DAMAGED HERITAGE and J. Chester Johnson on Times Square Jumbotron Dec. 21st

Preceding the seasonal holidays, the Times Square Jumbotron in New York City, on Saturday, December 21st, displayed and gave attention, on its three-story high screen, to the revelatory book, DAMAGED HERITAGE by J. Chester Johnson. The book contrasts the terrible violence surrounding the largely unknown Elaine Race Massacre along the Mississippi River Delta in 1919 with the remarkably poignant, racial reconciliation that occurred a hundred years later between a black woman and a white man, descendants of opposite sides of the Massacre.

To read more about this Jumbotron event, DAMAGED HERITAGE, and J. Chester Johnson, please CLICK HERE.

Damaged Heritage by J. Chester Johnson Selected for Library of Congress Shop

Below the following overview, there is a link to the ad for Damaged Heritage by the Library of Congress Shop. Damaged Heritage is shown alongside books by Ralph Ellison and Vernon E. Jordan, Jr.

Overview:
The books chosen for the Library of Congress shop are primarily publications related to the Library’s collections, including books highlighting specific exhibits, rare items from their archives, curated collections on particular topics, and sometimes popular titles that align with the Library’s historical focus, often published in collaboration with other publishing houses as part of their “Library of Congress Collection Close-Up” series; essentially, books that showcase the diverse and vast holdings of the Library of Congress itself.

Key points about book selection for the Library of Congress Shop:

Focus on Library Collections:
The main focus is on books derived from the Library’s extensive collections, including rare books, manuscripts, maps, photographs, and other unique materials.

Curated Themes:
Books are often chosen based on specific themes or exhibits currently featured at the Library.

Co-Publishing Partnerships:
The Library frequently collaborates with external publishers to produce books specifically for their shop.

Accessibility:
While some books may be scholarly in nature, the shop also features titles aimed at a broader audience, providing a range of reading levels.

Digital Availability:
Many books from the Library of Congress Shop are also available in digital formats through the Library’s online platform.

You may view the ad for Damaged Heritage in the Library of Congress Shop at this link.

Damaged Heritage by J. Chester Johnson: Anti-Racism Text at St. Luke in the Fields

In April of this year, the St. Luke in the Fields anti-racism group began to read and discuss, for a three-month study program, Damaged Heritage: The Elaine Race Massacre and A Story of Reconciliation by J. Chester Johnson (Pegasus/Simon & Schuster). The author joined the St. Luke’s group in June for an in-depth examination of various parts of the book that have proven especially relevant and important to the Church’s anti-racism group. An Amazon best-seller, Damaged Heritage was also included in a Goodreads’ international, multi-year list of Best Nonfiction Books.

Located in the historic West Village neighborhood of Manhattan in New York City, St. Luke in the Fields, an Episcopal church, was founded in 1820 and constructed soon thereafter. Known for its exquisite gardens and music among other programs, St. Luke in the Fields has been an iconic institution in the West Village for many generations. It has also been acknowledged as an activist parish for various causes, being, for example, deeply involved over several decades with the LGBTQ+ community. In addition, the Church’s anti-racism group has been engaged in numerous anti-racism efforts, including participation at the diocesan level.

J. Chester Johnson’s “Night” Featured by Carnegie Hill Village

 

 

 

NIGHT

It’s a night like none
Of the rest: too much too soon,
Too little too late.

The night overflows
Its peace, so I follow fear
Beyond my insight.

Be still and behold
The moments that I fear most
Pass by in disguise.

“Night” is an example of a triple haiku, a new, poetic form that I have used for several years. This form is derivative of the original haiku, which Japanese poets have employed for centuries. I believe I’m the only American poet now working with the triple haiku, but maybe not. American poets – initially, the Imagists, such as Ezra Pound, Amy Lowell, and John Gould Fletcher – began using a single haiku as a standalone poem in the early part of the 20th century. Toward the end of his life, Auden also wrote frequently in the haiku mode, but not as I have formulated it using three haiku in a poem with each haiku being the equivalent of a stanza, and each stanza being based on the normal haiku structure, having three lines with five syllables in the first and last lines and with seven syllables in the middle line.

J. Chester Johnson, CHV member

J. Chester Johnson Named To Board of Advisors For Poetry Outreach Center

J. Chester Johnson, poet and nonfiction writer, has been named to the Board of Advisors for CCNY’s Poetry Outreach Center, which encourages poetry activities in New York City and beyond through workshops, an annual poetry festival, contests, and an annual anthology (Poetry in Performance), containing a range of poets – from student to established.

The Center’s best-known event is the Annual Spring Poetry Festival, which began in 1972 and has often been dubbed New York City’s “Woodstock of the Spoken Word”. The 52nd Annual Spring Poetry Festival will be held on May 10, 2024.

The principal poetry organizations located in New York are all involved in various ways with the Festival, which culminates a year-long series of activities meant to encourage the act of writing poetry among the broadest range of people. Over the years, the Festival has attracted approximately 10,000 elementary school children, an equal number of high school students, college students, and unknown and well-known poets.

The list of honored guest poets reads very much like a Who’s Who of American Poetry.

J. Chester Johnson Discusses His Poem, “St. Paul’s Chapel”, At Church of the Heavenly Rest (NYC)

On Sunday, August 6th, J. Chester Johnson spoke at the Church’s Forum about his well-known poem, “St. Paul’s Chapel”. To put the poem in context, he described the long, distinguished history of the Chapel, which is the oldest church building in the borough of Manhattan (NYC). After George Washington was sworn in as the first president of the United States at Broad and Wall Streets when New York City was the nation’s capital in April, 1789, Washington and his government walked to St. Paul’s Chapel where a worship service was held as part of the country’s first inauguration. Washington continued to attend services at the Chapel until the capital would be moved to Philadelphia before ultimately being established in the District of Columbia. In addition, the funeral for James Monroe, the fifth president of the United States, was held at the Chapel on July 7, 1831.

To fast forward 170 years, St. Paul’s Chapel survives the terrorists’ attacks against the twin towers of the World Trade Center in downtown Manhattan on September 11, 2001. As the poem describes, “Not a window broken, not a stone dislodged” occurred at the Chapel. As a result of its escape from so much destruction that occurred to neighboring buildings and because of its nearness to the Ground Zero pile, the Chapel became the relief center for the recovery workers during the 8.5 month cleanup at the site. Over 14,000 volunteers from all across the country came to the Chapel to help give not only respite and refreshment to the recovery workers, but also spiritual support; indeed, the Chapel’s efforts on behalf of the workers caused the Chapel to become known as “the spiritual home of Ground Zero”.

Johnson’s poem, combining both the Chapel’s history and the then currency of its 2001-2002 relief center mission in the aftermath of the attacks, became the Chapel’s memento poem card in 2002 and has remained for that purpose in the Chapel for over twenty years with over 1.5 million cards being distributed at the Chapel. In 2017, the poem was characterized by the American Book Review as “one of the most widely distributed, lauded, and translated poems of the current century.” The entirety of the poem appears elsewhere on this website.

Click on the image above to watch Johnson’s presentation on his poem, “St. Paul’s Chapel”, at the Church of the Heavenly Rest.

J. Chester Johnson Interviewed by Tavis Smiley

At 2:00PM ET on Wednesday, March 21, Tavis Smiley interviewed J. Chester Johnson for an hour on Johnson’s book, Damaged Heritage: The Elaine Race Massacre and A Story of Reconciliation. The interview occurred on Tavis Smiley’s national talk radio program at KBLA (1580). Based out of Los Angeles, KBLA is the only Black-owned talk radio station west of the Mississippi and is committed to offer an educated and empowering perspective to all its listeners in Los Angeles and the nation.

Broadcast no longer available online. 

Cornelius Eady’s Interview of J. Chester Johnson for Poets House/WBAI “Open House” Program


For those who missed the interview on WBAI (NYC) Friday night (1/20/2023), you can gain access (regardless of your location) to the entirety of the interview by clicking on the following Poets House link. The principal topics discussed were the Elaine Race Massacre, Chester’s friendship with Sheila Walker – a descendant of survivors, the power of reconciliation, and Chester’s poem, “On Dedicating The Elaine Massacre Memorial”.

CLICK HERE to listen to the recording.

Listen to the recording.

NPR Article on Elaine and Tulsa Race Massacres

On Sunday, December 11th, the National Public Radio (NPR) published an in-depth article comparing the Elaine and Tulsa Race Massacres, which are estimated to have caused approximately the same number of deaths. The environment surrounding each massacre was quite different, for one involved the destruction of the country’s Black Wall Street in the Greenwood District of Tulsa, Oklahoma, while the other happened in a remote, rural area along the Arkansas side of the Mississippi River Delta to poor Black sharecroppers. The country’s response to the two events has been stark with considerable national attention being paid to Tulsa, but with only a relatively few people in the United States being familiar with the Elaine conflagration. The article attempts to give guidance to the reasons for this remarkable differential in coverage and attention.
Click Here to Read the Article.

Download to read later. 

HNN Publishes Article by J. Chester Johnson on Father of Black Liberation Theology

The summer of 2013 proved especially consequential for me, occasioned by a series of four private lunches with Dr. James H. Cone, author of Black Theology & Black Power, a book that has, since its release, carried the distinction as “the founding text of Black liberation theology.” To Cone, long-time distinguished professor at Union Theological Seminary, the gospel of Christianity had been hijacked and distorted by “white, Euro-American values.”

To continue reading on History News Network, please click here.

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Credit: History News Network

Favorable Review of “Damaged Heritage” in Current Issue of American Book Review

The Spring 2022 issue of American Book Review includes a review of Damaged Heritage by Robert Whitaker.

American Book Review
Volume 43, Number 1, Spring 2022 University of Nebraska Press
Reviewed by:
Robert Whitaker

As the 1619 Project reminds us, our nation’s damaged heritage stretches back more than four centuries, to the moment that the first Africans were brought to the New World to labor under the yoke of slavery, and here we are today, still in need of protests that proclaim, “Black Lives Matter,” and still hearing of resistance to teaching this history in our schools. Readers of J. Chester Johnson’s aptly titled book, Damaged Heritage: The Elaine Race Riot and a Story of Reconciliation, will recognize that although his story is autobiographical, he serves as an Everyman, telling of a need for us all to confront this past, which so infects our present. His deep friendship with Sheila Walker serves a model for moving forward with a shared understanding of history.

