems of the crown sonnet sequence “Native Guard”). Following the African American modernist literary canon, Trethewey transforms the traditional forms, infusing blues into sonnets (“Graveyard Blues”), and experimenting with into blank verse sonnets (“What the Body Can Tell”). In the first part of “Native Guard”, the poet pays homage to her African American mother who was married to a white man in the 1960s when interracial marriage was illegal. The book demonstrates the intersections of private memories of Trethewey’s mother, her childhood and personal encounters with the racial oppression in the American South, and the “poeticized” episodes from the Civil War history presented from the perspective of the freed slave and the soldier of the Native Guard, Nathan Daniels. The core poems devoted to the 1st, 2nd and 3rd Louisiana regiments in the Union Army formed in 1862, are the crown sonnet sequence which variably combine the formal features of the European classical sonnet and the African American blues poetics. The ten poems are composed as unrhymed journal entries, dated from 1862 to 1865, and they foreground the reflections of the African American warrior on historical episodes of the Civil War focusing on the Native Guard’s involvement in the military duty. In formal aspects, Trethewey achieves the effect of continuity by “binding” together each sonnet and repeating the final line of the poem at the beginning of the following one in the sequence. Though, the “Native Guard” crown sonnet sequence does not fully comply with the rigid structure of the classical European form, Trethewey’s poetic narrative aims at restoring the role of the African American soldiers in the Civil War and commemorating the Native Guard. The final part of the collection synthesizes the two strains – the personal and the historical, accentuating the racial issues in the American South. Through the experience of a biracial Southerner, and via the polemics with the Fugitives, in her poems Natasha Trethewey displays that the Civil Rights Act has not eliminated racial inequality and racism. Trethewey’s extensive experimentation with literary forms and style opens up the prospects for further investigation of the writer’s artistic methods in her poetry collections, autobiographical prose, and nonfiction.

Developmental Origins of Cardiovascular Disease: Understanding High Mortality Rates in the American South

While many social scientists view heart disease as the outcome of current conditions, this cannot fully explain the significant geographic disparities in cardiovascular disease (CVD) mortality rates in the USA. The developmental origins hypothesis proposes that CVD vulnerability is created by poor conditions in utero that underbuilds major organs relative to those needed to process lush nutrition later in life. The American South underwent an economic transformation from persistent poverty to rapid economic growth in the post-World War II era. We use state-level data on income growth and current conditions to explain variation in CVD mortality rates in 2010–2011. Our proxy for unbalanced physical growth, the ratio of median household income in 1980 to that in 1950, has a large systematic influence on CVD mortality, an impact that increases dramatically with age. The income ratio combined with smoking, obesity, healthcare access, and education explain more than 70% of the variance in CVD mortality rates.

“History is Illuminating”: Public memory crises and collectives in Richmond, Virginia

Amid the Black Lives Matter protests and calls to remove Confederate statuary in Richmond, Virginia, during the summer of 2020, the History Is Illuminating project constructed public signs that replicated the traditional historical markers used throughout the Commonwealth of Virginia. The signs were placed along Richmond’s historic Monument Avenue in conversation with the still-standing Confederate monuments. They challenged the monuments’ representation of public memory by re-introducing narratives about prominent Black Richmonders and informing readers of the Jim Crow legislation that enabled the monuments to be constructed and venerated. This edited and condensed interview with organizers from the project describes the multiple crises of collective memory that public historians confront in the American South, as well as the strategies the History Is Illuminating project used to counter dominant narratives about public memory. Finally, the interview highlights the importance of community action and a multiplicity of public memory projects in order to ensure a democratic approach to collective memory.