This is a book about escaping from the talons of our damaged heritage, so infused with racism, violence, and a societal narrative that turns a blind eye to such facts. Johnson has a particular heritage that haunts him. After his father died when he was not yet two, he spent his preschool years in Little Rock with his grandparents. His grandfather Lonnie doted on him, and some of his earliest memories are of sitting in Lonnie’s lap. Yet, years later, he would come to understand that Lonnie had been a member of the Ku Klux Klan, donning the white sheet on many nights, and that he had been a member of the mob that killed Black sharecroppers in Phillips County, Arkansas, in 1919.

In an imaginary letter to Lonnie, Johnson writes: [End Page 85]

While I have unreservedly written here and accepted that you are part of me, you cannot be in fact and in sum, for consciously and unabashedly, I abhor that part of you who pursued a massacre of blacks, you who could mortify, terrorize, burn, or lynch, and then claim the rightness of it all with an allegiance to the proposition of superiority for a white coterie.

Although it is always difficult to know why one person retains the values of the culture they grew up in while another breaks from those values, there was an early experience in Johnson’s life that prepared him for the latter course. In 1949, when his mother moved their family to Monticello, his backyard was adjacent to a field that, on the opposite side, was home to Black families. There, in this no-man’s land, they played pick-up games of baseball with young Chester, the only white child, and yet everyone also knew the rules: his Black friends would never be invited into his home, and the opposite was true too.

Those friendships proved fleeting once Chester developed new friends at the all-white elementary school, and that remained true for the rest of his youth. However, upheaval to Arkansas’s Jim Crow world came in 1957, when nine Black students integrated the Little Rock High School, with white mobs hurling insults and threats as they entered the school under the protection of federal troops. Johnson’s early friendship with Black children prompted him to begin to separate himself-at least in his mind-from those who would countenance such hate.

Chester went off to Harvard, but after the Summer of 1964, when Freedom Riders went to Mississippi to register Black voters, he dropped out and returned to Arkansas. He traveled widely, occasionally sleeping in his car, intent on better understanding the South and its residents. At the end of that journey, he often spoke with an older Black man who lived in the woods outside Monticello, the two of them drinking whiskey together. After earning a degree from the University of Arkansas, he spent the turbulent year of 1969 teaching at a Black school in Monticello and running for mayor. He knocked on every door in town during that effort, which, when accompanied by a Black friend, provided him the opportunity to be with the Black community in their homes. [End Page 86]

He lost that election, having narrowly escaped a beating by the local “peckerwoods” who didn’t cotton to his teaching at the local Black school and, having “foresworn being a white Southerner, burdened with its persona from a damaged heritage,” he moved to New York City. There he attained professional success as a “public finance specialist,” serving as Deputy Assistant Secretary of the US Treasury Department under Jimmy Carter.

In 2008, Johnson was selected by the Episcopal Church to write the Litany of Offense and Apology for a National Day of Repentance, which served as a formal apology by the church for its role in transatlantic slavery. While working on that project, he read Ida B. Wells’s account of The Arkansas Race Riot (1920), and this was the moment when his damaged heritage came fully to light.

While there has been a great deal of attention during the past year to the Tulsa Race Massacre in 1921, the Elaine Massacre is much less well known, and only in recent years has it entered the history books.

That fall, sharecroppers in the southern part of Phillips County began organizing a union to wage a legal fight for their fair share of the revenue from the cotton crop that year. Late in the evening of September 30th, they were meeting in a roadside church in Hoop Spur, a few miles north of Elaine, when a car pulled up outside and cut its lights. There was an exchange of gunfire, and when the smoke cleared, the church was riddled with bullet holes and a white security agent for the Missouri-Pacific railroad was lying dead in the road next to his Model T. The next morning, posses from Helena descended on the area, shooting sharecroppers hiding in the Govan Slough; next, mobs from outside the county came and began a more indiscriminate killing of Blacks in the area; and finally, Army troops from Little Rock arrived, chasing sharecroppers into the canebrakes and, as white newspapers reported, the rat-a-tat­tat of their machine guns filled the air.

What Johnson now understood was that the grandfather he adored, who in 1919 was working for the Missouri-Pacific Railroad, stationed in nearby McGeHee, had gone to Hoop Spur and participated in the killing of the Black sharecroppers.

His reconciliation with Sheila Walker crossed this vast historical divide. Her great grandmother, Sallie Giles, and her two sons, Albert and Milligan, were in the church the night it was shot up. The next morning, as a Helena [End Page 87] posse descended on their cabin, Albert and Milligan fled to the slough to hide. Albert was shot in the head, the bullet passing through his skull, and fifteen-year-old Milligan was shot in the face. Remarkably, both survived, and then came more white violence for the Giles family: the two were imprisoned for having participated in what white authorities described as a “conspiracy” by Blacks to kill the plantation owners and take over their lands. Albert was condemned to die in the electric chair, but eventually was saved from that fate by the extraordinary legal work of Scipio African us Jones, a case that led to a Supreme Court decision in Moore v. Dempsey that served as a legal foundation for the Civil Rights movement.

Sheila Walker passed earlier this year, and one wishes that there was a biography of her life that could be read alongside Johnson’s. Hers is a story of a family that continued to suffer from our unequal society, Walker and her siblings growing up desperately poor in a crowded Chicago apartment. In the 1960s, as a member of the Student Non-Violent Coordinating Committee, Walker participated in protests, sit-ins, and other Civil Rights struggles. While she eventually escaped the poverty of her youth, several of her siblings did not, their lives ransacked by drugs.

Much like Chester Johnson, she never heard anyone speak directly about the Elaine Massacre, although in 1973 her grandmother Annie, while telling of living in Phillips County, began to cry hysterically while describing a night when the Hoop Spur church had been shot up. Something awful had happened to her family, but it wasn’t until she read Grif Stockley’s 2001 book Blood in Their Eyes and other accounts of the massacre that this history became known to her.

When Chester Johnson and Sheila Walker first spoke, they took pains to come to a common understanding of the history of the Elaine Massacre, which was essential to their subsequent reconciliation. There had long been a white version, which in essence told of a Black riot that had been put down by white authorities with only fifteen to twenty Blacks killed, and there had long been a Black version, which told of a massacre of one hundred or more Blacks, and as they had both read everything they could about the subject, they both agreed that the latter was true.

From there, an extraordinary friendship developed. The two talked regularly on the phone and they spoke together at multiple public events, where [End Page 88] those in the audience could see the affection and respect they had for each other. Sheila Walker was a person of extraordinary grace, who could speak eloquently about Black Liberation and the need for a national reconciliation in this country, and as Johnson relates, it was she who counseled him that he needed to forgive his grandfather Lonnie for what he had done in 1919.

“People aren’t bad,” she told him. “Circumstances make people do bad things.”

Johnson, who has won praise for his books of poetry, is a gifted writer. Damaged Heritage is part memoir, part history, and part essay on racism, all tied together by a story of a friendship that transcended the racial gulf that so regularly plagues our country. Throughout, he reflects on our damaged heritage as a nation and how it remains so difficult for our society to confront this heritage.

This book provides a model for doing so, starting with the teaching and acceptance of a shared narrative of our country’s history, and then calling on our better selves to foster a national reconciliation.

Robert Whitaker is the author of On the Laps of Gods: The Red Summer of 1919 and the Struggle for Justice that Remade a Nation (2008).

 

Copyright© 2022 American Book Review

“Damaged Heritage” Placed On Selective Goodreads’ List of Best Nonfiction Books

Damaged Heritage BookDamaged Heritage appears on a Goodreads’ multi-year, international list (less than 500 books) for Best Nonfiction Books (alongside The Diary of Anne Frank, Hiroshima, and The Gulag Archipelago, among others). Set forth below is a selective list of various books included on the Goodreads’ list.

1. The Diary of Anne Frank
2. Hiroshima – John Hersey
3. In Cold Blood – Truman Capote
7. Night – Elie Wiesel
39. The Gulag Archipelago – Alexander Solzhenitsyn
128. Massacres In The American West – Larry McMurtry
134. The Great Fire of London – Samuel Pepys
262. Slavery by Another Name – Douglas Blackmon
269. Bury My Heart At Wounded Knee – Dee Brown
348. The Story of a Shipwrecked Sailor – Gabriel Garcia Marquez
358. On Lynching – Ida B. Wells-Barnett
387. The Strange Career of Jim Crow – C. Vann Woodward
418. The Coldest Winter: America and the Korean War – David Halberstam
420. Damaged Heritage: The Elaine Race Massacre and A Story of Reconciliation – J. Chester Johnson
420. Playing With Fire – Lawrence O’Donnell
431. The Oklahoma City Bombing and the Politics of Terror – David Hoffman
433. Battle Cry of Freedom – James M. McPherson
435. The Barbarous Years: Peopling of North America, 1600-1675 – Bernard Bailyn
445. A Hoxton Childhood – A. S. Jasper

“Damaged Heritage” Motivates Nationwide Talks on Social Justice and Racial Equity

Message Recently Received From APJMM:

Damaged Heritage” has motivated APJMM (Arkansas Peace & Justice Memorial Movement) to set up the central Arkansas chapter of Coming to the Table, a national non-profit organization that works to get the descendants of the enslaved and the enslavers to sit down at the table together to talk. And, since March 2020, we have hosted FREE bi-weekly virtual gatherings that have attracted over a thousand people nationwide to participate in talks about social justice and racial equity issues.

 

Credit: Arkansas Peace & Justice Memorial Movement

J. Chester Johnson Writes in the ARKANSAS TIMES About Another Arkansas Race Massacre

In late September, 2019, an evocative and dramatic memorial was dedicated in Phillips County, Arkansas to the victims of the Elaine Race Massacre. J. Chester Johnson served as co-chair for this memorial. A conclusion impelled him to acknowledge emphatically and publicly that the Elaine Massacre did not occur in a vacuum, for the long arm of history reached into Phillips County and set in motion a course of unmitigated violence and consumptive death against a vast number of African-Americans. Based on additional research, Johnson discovered another race massacre against African-Americans in Arkansas – the Little River Race Massacre of 1899, an article about which he recently wrote for the ARKANSAS TIMES.

Click Here to read the article by J.Chester Johnson.

Download to read later.

Video of J. Chester Johnson’s presentation at Johnson House Historic Site (Underground Railroad).

The Johnson House Historic Site is an icon of the Underground Railroad Freedom Movement – not returning one runaway slave to a master, notwithstanding the existence of the heinous Fugitive Act in effect at the time. J. Chester Johnson spoke to an outdoor gathering at the Johnson House on September 17, 2021. Here is an 18-minute video of the event, celebrating Sheila L. Walker, Chester’s partner in racial healing and reconciliation, and featuring his book, Damaged Heritage: The Elaine Race Massacre and A Story of Reconciliation.

Click here to learn more about Johnson House.**

Click on the image below to watch the 18-minute video presentation that honors Sheila L. Walker and features J. Chester Johnson’s book, “Damaged Heritage”.

Book Review from Green Mountains Review of “Damaged Heritage”

“Death and Hope from ‘The Heart of Darkness’”, book review of Damaged Heritage: The Elaine Race Massacre and A Story of Reconciliation by J. Chester Johnson, was authored by Dr. Carol Strong, Professor of Political Science at the University of Arkansas (Monticello), which is located only one county removed from the Elaine Race Massacre.

Read here Dr. Strong’s book review appearing in the Green Mountains Review.

Download to read later. 

Crystal Bridges Museum of American Art: Remembering the Elaine Massacre

Here is the piece prepared by Crystal Bridges on the Elaine Race Massacre, including a link to an interview by National Public Radio with J. Chester Johnson, author of Damaged Heritage, and Dr. Kyle Miller, who lost four ancestors in the white attacks and who is executive director of the Arkansas Delta Cultural Center in Phillips County, Arkansas, site of the Massacre.

Click Here to Learn More.

Cornelius Eady and J. Chester Johnson Discuss Their 9/11 Poetry On BCR’s Inaugural Poetry Podcast

The Poetry Foundation editors write: “When major parts of our lives seem to change in a flash, we are reminded that poetry can help us to cope with new realities and to assess the unknowns ahead. When we are stepping out into uncharted terrain, alone or together, poetry can capture our emotions. It can share our vulnerabilities and scars, along with our strengths.”
Today. we are sharing the first program of our new podcast co-produced with Chris Brandt — “Poetry. What is it good for?” For this first episode, we explored the 20-year social and emotional after-tremors of the attack by Saudi Arabian terrorists on the United States through the powerful tool of poetry with J. Chester Johnson and Cornelius Eady.

J. Chester Johnson is a poet and non-fiction writer. He visited Bar Crawl Radio a couple of months ago to talk about his book – “Damaged Heritage” — on the history and his family’s connection with the 1919 Elaine, Arkansas Massacre, one of many human crimes against humanity in which U. S. White citizens killed over 100 U.S. Black citizens and then prosecuted the survivors for their act of murder.

Though Cornelius Eady, an American poet, focuses on issues of race and society, his verse accomplishes a lot more as indicated in his deeply felt reactions to the 9/11 attack on this country. Cornelius is also a musician whose verse is performed as song by The Cornelius Eady Trio. His poetry is simple and accessible, centering on jazz and blues, family life, violence, and society from a racial and class-based POV.

LitHub: J. Chester Johnson Interviewed for ‘Keen On’ Podcast About Damaged Heritage

Hosted by Andrew Keen, Keen On features conversations with some of the world’s leading thinkers and writers about the economic, political, and technological issues being discussed in the news, right now.

In this episode, Andrew is joined by J. Chester Johnson, the author of Damaged Heritage: The Elaine Race Massacre and a Story of Reconciliation, to discuss a deliberately erased chapter in American history, as well as to offer a blueprint for how our pluralistic society can at last acknowledge—and deal with—damaged heritage.

Click Here for Interview

Literary Hub Shares Excerpt From Damaged Heritage by J. Chester Johnson

Explore a Deliberately Erased Chapter in American History

In 2008, poet and nonfiction writer J. Chester Johnson was asked to write the Litany of Offense and Apology for the National Day of Repentance when the Episcopal Church formally apologized for its role in transatlantic slavery and related evils. In his research, he learned about the 1919 Elaine Massacre, in which more than 100 African-American men, women, and children (possibly, hundreds) were killed by white vigilantes and federal troops. Then, digging further, Johnson discovered that his beloved grandfather, who’d raised him during his Arkansas boyhood, had participated in the Massacre.

Damaged Heritage not only describes how Johnson comes to terms with these life-shattering revelations, but it also describes the racial reconciliation he forges with Sheila. L. Walker, descendant of several Massacre victims, who writes the Foreword to the book. It’s a story of guilt, pain, and racial reconciliation that offers lessons for an entire nation grappling with a history of racism.

FROM THE BOOK: Across the sweeping canvas of American history, two markers, inherited and ineluctable, from the Elaine Race Massacre of 1919 in Phillips County, Arkansas, invite a degree of attention yet to be fully received from the country’s public consciousness. First, the sheer number of persons who died in the Massacre—more particularly, the countless African-Americans who perished—would certainly cause this massacre to be judged one of the deadliest racial conflicts, perhaps the deadliest racial conflagration, in the history of the nation.

READ THE FULL EXCERPT            Download to read later


An illuminating journey to racial reconciliation experienced by two Americans—one black and one white.

The 1919 Elaine Race Massacre, arguably the worst in our country’s history, has been widely unknown for the better part of a century, thanks to the whitewashing of history. In 2008, Johnson was asked to write the Litany of Offense and Apology for a National Day of Repentance, where the Episcopal Church formally apologized for its role in transatlantic slavery and related evils.

In his research, Johnson came upon a treatise by historian and anti-lynching advocate Ida B. Wells on the Elaine Massacre, where more than a hundred and possibly hundreds of African-American men, women, and children perished at the hands of white posses, vigilantes, and federal troops in rural Phillips County, Arkansas.

As he worked, Johnson would discover that his beloved grandfather had participated in the Massacre. The discovery shook him to his core. Determined to find some way to acknowledge and reconcile this terrible truth, Chester would eventually meet Sheila L. Walker, a descendant of African-American victims of the Massacre. She herself had also been on her own migration in family history that led straight to the Elaine Race Massacre. Together, she and Johnson committed themselves to a journey of racial reconciliation and abiding friendship.

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Damaged Heritage: Presentation & Discussion with J. Chester Johnson – The Center for Reconciliation

On October 8th, 2020, The Center for Reconciliation was excited to welcome author J. Chester Johnson for a virtual presentation on and discussion of his recent publication, Damaged Heritage: The Elaine Race Massacre and A Story of Reconciliation.

An illuminating journey to racial reconciliation experienced by two Americans – one Black and one white – Damaged Heritage examines how white Americans’ excessive reverence of the past permits the damaged heritage of racism to be transferred from generation to generation. It also offers a blueprint for how our society can at last acknowledge – and repudiate – damaged heritage and begin a path toward true healing.

A well-known poet, nonfiction writer, and translator from the Arkansas side of the Mississippi River Delta, Johnson has written extensively on race and civil rights, including composing the Litany for the Episcopal Church’s National Day of Repentance for its role in transatlantic slavery and related evils.

View a video of the presentation below.

Hosted by The Center for Reconciliation

J. Chester Johnson Presents Damaged Heritage to the Washington National Cathedral, Sunday, June 28th

A world-wide audience heard J. Chester Johnson discuss his newest book, Damaged Heritage, through the National Cathedral on Sunday afternoon, June 28th. Utilizing the internet, the Cathedral brought together attendees from Europe and Africa, in addition to the United States, to experience Johnson’s comments about Damaged Heritage, published on May 5th by Pegasus (distributed by Simon & Schuster). The Elaine Race Massacre, possibly the most significant racial attack against African-Americans in our country’s history, occurred in the early fall of 1919 along the Mississippi River Delta in rural Phillips County, Arkansas. This Massacre serves as the backdrop for Johnson’s memoir that recounts the effects of having grown up in southeast Arkansas, one county removed from the site of the Massacre, and an especially racist region of the country. A large part of the book reflects Johnson’s own views on the causation of generational repetition of American white racism. In addition, the book, as recounted by Johnson, describes a journey of racial reconciliation between himself and Sheila L. Walker, who wrote the Foreword to Damaged Heritage and who had several ancestors that were victims of the Massacre. For the last six years, Sheila Walker and Johnson have pursued a course that has led to an abiding friendship, though the two came from the two sides of the Elaine conflagration. He discussed with the audience how that friendship has now included the respective spouses and children in the process of achieving reconciliation.

Damaged Heritage: A Conversation

On Sunday, June 14th, at 2:30PM, a large number of attendees participated in a Zoom program that was focused on the new book, Damaged Heritage: The Elaine Race Massacre and A Story of Reconciliation by J. Chester Johnson. The program was sponsored by Trinity Church Wall Street and consisted of a presentation by the author; a discussion on the book by the author and Dr. Catherine Meeks, Executive Director of the Absalom Jones Episcopal Center for Racial Healing; and a general question and answer session that involved participation by the attendees for this Zoom program.
Click here for the entirety of the program.**

 

Credit: Trinity Church Wall Street

Elaine Race Massacre: Truth Before Reconciliation by James Melchiorre, Trinity Church Wall Street

Poet and author Chester Johnson knew his mom’s dad as a loving grandfather. Johnson now knows that grandfather, Lonnie Birch, joined in a massacre that killed more than one hundred African Americans in 1919 near and around the town of Elaine in southeast Arkansas. The violence began after black sharecroppers, having returned from military service in World War I, formed a union to negotiate for higher cotton prices, and had called a meeting inside a local church.

“The deputy sheriff and a security agent for the Missouri Pacific Railroad started shooting in the church to break up the meeting, The union had hired guards outside and the guards shot back,” Johnson said. “A lot of white planters felt this was the beginning of a black insurrection so they sent out posses the next morning.” Federal troops also arrived, adding to the death toll which fell, not exclusively but overwhelmingly, on the black sharecroppers.

Sheila Walker is a native Arkansan, who learned about the massacre as a child even though she, like Chester Johnson, was born more than two decades after it occurred.

“I first heard about this story through my grandmother. She would always start talking about it and then just start crying, hysterical, post traumatic stress. My uncle Albert, I think he was shot twice, once in the arm and then in the neck. Uncle Jim, he was shot in the face during the massacre.”

“Race riot” was the term used in local accounts, and that’s how Johnson heard it described during his teenage years by his mother, who added a family connection.