‘Christian Patriots’: The Intersection Between Proto-fascism and Clerical Fascism in the Antebellum South

This article examines the convergence between clerical fascism and proto-fascism in the Antebellum South of the United States. The author employs Roger Griffin’s theories of palingenetic ultranationalism and clerical fascism to understand the worldviews of Southern intellectuals. The author argues that a cadre of Southern theologians rejected the liberal heritage of the United States and redefined the relationship between the individual and state. Southern clerical fascists reconceived of an alternative modernity that reflected God’s precepts. Slaves, laborers, and slave masters all had a mandate to guide secular and spiritual progress. Furthermore, these Southern clerics believed the best hope for securing God’s order was to be found in the birth of a new Southern society – the Confederate States of America. This study builds upon the works of other historians who discerned the illiberal and authoritarian qualities of the American South while also contributing to delineation of the protean qualities of clerical fascism.

American Elegy, Reflux

This is a meditation on bad air as a defining bodily, temporal, political, and atmospheric condition of the twenty-first-century American Dream. In 2020, the novel viral respiratory illness COVID-19 stole the final breaths of nearly 350,000 Americans (and severely damaged the lungs of many, many more). George Floyd and Daniel Prude, unarmed and Black, were suffocated by the police in Minneapolis, Minnesota, and Rochester, New York, respectively. Protesters marching in the streets for racial justice were tear-gassed under milky skies. Wildfires raged up and down the West Coast of the United States, thickening the air in the mountains, in the valleys, in the woods, in the cities, with particulate matter. And doctors found a malignant mass in the right lung of this author’s mother. This essay uses the double meaning of aspiration (to inhale and to dream) to trace the myriad ways our collective breathing is central to, and curtailed by, the American Aspiration. Grounded through the breath, it traces the deep entanglements of global pandemic, climate change, state violence, and lung cancer, and their combined social, political, and environmental implications for Americans’ collective flourishing, or collective strangulation. Carried on the polar jet stream from rural Oregon, to the streets of Minneapolis and Rochester, to the tobacco plantations of the American South, it is a rhetorical exercise in breathless grief, in having the wind knocked out, in going up in smoke.

Confederate monuments and the history of lynching in the American South: An empirical examination

The present work interrogates the history of Confederate memorializations by examining the relationship between these memorializations and lynching, an explicitly racist act of violence. We obtained and merged data on Confederate memorializations at the county level and lynching victims, also at the county level. We find that the number of lynching victims in a county is a positive and significant predictor of the number of Confederate memorializations in that county, even after controlling for relevant covariates. This finding provides concrete, quantitative, and historically and geographically situated evidence consistent with the position that Confederate memorializations reflect a racist history, one marred by intentions to terrorize and intimidate Black Americans in response to Black progress.

Making Sense of “Senseless Violence”: Thoughts on Agrarian Elites and Collective Violence during “Reconstruction” in South Africa and the American South

Key moments of the American Civil War and the 1899–1902 South African War and their tragic immediate aftermaths remain powerful features of national memory in both countries. Over the past century, vengeful politicians and ideologues in both have transformed them into formidable stock-in-trade. Second-, third-, and fourth-hand accounts of the alleged churlish manner of the victorious armies, especially soldiers of African descent, were made into combustible timber for reactionary political campaigns. The perceived cruel turns of fate have made their way into literature, stage, and screen. The two wars afforded people of various races and social conditions opportunity to act upon their conceptions of a just society, albeit amid terrible carnage and loss. They also underscored the permanence of the industrial transformation of both countries. In the decades following these two wars most of the black and white agrarian populations discovered that state and agrarian elites had cynically manipulated and then extinguished their aspirations. Most often, for black agrarians, violence was the preferred instrument to pursue desired outcomes. Reconstruction in the American South was a paradox. The Civil War emancipated the slaves but left the entire South, especially upland cotton regions, economically backward. In Louisiana, especially, politicized violence to coerce black labor was pervasive. After the South African War, white violence against rural black people was widespread. Lord Milner’s Reconstruction Administration was more concerned to bring South Africa’s gold mines back into production than to stem the violence. The low-intensity violence of the postwar countryside became the backland route to apartheid.