“My mother on several occasions made reference to the fact that Lonnie, my maternal grandfather who cared for me the first few years of my life, had participated in what she called a well-known race riot where many African Americans were killed.” Johnson says it was also widely known within his family that Lonnie Birch was a member of the Ku Klux Klan.

Although Johnson had heard, as a teenager, his mother’s vague reference to his grandfather’s participation, he never truly connected the dots until fifty years later when he read an account of the violence at Elaine written by Ida B. Wells, the journalist and anti-lynching activist.

chester and lonnie

“I’m still struggling with it. He is bifurcated. Basically he rescued me when I was one after my father died. I mean we were incredibly close when I was living with him, but then I’ve got this image of this gunman who is participating in this terrible massacre.”

The realization led to Johnson’s book “Damaged Heritage: The Elaine Race Massacre and a Story of Reconciliation.” The book details the violence of Elaine, the use of torture to force the African American sharecroppers into “confessing” the white planters’ version of the event. Sheila Walker’s Uncle Albert was among those arrested, convicted, and sentenced to death. The planned executions never happened because of what is considered a landmark Supreme Court case Moore v Dempsey.

damaged heritage cover

Six years ago, their family connections, on opposite sides, to the massacre led to a meeting, and a friendship, between Sheila Walker and Chester Johnson. The two were brought together by a historian who shared with Walker an article Johnson had written about Elaine.

“When I saw how Chester had framed it as a massacre, not only framing it but actually calling it out for what it was, I read the article. For Chester to even come forward, it’s an act on his part of reaching out, and it’s an act on his part of the acknowledgement,” Walker said.

“It was truth that was put first, and that’s the way in which Sheila and I have related to this. I mean Lonnie’s my grandfather. I didn’t participate in the massacre, but I inherited this event and his participation in it. What I do with it is I deal with it. If I don’t deal with it, then I’m basically foisting it forward with sort of the same mythologies that existed in 1919,” Johnson said.

sheila and chester

The friendship between Sheila Walker and Chester Johnson led to more than a book. It also led to a mission. Both Walker and Johnson wanted to publicly memorialize the violent events of 1919 in Elaine.

They achieved success on September 29, 2019, a century from the start of the violence, when they both attended the dedication of the Elaine Massacre Memorial in Helena, Arkansas.

“The memorial. Oh, my God, the feeling was just, for me, it was something that will start a conversation. If I was a stranger and I saw that I would want to know more. If I’m interested in any type of social justice I would want to know more,” Sheila Walker said.

elaine memorial

Even as she celebrates the success she and Chester Johnson achieved in the public recognition of the massacre, Sheila Walker offers a reminder that truth-telling about the history of white supremacy, systemic racism, and violence, while indispensable to creating change, is not the end of the story. Walker says that’s a reality dramatized by what she saw when she traveled to southeast Arkansas for the memorial’s dedication.

“Bring it to the light so that history is known, but bring it to the light that there’s a community that’s still hurting in Elaine, Arkansas,” Walker said. “It’s as though a curse is still on that county. There’s a lot of poverty. It’s kind of a feeling of oppression still lingering in the air. You just shake your head and say: Is this America?”

Regarding interpersonal reconciliation on the issue of race, Sheila Walker encourages it, but warns that nobody should expect that it will be quick and easy.

“The conversations are difficult. And I’m not speaking about Chester because it’s never been difficult between Chester and I. It’s difficult with white Americans because they’re afraid of being attacked. Not listening to the story. If there’s truly to be a conversation you just have to listen. Whites have to listen and not put their emotions into it where they’re feeling that they’re being attacked, versus ‘I’m going to listen because this is something that maybe I can learn from.’”

J. Chester Johnson discussed his new book Sunday, June 14 in an online event called “Damaged Heritage: A Conversation”. Johnson was joined by Dr. Catherine Meeks of the Absalom Jones Episcopal Center for Racial Healing.

 

Credit: Trinity Church Wall Street

A Video Presentation to The Carter Center by J. Chester Johnson on His Latest Book, Damaged Heritage

On Tuesday, May 5th, Damaged Heritage: The Elaine Race Massacre and A Story Of Reconciliation (publisher: Pegasus; distributed by Simon & Schuster) was released. There has been considerable demand for J. Chester Johnson to present and discuss in-person his new book at major venues, such as The Carter Center, The National Cathedral, Trinity Wall Street, The Harvard Coop, and The Absalom Jones Center for Racial Healing, among other locations. However, as COVID 19 began to take its inevitable toll, it was not possible for Mr. Johnson to appear in-person. Alternatively, he has been presenting at locations through Zoom or WebEx. For example, Trinity Wall Street produced the attached video for The Carter Center, which was recently posted on May 12th by The Carter Center for its clientele – the date originally scheduled for Johnson’s appearance. A number of similar video presentations by Johnson on Damaged Heritage are planned in various venues for the future.

 

Credit: The Carter Center

The Elaine Race Massacre and the Elaine Race Memorial – Then and Now

Many of you are aware of the Elaine Race Massacre of 1919, and many of you aren’t. The Elaine Race Massacre of black sharecroppers and family members on the Arkansas side of the Mississippi River Delta may be the most significant attack against African-Americans in our country’s history with more than a hundred (and possibly hundreds of) blacks perishing.

On September 29th, 2019, the Elaine Massacre Memorial was dedicated in Phillips County, Arkansas, site of the conflagration; no permanent memorial to the event had previously existed. A series of pieces related to the Memorial in the form of links and attachments are set forth right below the following short description of the Massacre and its important aftermath.

Highlights of the Massacre and Aftermath:

During the Red Summer of 1919 when racial conflict between black and white Americans flared throughout the country, the Elaine Race Massacre stands out as one of the most brutal and extensive racial conflagrations. From early Wednesday morning, October 1st, 1919 into the following weekend, many African-American sharecroppers and family members were murdered. Five whites also died, although two may have been killed by friendly fire.

While whites feared a black insurrection where blacks outnumbered whites by multiples, they also feared the local black sharecroppers’ desire to unionize for improving economic negotiating power; these two factors contributed to the whites’ devastating aggression against the blacks. The largest number of deaths to African-Americans were caused by white federal troops with machine guns, brought into Phillips County allegedly to stop the black revolt. No investigation ever found that local African-Americans planned or executed an insurrection.

At the end of the killing spree in Phillips County by local whites, by white vigilantes from neighboring communities and states, and by the federal military, whites then relied on the torturing of black witnesses to evince the right responses supportive of an untrue proposition that a broad-based black rebellion had existed, which would be the only theory heard in the local courts at that time. No whites were charged, while seventy-four sharecroppers were found guilty of crimes ranging from first-degree murder to “night riding”. All-white juries often deliberated for no more than two minutes in finding blacks guilty.

Out of the Massacre and associated local court proceedings emerged a case, Moore v. Dempsey, that made its way to the U. S. Supreme Court, which found in 1923, in an opinion written by Oliver Wendell Holmes, that federal courts could overturn local and state criminal court proceedings which were unfair. This judgment by the U. S. Supreme Court put teeth in the 14th Amendment (equal protection under the law) for the first time since its enactment in 1868.

A significant brick in the Civil Rights road had been put in place. For his legal strategy that led both to the U. S. Supreme Court decision and to freedom after five years for all seventy-four sharecroppers found guilty following the Massacre, the black Little Rock attorney, Scipio Africanus Jones, will someday be recognized for the American hero he is.

___________________________________

I would like to share the following pieces. The dedication of the Elaine Massacre Memorial was held on the afternoon of September 29th, 2019, one day in advance of the Massacre’s centennial. While many people locally and beyond participated, David P. Solomon and the Solomon family, long-time residents of Phillips County, Arkansas, led efforts that resulted in the creation of the Memorial.

1. Video of the Elaine Race Massacre Dedication, September 29, 2019

 

2. Pictures of the Elaine Massacre Memorial
Photos by David Gruol

3. NPR “Here and Now” Interview: Aired on September 12, 2019, Robin Young of “Here and Now” interviews Dr. Kyle Miller and me. Dr. Miller lost four ancestors in the Massacre, and my maternal grandfather participated in the conflagration.

4. Two Articles of Interest (combined in one document): “In a Small Arkansas Town, Echoes of a Century-Old Massacre,” The New York Times, July 25 2019, and “Arkansas Group Planned Monument to Racial Unity; It Isn’t Going as Planned,” The Wall Street Journal, September 14, 2019.

5. Memento Poem Card: An original poem composed for the Memorial dedication.

_______________________________________

In May, 2020, a new non-fiction book, DAMAGED HERITAGE: The Elaine Race Massacre and A Story of Reconciliation, will be published by Pegasus Books. A meaningful part of this book, which I wrote, consists of the journey, over the last six years, that Sheila L. Walker, who authored the Foreword, and I have shared to achieve racial reconciliation and authentic friendship in which our respective spouses and families have become an integral part. Sheila had family members victimized during the Massacre, and my grandfather participated in the conflagration.

For the book, the Massacre serves as a backdrop for my commentaries on race, racism, and reconciliation; in particular, the book discusses the reasons that racism repeats itself in this country from generation to generation, including the roles that both white damaged heritage and white filiopietism have played in the repetitive adherence of America to racism over several centuries to the present. It also offers approaches, including the lessons learned through racial reconciliation by Sheila and me, to end the vicious, dehumanizing (for both blacks and whites), and continuous racial subjugation. You may view the book cover below.

Damaged Heritage Book

Review by Melinda Thomsen of Now And Then: Selected Longer Poems

Set forth below is a review written by Melinda Thomsen on Now And Then: Selected Longer Poems, which was published in 2017 by St. Johann Press. Johnson has said about this volume: “This is the closest piece of writing to an autobiography as I have ever written. The subject matter and timbre of the language represent issues that have occupied my art for the better part of my life.”
Click the following link to read full review. Now_and_Then_Flier_final_w_revisions.ital_1-3-20.pdf

Damaged Heritage: The Elaine Race Massacre and A Story of Reconciliation – Coming May 2020

At the time J. Chester Johnson was writing the Litany of Offense and Apology for the national Day of Repentance (October 4, 2008) when the Episcopal Church formally apologized for its role in transatlantic slavery and related evils, he came across a seventy-page document, The Arkansas Race Riot, that had been written by the African-American historian and anti-lynching advocate, Ida B. Wells. She described an event, which later would be known as the Elaine Race Massacre, a massacre of black sharecroppers and their family members that occurred in Phillips County, Arkansas along the Mississippi River Delta in early October, 1919 during the Red Summer, a name given by the black poet, James Weldon Johnson, to that summer soon after the close of World War I, when multiple racial conflicts broke out in various parts of the nation. Phillips County was located only one county removed from Johnson’s childhood home, but neither Johnson nor friends and classmates from his youth that he contacted had knowledge of the conflagration. Still, it may have been the most significant racial massacre in our country’s history. Moreover, the judicial case, Moore v. Dempsey, which evolved in the aftermath of the violence, was decided on behalf of certain of the black sharecroppers by the U. S. Supreme Court, with Oliver Wendell Holmes writing the majority opinion, and became a landmark precedent that put federal support, for the very first time, behind the 14th Amendment (equal protection under the law) to the U. S. Constitution.

Johnson was challenged to learn as much about the event as he could. Ironically, during the course of the research and based on recall of family stories, he discerned that his own beloved maternal grandfather, Lonnie Birch, who was Johnson’s principal caretaker during the early years of his life, had actually participated in the Elaine Race Massacre. Five years after he first read the document by Ida B. Wells, Johnson wrote a serialized, four-part article entitled “Evanescence: The Elaine Race Massacre” that was distributed by the well-respected literary journal, Green Mountains Review. As a result of the article, he and Sheila L. Walker, a descendant of an African-American family victimized during the Massacre, became acquainted and soon thereafter committed themselves to a journey of reconciliation, which blossomed into a close friendship in which both of their respective families were part.

In addition to the above commentary, Damaged Heritage tells how one man’s journey through a history, a region, and a family of virulent racism ends remarkably in racial reconciliation. The book also argues persuasively that white racism against African-Americans will not end in this country until whites acknowledge and repudiate both “damaged heritage” and filiopietism, the partner in the historical crime of black subjugation. While the book describes, by real life experiences and personal history, why the country still suffers from white racism against black Americans, it also answers the question: how does one grow up in a racist society and not be a racist?

At a time when the election of Donald J. Trump ripped open the wound of America’s racism against persons of color, this book gives the country a set of insights and approaches that can put us on a path of reconciliation and devotion to the genuinely human that are essential for a nation to be at peace with itself.

For a hundred years, there was no permanent memorial to the Elaine Race Massacre. J. Chester Johnson served as co-chair for the Elaine Massacre Memorial Foundation, and on September 29th, 2019, a Memorial, located directly in front of the Phillips County Courthouse and some three hundred yards from the Mississippi River, was dedicated and opened to the public. As part of the Memorial ceremony, Johnson read an original poem he composed for the dedication. Here is the final stanza of the poem:

“Of time and the river,
Beckoning no escape,
Leaves no choice:
So, we shall no longer wait
For more light that we may
Better see light, nor wait
For other dreams that we
May better inspire dreams.”

J. Chester Johnson
is a well-known poet, nonfiction writer, and translator, who grew up one county removed from the Elaine Race Massacre site in southeast Arkansas along the Mississippi River Delta. He has written extensively on race and civil rights, composing the Litany for the national Day of Repentance (October 4, 2008) when the Episcopal Church formally apologized for its role in transatlantic slavery and related evils. At the height of the Civil Rights Movement and following the assassination of Martin Luther King, Jr, Johnson returned to the town of his youth to teach in the all African-American public school before integration of the local education system. Several of his writings are part of the J. Chester Johnson Collection in the Civil Rights Archives at Queens College, the alma mater for Andrew Goodman, one of three martyrs murdered by white supremacists in Mississippi during Freedom Summer. His three most recent books are St. Paul’s Chapel & Selected Shorter Poems (2010), Now And Then: Selected Longer Poems (2017), and Auden, the Psalms, and Me(2017), the story of the retranslation of the psalms in the Book of Common Prayer for which W. H. Auden (1968-1971) and Johnson (1971-1979) were the poets on the drafting committee; published in 1979, this version of the psalms became a standard. The manuscript, Damaged Heritage: The Elaine Race Massacre and A Story of Reconciliation, will be published on May 5, 2020 by Pegasus Books. Johnson, who served as Deputy Assistant Secretary of the U. S. Treasury Department, owned and ran, for several decades, an independent financial consulting firm that advised states, large public authorities, and non-profit organizations on capital financing and debt management. His poem about the iconic St. Paul’s Chapel, relief center for the recovery workers at Ground Zero, has been the Chapel’s memento card since soon after the 9/11 terrorists’ attacks (1.5 million cards distributed); American Book Review recently said of the poem: “Johnson’s ‘St. Paul’s Chapel’ is one of the most widely distributed, lauded, and translated poems of the current century”. One of fifteen writers selected to be showcased in October, 2019 for the first Harvard Alumni Authors’ Book Fair, he was educated at Harvard College and the University of Arkansas (Distinguished Alumnus Award, 2010).

Event: Harvard Alumni Authors at the Harvard Coop October 26, 2019

On Saturday, October 26th from 2:00 pm to 4:00 pm, The Harvard Coop was transformed into a reader’s delight at this inaugural Harvard Alumni Author book event, co-sponsored by The Harvard Coop & Harvard Magazine.

ALL members of the Cambridge and Greater Boston community were invited to come meet the 15 authors, including J. Chester Johnson, browse to their heart’s content, and buy books. Free snacks, and other special offers for attendees were included!

Biographers, critics, historians, journalists, memoirists, novelists, playwrights, and poets…..Harvard alumni have published diverse works across all literary genres.

I sold and personally signed my three most recent books: St. Paul’s Chapel & Selected Shorter Poems (2010); Now And Then: Selected Longer Poems (2017); and Auden, the Psalms, and Me (2017). I also shared information about my forthcoming book to be released in May, 2020, published by Pegasus Books: Damaged Heritage: The Elaine Race Massacre And A Story of Reconciliation.

Interview by NPR of J. Chester Johnson and Kyle Miller on the Elaine Race Massacre and Memorial

Remembering The Elaine Massacre In Arkansas 100 Years Later
To listen to the interview, click here.

Remembering The Elaine Massacre In Arkansas 100 Years Later | Here & Now

In this June 15, 2019, photo, men work near a monument under construction honoring victims of the Elaine Massacre that sits across from the Phillips County courthouse in Helena, Ark. The Elaine Massacre Memorial is set to be unveiled in September and is being chaired by some descendants of the massacre’s perpetrators and victims. (AP Photo/Noreen Nasir)

In what’s known as the “Red Summer of 1919,” hundreds of African Americans died at the hands of white mobs, from Chicago to Texas to South Carolina.

In Elaine, Arkansas, white mobs in the Elaine Massacre caused some of the most blood spilled. Death estimates run from 100 to hundreds of murdered black residents, the largest number in the “Red Summer.”

To mark the 100th anniversary, a memorial to the victims is set to be unveiled in Elaine.

Here & Now’s Robin Young talked to Chester Johnson, a white man who co-chairs the Elaine Massacre Memorial Committee and believes his grandfather took part in the massacre.

Johnson says the purpose of the memorial is to “raise an awareness [and] to also lead toward a level of reconciliation coming out of that awareness.”

Memorials and reparations for the victims’ families are “just one piece of the puzzle,” says Kyle Miller, the director of the Delta Cultural Center in Helena, Arkansas.

Miller lost some of his ancestors during the massacre — four young black men who were ripped off a train and killed.

He says the massacre significantly shaped his family, even causing one of his aunts to leave Elaine and never return.

To read or download the full article, click here.

Here & Now, WBUR.org

In a Small Arkansas Town, Echoes of a Century-Old Massacre

ELAINE, Ark. Article written and distributed by Associated Press (AP) — J. Chester Johnson never heard about the mass killing of black people in Elaine, a couple hours away from where he grew up in Arkansas. Nobody talked about it, teachers didn’t mention it in history classes, and only the elderly remembered the bloodshed of 1919. He was an adult when he found out about it. By then, his grandfather, Alonzo “Lonnie” Birch, was dead — perhaps taking a secret to his grave. Johnson believes Birch took part in the Elaine massacre. And now he’s bent on telling the story of one of the largest racial mass killings in U.S. history, an infamous chapter in the “Red Summer” riots that spread in cities and towns across the nation.

“I feel an obligation,” said Johnson, who is white. “It’s hard to grow up in a severely segregated environment and for it not to affect you. If you don’t face it and deal with it in various ways, it becomes undiscovered.”
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EDITOR’S NOTE: Hundreds of African Americans died at the hands of white mob violence during “Red Summer” but little is widely known about this spate of violence a century later. As part of its coverage of the 100th anniversary of Red Summer, AP will take a multiplatform look at the attacks and the communities where they occurred. https://www.apnews.com/RedSummer
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Johnson, who now lives in New York City, is co-chair of a committee overseeing construction of a memorial honoring those killed in 1919. He and others are hoping the structure, being built in a park across from the Phillips County Courthouse about a half-hour drive from Elaine, will bring attention to the massacre. Others say plans for a monument are a folly — starting with its location — and want commemoration efforts to focus instead on reparations to account for what they say was theft of black-owned land in the wake of the killings.

“It was literally a war on this area. People wanted the property that was almost all black-owned,” said Mary Olson, who is white. She is president of the Elaine Legacy Center, a red-brick community center that works to preserve the area’s civil rights history. It bears the sign, “Motherland of Civil Rights.”

The violence unfolded on the evening of Sept. 30, 1919, as black sharecroppers had gathered at a small church in Hoop Spur, an unincorporated area about 2½ miles north of Elaine. The sharecroppers, wanting to be paid better and treated more fairly, were meeting with union organizers when a deputy sheriff and a railroad security officer — both white — arrived.

Fighting and gunfire erupted, though it’s still not clear who shot first. The security officer was killed and the deputy wounded.
White men frustrated that the sharecroppers were organizing went on a rampage. Over several days, mobs from the surrounding area and neighboring states killed men, women and children.

More than 200 black men, women and children were killed, according to the Equal Justice Initiative, a Montgomery, Alabama-based nonprofit that has documented more than 4,400 lynchings of black people in the U.S. between 1877 and 1950. Five white people were killed. Hundreds of black people were arrested and jailed, many of them tortured into giving incriminating testimony. Some were forced to flee Arkansas and, according to the Legacy Center, had their land stolen.

Johnson said his grandfather, Alonzo “Lonnie” Birch, was a member of the Ku Klux Klan and worked for the Missouri Pacific Railroad, the same company that employed the railroad security officer who was killed at the Arkansas church where the black sharecroppers had gathered to organize. Once the violence started, Johnson said, railroad officials urged workers to join the fighting. He said his grandfather likely responded to the call.

Narratives about the killings differ and records are not easy to find, said Brian Mitchell, an assistant professor of history at the University of Arkansas-Little Rock. “You have to understand that everybody that had some degree of power in the state was a part of the process of the massacre, so the people who would control all the records are actively suppressing the records,” Mitchell said.
Some residents think the death toll is highly exaggerated.

Poindexter Fiser, the mayor of Elaine from 1985 to 2007, said the accounts of a massacre are “somebody trying to make something out of nothing much to talk about.” Fiser, who is white, said his late father-in-law put the number of those slain at only “about 25 people.”

Kyle Miller, director of the Delta Cultural Center in Helena-West Helena, Arkansas, said for many years, the violence “was not really acknowledged … it was something that was only talked about behind closed doors.” Miller is a descendant of the Johnston brothers, four wealthy, black siblings who he said were pulled off a train on their way back to Helena after a hunting trip and killed during the massacre.

“I’m really hoping (the memorial) is going to spark some conversations. That people will look at it and begin to ask questions and be able to learn some history of our community,” Miller said.

The memorial is set to be unveiled in September.

Not everyone supports it. Members of the Legacy Center say the monument belongs in Elaine.

“If you said ’1919,′ what do you think of? Elaine,” said James White, director of the Legacy Center. “You don’t think of Helena.”

White and others with the center said any commemoration efforts should have some focus on the theft of black-owned land. Some residents are calling for descendants of the victims to receive compensation for what their families lost.

Miller and other memorial organizers say Elaine doesn’t have enough resources to sustain what they envision will become a civil rights tourist destination. And to them, the massacre story is bigger than Elaine: The Phillips County Courthouse in Helena was where hundreds of black men were jailed and tortured following the violence.

The effects of the violence and aftermath endure today. Elaine is still highly segregated: White residents live predominantly on the south side and black residents on the north side. About 60 percent of its 527 people are black.

“It’s a quiet town, but there’s still racial tension here because we’re still divided,” said White, a black Elaine native whose grandmother told him about black residents hiding in swamps to escape.

White said he welcomes efforts to learn about the massacre but questions who gets to tell the story and who benefits from sharing it.

“One hundred years later, it’s the same old game, just a different day,” he said, reflecting on the disparity between those that hold power in Phillips County and the poor black residents of Elaine. “It’s hate in this town … and black people are still afraid” of talking about the massacre.
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J Chester Johnson at Home in NYC
In this July 23, 2019, photo, poet and author J. Chester Johnson sits at his home in New York, as he talks about a 1919 massacre of African Americans in Elaine, Ark. Johnson believes his grandfather took part in the Elaine massacre, an infamous chapter in the “Red Summer” riots that spread in cities and towns across the nation. (AP Photo/Bebeto Matthews)

Evangelical Tent Revival in Elaine, Arkansas
In this June 14, 2019, photo, residents participate in an Evangelical tent revival in a large field in Elaine, Ark. The effects of the violence during the summer of 1919 and aftermath endure today. Elaine is still highly segregated: White residents live predominantly on the south side and black residents on the north side. (AP Photo/Noreen Nasir)

Noreen Nasir, Associated Press. Also Associated Press writer Ken Miller in Oklahoma City contributed.

J. Chester Johnson Spoke at the National Cathedral in Washington, DC on Sunday, June 30th, 2019.

J Chester Johnson National Cathedral Washington

J. Chester Johnson spoke at the National Cathedral in Washington, DC on Sunday, June 30th, 2019 at 1:00pm

J. Chester Johnson: Auden, The Psalms and Me
We welcome poet, nonfiction writer and translator J. Chester Johnson, who served from 1971-1979 as the poet on the drafting committee for the retranslation of the psalms, the version contained in the current Book of Common Prayer, published in 1979. The story of this retranslation, which will be the focus of his presentation at Washington National Cathedral, is told in Johnson’s book, Auden, the Psalms, and Me, published in 2017 by Church Publishing of the Episcopal Church. He replaced W. H. Auden, who served as the poet on the committee from 1968-1971.

These psalms have become a standard, illustrated by the fact that Lutherans in the United States and Canada, the Anglican Church of Canada, and the Scottish Episcopal Church have all adopted this American version of the psalms for their respective worship books and services; in addition, these psalms are approved for use by the Church of England and were adopted in England as the preferred translation for Celebrating Common Prayer, the pioneer in reforming the structure and style of the Daily Office.

Other recent books by Johnson are St. Paul’s Chapel & Selected Shorter Poems (2010) and Now And Then: Selected Longer Poems (2017). He has also written extensively on race and civil rights, composing the Litany for the national Day of Repentance (October 4, 2008) when the Episcopal Church formally apologized for its role in transatlantic slavery and related evils. Johnson just completed Damaged Heritage: From The Elaine Race Massacre To Reconciliation, a memoir and commentary on racial enlightenment and racial reconciliation; his agent is now approaching publishers with the book.

The National Cathedral, Washington DC

“Things Not Seen” Podcast with J. Chester Johnson

Poet J. Chester Johnson tells the story of the Psalter which was included in the 1979 update to the Episcopal Book of Common Prayer, and the little-known but vital part played in it by acclaimed poet W. H. Auden, whom Johnson replaced on the committee when Auden decided to return to live in England.

Despite Auden’s ambivalence about changes in the Episcopal Book of Common Prayer, he wrote associated articles and poems, authored many letters—some of special liturgical and spiritual significance— and attended Psalter drafting committee meetings. Auden, The Psalms, and Me not only illuminates this untold part of the Episcopal Psalter story but also describes the key elements that drove the creation of this special retranslation.

TO LISTEN TO THE PODCAST ON THINGS NOT SEEN, CLICK HERE.

J. Chester Johnson has written verse for more than forty years. Over this period, his work has received praise from writers and poets spanning several decades – from, among others, Poet Laureate Allen Tate and Nobel Laureate I. B. Singer to current, well-recognized poets, such as Molly Peacock, Major Jackson, Lawrence Joseph and Vijay Seshadri.

thingsnotseenradio.com


Poem by J. Chester Johnson Embedded in DeWoody Art for Show at The Church of the Heavenly Rest

On the evening of January 10, 2019, an exhibition of eight art pieces was unveiled, reflecting the joint creative efforts of paired writers-artists to celebrate the renovation of Darlington Hall at The Church of the Heavenly Rest in New York City. The poet and writer, J. Chester Johnson, was paired with the artist, James DeWoody, whose works appear in collections of the Metropolitan Museum of Art, the National Gallery of Art in Washington, D. C., the Library of the Whitney Museum of American Art, and the Library of Congress, among other venues. Here is the piece with words by J. Chester Johnson:

The overall goal of the exhibition was to present pieces that illuminated the canonical, eight hours of the day in a current, urban environment, starting with Matins and ending with Compline. The Johnson/DeWoody piece illustrated the hour of Prime, the hour of awakening – in this presentation, the City’s hour of awakening. For those who may be unable to read Johnson’s triple, linked haiku embedded in the piece as shown in the photograph above, here is the poem:

“Jerusalem is built as a city
                            That is at unity with itself.” – from Psalm 122, v3


We are the children
Of the first children of light,
The City of God.

For we simply were
Born to be simply who we
Are – only more so;

And found a language
We could employ to explore
The voice within us.

Copyright © 2019 by J. Chester Johnson

DeWoody wrote these words to describe his vision in putting his part of the joint piece together:

“Through Chester’s text, I saw our city as a new Jerusalem, full of possibility and hope. Though from disparate lands and creation stories, our citizens can all embrace the message of Love and Peace. We awake each morning and engage with life, taking steps that define us, interacting with each other in ways that bind us to a common Good. That Goodness is the essence of God. We find it in each other and in the promise of sunlit days.”

In a parallel composition, Johnson describes the approach he pursued in composing the words:

“Prime, the third canonical hour, occurs at the influx of morning when the City teems with unity – by purpose and energy. While I’m reminded of Augustine’s The City of God and Charles Williams’ The Image of the City, I recall especially a line from Psalm 122: ‘Jerusalem is built as a city that is at unity with itself.’ Within the City, I encounter the disparate, but unified voice of others with my own, and out of this chorus, I wrote a triple, linked haiku.”

J. Chester Johnson

J. Chester Johnson at Troubadour in London

J. Chester Johnson at Troubadour in London

On October 15th, 2018, J. Chester Johnson was one of two featured poets (the other, Elizabeth Powell) at the iconic venue, The Troubadour, in London, England. Primarily known as a famed place for musicians, The Troubadour has over the last two decades become well-known as a special place in London for poetry. J. Chester Johnson had the opportunity to read his verse, principally from his latest book of poetry, NOW AND THEN: SELECTED LONGER POEMS, which was published in 2017.

J. Chester Johnson featured speaker at Grosvenor Chapel, London

J. Chester Johnson was the featured speaker for “The Feast of the Dedication of Grosvenor Chapel” the afternoon of October 14th, 2018; this Chapel was the church where Dwight David Eisenhower, Commander of the Allied Forces at the time, and his staff routinely worshiped while stationed in England during World War II. This was one of several presentations given at a variety of venues in London and Oxford for Johnson’s latest book (published in 2017), AUDEN, THE PSALMS, AND ME, the story of the retranslation of the psalms as contained in the American Book of Common Prayer, for which the eminent poet, W. H. Auden, and Johnson were the two poets on the drafting committee for the retranslation.

J. Chester Johnson featured speaker at Grosvenor Chapel, London

A Review of “Auden, the Psalms, and Me” – Posted On The Florida Diocese of the Episcopal Church

A Review of Auden, the Psalms, and Me Has Been Posted On The Website of the Florida Diocese of the Episcopal Church. An Introduction To The Review By The Diocesan Bishop, the Rt. Rev. Samuel Johnson Howard, Precedes The Review. Read The Review Below.

BISHOP HOWARD’S FOREWORD TO THE CHESTER JOHNSON BOOK REVIEW

Chester Johnson and his wife Freda have been dear friends to Marie and me for over 20 years. We first met the Johnsons at Trinity Church in New York City where I was Vicar. Chester and Freda were active members of Trinity, and Chester served for a number of years on the Vestry.

Born in Tennessee and raised in Arkansas and Harvard-educated, Chester has spent most of his life in New York City in the world of finance.

Chester is a gifted poet, nonfiction writer and speaker. In the 1970s, Chester served alongside the noted poet W.H. Auden as one of the two poets on the drafting committee which retranslated the Psalms for our Book of Common Prayer. In the years since, Chester has authored a number of volumes of poetry. I am particularly fond of one poem which relates to our time together in New York City: “St. Paul’s Chapel.” This wonderful poem has been used by Trinity Church and its neighboring St. Paul’s Chapel for distribution to those visiting that historic church which was the site of important rescue and relief work during the months following the 9-11 attacks.

I am delighted that Chester has recently visited with us in the Diocese of Florida and spoke at our Cathedral about some of his recent books. I am grateful, too, that Owene Courtney has written the following review of Chester’s most recent book, Auden, the Psalms, and Me.

+SJH April 16, 2018

A Book Review of Chester Johnson’s Auden, the Psalms, and Me

By Owene Courtney, Director of the Center for Prayer & Spirituality, St John’s Cathedral, Jacksonville

Self- described as “bubbly and slightly mercurial” in his 20’s, Chester Johnson still charms and fascinates when he discusses his experience on the drafting committee for the 1979 retranslation of the Psalms contained in the current edition of the Book of Common Prayer. If you have ever wondered why the psalms in our prayer book today are slightly different, more accurate and sometimes more lyrical than the ones in the bibles you read, Chester’s book Auden, the Psalms and Me is a must read.

In his book, Chester tells the story of how his ‘bubbly and slightly mercurial self’ became involved with the drafting committee for the retranslation of the Episcopal psalms, and then how he took the place of esteemed 20th century British/American poet W. H. Auden on the committee “at the grand old age of twenty-six, being at least twenty years younger the next youngest member.” By no means dry or theological, this delightful book tells the story of a humbly bright and clever young poet who unabashedly offered his services to a more senior and experienced group of scholars, only for them to discover he was the perfect person for the job. Students of Church History and the prayer book will enjoy it for this reason.

Chester explains the reasons the retranslation was so necessary and appropriate as well as W. H. Auden’s ambivalent feelings about the revision of the Book of Common Prayer. He also includes correspondence with W. H. Auden, which reveals the origin of those feelings as well as a better understanding of Auden’s “friends and influences, mirrored in the realms of literature, literary criticism, and theology.” Students of literature, particularly 20th century poetry, will enjoy it for this reason.

As a scholar and a poet, Chester carefully acknowledges the literary devices inherent in the psalms, ones which elevate them to an eloquently poetic level and had to be preserved in the retranslation. Poetic devices from chiasmus to parataxis, possibly not known by name, will be recognized by readers as what makes the language of the psalms so beautiful. Poets and writers will enjoy the book for this reason.

My favorite part of the book is toward the end when Chester compares the Coverdale translations with his retranslations and explains why the nuances of word, punctuation, and syntax change were so important. Having been a young adult in the church as the “new” prayer book was introduced, I was shocked with how poorly received it was and how offended people were by the changes. I worshiped in a church where the clergy taught the ‘whys, hows, wheres and whats’ of the changes, and consequently the people were less offended. What Chester has done with this book by continuing that explanation is to offer pray-ers and worshipers a gently humorous and humble, yet very scholarly, explanation of why the changes were made and how they make a significant difference in our prayer life.

Whet your appetite for this book by reading the psalms in your bible and then in your Book of Common Prayer. Note the changed words or syntax and then see what Chester says about them. As Chester says, “None of our revised verses have come back to bite us like other revisions have,” referencing another translation of Psalm 50 which says, “I will accept no bull from your house” rather than the BCP translation “I will take no bull calf from your stall.” Chester Johnson is clever and humble and thoroughly delightful, just like his book.

Auden, the Psalms, and Me(2017, Church Publishing) is available at the St John’s Cathedral bookshop and via Amazon.

The Magazine, Talisman, Recently Reviewed “Auden, The Psalms, And Me”.

The Magazine, Talisman, Recently Reviewed Auden, The Psalms, And Me. The Review Appears Below.

Mark Snow
J. Chester Johnson, Auden, the Psalms, and Me (Church Publishing, 2017)

As the postmodern fades away together with its notion that there is no essence, no origin, no genesis to which a given word refers or which it perpetuates, it is no longer easy to argue that language is essentially fluid, not a vessel to transport the past to the future, but an unending transformation, ungrounded, too opaque and moving too fast to convey an unchanging essence in the nature of words. The journal in which this review will appear is known for its broad eclecticism and its resistance to any one poetics. The journal has generally stayed clear of theory and works that encroach on territory commonly thought to be theological. Even its well known attention to Gnosticism has been concerned principally with gnostic awareness in a secular poetics. When the editor asked that I review J. Chester Johnson’s Auden, the Psalms, and Me, I hesitated, given what I know of the journal’s history, but after reading the book closely, I realized that it embodied an argument that went far beyond its stated subject — the translation of the psalms for liturgical use within the Episcopal church. In fact, at stake was the very issue of poetic translation and the degree to which, and means through which, any translation might be judged accurate — indeed raising the question, what is meant by calling a translation “accurate.”

At stake is the translation of the psalms by Miles Coverdale, which had long been the “official” version adopted by the Episcopal Church and which were largely incorporated in the 1928 edition of the church’s Book of Common Prayer, but although Coverdale’s translations were expert poetry in English, there were instances where they diverged from the Hebrew originals and, however well they might read in English, were in that way simply wrong. Although Auden’s specific contributions to the new translation were seemingly few, his advocacy of the Coverdale translation had immense importance. Auden was a member of the Episcopal church’s drafting committee for the psalms for the Book of Common Prayer. (Johnson was his successor as a poet on the committee.) Auden was concerned with preserving the Coverdale versions, and he was not alone in advocating Coverdale, but it would seem likely that he spoke with an authority that was not easily challenged. The committee in charge of the translation include scholars focused on a precise literal translation, not necessarily on the more poetic phrasings in Coverdale.

Then what is the lesson that, in this context, Johnson’s book can teach? Is it just a tempest in a theological teapot — a conflict of marginal interest to poets in a secular world? In fact underneath the work of the Auden’s position is a major question: what is it that matters more in translation: sound or “accuracy”? The same could be asked of any translation of any poetry. However the church might judge the final, published version of the translations (which in fact has been overwhelmingly positive), the underlying problem of translation will not go away. The committee was fortunate in having Auden and then Johnson among its members. After all, the translators were dealing with some of the most widely read works in any language. In any case, a literal translation, however faithful to the original, does not say what can be expressed through rhythm and sound, and what is expressed depends on matters that mere scholarship overlooks: most importantly, on how what is said is said. A poet should know that; a scholar might.

Review of Presentation by J. Chester Johnson on His Two Recent Books Held at The Culture Center, NYC

The following is an excerpt from the review of the presentation by J. Chester Johnson on his two recent books, Now And Then: Selected Longer Poems and Auden, the Psalms, and Me, held at The Culture Center, New York City, on November 28, 2017. The review is from Literary Matters – The Association of Literary Scholars, Critics and Writers. written by Noah Jampol. To read the full article, click here.

The talk

When we turn to the psalter, we do so because it is a part of our current service. But it remains a part of our worship because of the transportive power of the psalms. Because they make us feel a bit less lonesome, they make the abstract more specific.

Chester, speaking on the psalms, noted this very power – that psalms (though most certainly from another time) speak to our time. They speak to both “our individual and collective suffering, the need to praise, the healing power of praise.”

Our moment is one in which the verities may at times seem distant, almost relative. But by connecting our spirit, both individual and collective, back to the headwater of our humanness we may redeem ourselves as well as our fellow man. This is why we go back to the psalms. It was, per Chester’s observation, Psalm 13 (“How long”) that informed the modern civil rights movement.

And he would know. Both as a deft poet and committed heart and hand for the civil rights struggle, Chester’s life has been one of liturgy – one of public service – one of common prayer. The New York Times got it right when covering Chester and Freda working in New Orleans in the aftermath of Katrina. Chester observed the “Eucharist as a mode of reconciling.” So is the sort of service practiced by Freda and Chester.

Chester surmised that the audience came out for the Auden, though if you asked, I think most would have said they came out for Chester.

Read more…

Download to read later.

Photos by Kasia Buczkowska.

American Book Review Features Poetry of J. Chester Johnson

The American Book Review as a literary journal aims to project the sense of engagement that writers themselves feel about what is being published. It is edited and produced by writers for writers and the general public. In American Book Review, Angelo Verga wrote “Johnson’s ‘Saint Paul’s Chapel’ is one of the most widely distributed, lauded, and translated poems of the current century.” In addition, he said of Johnson’s newest poetry book, Now And Then: Selected Longer Poems, “I read this book with sincere interest, and frequent pleasure; and I trust others, and not just fellow poets and the usual suspects/poetry buyers, will too.”

J. Chester Johnson Makes Three Presentations As McMichael Lecturer – Fayetteville, Arkansas

J. Chester Johnson was selected to deliver three key lectures as part of the McMichael lecture series. He chose three topics: Commentary on his latest book, Auden, the Psalms, and Me; The Elaine Race Massacre; and Why The Psalms Are Poems. Each of the three lectures by J. Chester Johnson are available by clicking on their respective links below. Courtesy of St. Paul’s Episcopal Church, Fayetteville, Arkansas.

7:00 PM, Saturday, January 27, 2018

10:00 AM, Sunday, January 28, 2018

11:00 AM, Sunday, January 28, 2018

J. Chester Johnson Presenting His Two Newest Books at Poet’s House

During calendar 2017, two books, authored by J. Chester Johnson, were published: Now And Then: Selected Longer Poems (St. Johann Press) and Auden, the Psalms, and Me (Church Publishing of the Episcopal Church). On October 29th, 2017, Johnson presented on both books at Poets House in downtown Manhattan in New York City. The well-known and influential writer and poet, Cornelius Eady, introduced J. Chester Johnson and provided associated commentary.

Now And Then is a set of longer poems written by Johnson over a period of approximately four decades. The nine pieces in the volume range from an interracial murder in Arkansas along the Mississippi River Delta to the martyrdom of the 20th century prophet, Martin Luther King, Jr. Johnson has called Now And Then “the closest I will ever come to writing an autobiography.”

Auden, the Psalms, and Me is a non-fiction book that tells the story of the retranslation of the psalms contained in the current Book of Common Prayer of the Episcopal Church. W. H. Auden served as poet on the drafting committee for this retranslation from 1968 to 1971, at which point Auden decided to return to England and was replaced by J. Chester Johnson, who remained the poet on the drafting committee from 1971-79, when the revised Book of Common Prayer was published, including the new version of the psalms. Among other germane matters, the book discusses the correspondence that Johnson received from Auden on the retranslation project and the history of the psalms that have been incorporated into the Book of Common Prayer since 1549. This retranslation has become a standard with others adopting these psalms for their worship and service books.

Click on the video below for the audio presentation, including Cornelius Eady’s introduction and commentary and the entirety of J. Chester Johnson’s prepared remarks.

Video for “Auden, the Psalms, and Me” authored by J. Chester Johnson

J. Chester Johnson has made numerous presentations on his new book, Auden, the Psalms, and Me, published September 15, 2017 by Church Publishing of the Episcopal Church. In advance of his presentation at Trinity Church Wall Street, this video was prepared by the church and placed on its website. In addition, the video was shared with a variety of interested parties.

J. Chester Johnson Interviewed on the Televised ‘In The Arena’ Program

In advance of 9/11 in 2017, J. Chester Johnson was interviewed about his three recent books by Monsignor Kieran Harrington of The Net, the Catholic Television Network, for the program, ‘In The Arena.’ Special emphasis was given in the interview to “St. Paul’s Chapel,” the poem that became the memento card at St. Paul’s Chapel, which was the relief center for the recovery workers at Ground Zero following the terrorists’ attacks. The poem has been distributed to well over a million visitors and pilgrims to the Chapel. In addition to answering questions about his literary and social action activities, J. Chester Johnson ended the program by reading the entirety of the poem.

Save the Dates! Upcoming Events Related To My Two Books Published In 2017


Tuesday, November 28, 6:30 pm
The Culture Center, 410 Columbus Avenue, Manhattan (focus on both books – sponsored by the Association of Literary Scholars, Critics and Writers – ALSCW). Introduction by Phillis Levin.  Read the review in Literary Matters
Download to read later.

Sunday, October 29, 2:00 pm
Poets House, 10 River Terrace, Manhattan (focus on both books). Commentary by Cornelius Eady. Visit J. Chester Johnson at Poets House for more information.

Thursday, October 19, 6:30 pm
Church of the Heavenly Rest, 90th St and Fifth Avenue, Manhattan (focus on Auden, the Psalms, and Me).

Sunday, October 8, 1:00 pm
Trinity Church Wall Street, Broadway and Wall Street, Manhattan (focus on Auden, the Psalms, and Me).

Sunday, August 27, 10:00 am
St. Thomas Episcopal Church, 1 West 53rd off Fifth Avenue, Manhattan (focus on Auden, the Psalms, and Me).

About My Two 2017 Books

NOW AND THEN: SELECTED LONGER POEMS
PUBLISHED JANUARY 2017

The journey through Now And Thenbegins with an interracial murder in Arkansas and ends in the martyrdom of German theologian, Dietrich Bonhoeffer. In between, a delayed conversation between the poet and a long departed father, a poem given timbre by Ida B. Wells, and a paean to Martin Luther King, Jr., among other voices, create worlds where home and exile have much in common.

Also available at selected independent bookstores.

“The scope of NOW AND THEN is epic. It provides its readers with the same amplitude of intelligence, passion and formal achievement as our great American epics — Melville’s MOBY DICK, Whitmans’s LEAVES OF GRASS, and Ginsberg’s FALL OF AMERICA. It is a book of fierce spiritual and moral witness, energy and power.”

Lawrence Joseph

“J. Chester Johnson is one of our country’s literary gems. From his work on the Book of Common Prayer with Auden to his chronicling and advocating for civil rights in the American South of his boyhood, Johnson offers rare glimpses into what William Carlos Williams called ‘news that stays news’. Elegant, truthful, heartfelt, spiritual, beautiful. This is a book to savor and admire. Highly recommend this impressive book.”

Elizabeth Powell, Editor-in-Chief, Green Mountains Review

“In his latest volume, Now And Then: Selected Longer Poems, Chester Johnson has pushed beyond the boundaries of his shorter work and yet, happily, none of the qualities that make a Chester Johnson poem so distinctive and memorable—their plain speak and verbal music, their erudition and common sense—have been lost in the transition. Here, we encounter a poet as comfortable with narrative as he is with lyric, a poet working at the height of his powers, a poet challenging himself—and us—with poems that are not afraid to engage with the politics and the issues and the events of our time.”

Davis McCombs, Director, Program in Creative Writing and Translation, University of Arkansas; former winner, Yale Series of Younger Poets

AUDEN, THE PSALMS, AND ME
COMING IN SEPTEMBER 2017

This book tells the personal, untold story of the retranslation of the psalms contained in the current Book of Common Prayer of the Episcopal Church, which version has now become a standard. Johnson describes the role on the drafting committee played by the poet, W. H. Auden, whom the author replaced.

“J. Chester Johnson has written a wonderfully cautious, sensitive, and even-handed book. He is to be praised for his verbal attentiveness throughout, and not least for his orderly and sculpted expository style. He illuminates aspects of Auden’s faith, confronts the sometimes thorny issues that face a church sensitive to accusations of remoteness from the contemporary, and modestly explains his own origins and assumptions. A delightful book.”

John Fuller, poet and author of W. H. Auden: A Commentary

“J. Chester Johnson tells a remarkable and illuminating triple story: the story of the English psalms in the past and present, the story of W. H. Auden’s profound engagement with the language of the psalter, and the story of his engagement with Auden, the psalms, and the church. I hope this well-told story will be widely read.”

Edward Mendelson, Professor of English and Comparative Literature; Lionel Trilling Professor in the Humanities, Columbia University, and literary executor of the estate of W. H. Auden

Distinguished Alumnus J. Chester Johnson spoke on April 26th & 27th at the University of Arkansas

J. Chester Johnson, poet, nonfiction writer, translator and University of Arkansas distinguished alumnus, spoke at the U of A Wednesday and Thursday, April 26-27, on two topics, including the Elaine Race Massacre of 1919.

Johnson read from his latest volume of poetry “Now & Then: Selected Longer Poems” at 3 p.m. Wednesday in the Larry E. Coombes Memorial Auditorium in the Plant Sciences building.

On Thursday at 3 p.m. Johnson spoke about the Elaine Race Massacre of 1919 in the Center for Multicultural and Diversity Education on the fourth floor of the Arkansas Union.

The Elaine Race Massacre of 1919 is considered to be one of the single most violent attacks against African-Americans in our country’s history.

For full article on U of A News, click here.

Download to read later.

From University of Arkansas News.


Reflection and Reconciliation: The Elaine Race Massacre – Delta Cultural Center, Arkansas, April 23

J. Chester Johnson returned to the site of the 1919 Elaine Race Massacre, one of the deadliest assaults on African-Americans in our country’s history. Mr. Johnson has written articles and other pieces on the event and has presented on the subject in various venues, but this time, he discussed the event and its ramifications in Phillips County, Arkansas, where the Massacre actually occurred. J. Chester Johnson, whose maternal grandfather participated, was joined in the presentation by Sheila Walker, whose family members, including her great-grandmother and great uncles, were among the victims. Since Sheila and Chester had antecedents representing the two sides of the conflagration, they have, over the last several years, committed to a reconciliation of the inter-racial and generational trauma that has been associated with the event. Much in the presentations recited the stories and history in each of their respective families related to the Massacre, but the journey of reconciliation between Sheila and Chester was also given special relevance. A reception was held immediately following the presentation at Beth El Heritage Hall, located at the corner of Perry and Pecan, Helena, Arkansas.

Video Courtesy of Delta Cultural Center.

Multi Media Performance: Persona Voices from the Literary Work, “Elaine Race Massacre”

Image Courtesy of the Arkansas History Commission

This Literary Work Written by J. Chester Johnson.
Performance Was Held At Trinity Church (Wall Street and Broadway in downtown Manhattan): SUNDAY, FEBRUARY 19TH.

Many consider the Elaine Race Massacre of 1919 to be the single most violent attack against African-Americans in our country’s history – certainly over the period from the late 19th century to the mid-20th century. The massacre occurred on the Arkansas side of the Mississippi River Delta over the course of several days in late September-early October, 1919, when more than a hundred and possibly hundreds of African-Americans were killed by white posses and federal troops in response to an attempt by the local black sharecroppers to unionize. Out of the massacre, a legal case arose, Moore v. Dempsey, involving six sharecroppers convicted of murder in unfair and rapid trials immediately following the massacre; in 1923, the U. S. Supreme Court decided on behalf of the sharecroppers to expand, for the first time, the federal government’s role in equal protection under the law for all citizens of the nation, pursuant to the 14th amendment. This Supreme Court precedent proved monumental for the civil rights movement and for future decisions that relied on the doctrine of equal protection under the law.

The persona voices heard at the performance included, among others, victims of the massacre, members of the Supreme Court, and the genuine American hero, Scipio Africanus Jones, the African-American lawyer from Little Rock who represented the sharecroppers.

Prose, poetry, music, dance, and visual arts were part of the performance, including Broadway performers.

J. Chester Johnson Signs “In The Rows”

J. Chester Johnson Signs “In The Rows”

J. Chester Johnson signs his ‘In The Rows’, a poem displayed as part of the celebration for Rev. Canon James G. Callaway, who served for over 34 years on the clergy staff of Trinity Church, located at Wall Street and Broadway in lower Manhattan in New York City.

– Photo by Elizabeth Powell

J. Chester Johnson Beside Display of His Iconic Poem “St. Paul’s Chapel”

J. Chester Johnson stands beside the all-weather display of his iconic poem, “St. Paul’s Chapel,”that has been the memento card since 2002 at the Chapel, located in downtown Manhattan; the Chapel miraculously survived the 9/11 attacks and became the relief center for the recovery workers at Ground Zero. This large display of the poem has been placed on the fence directly across the street from the site of the former North Tower, which received the first attack by the terrorists on the morning of September 11, 2001. Johnson’s poem has been published around the world and translated into many languages; one literary group in Italy has recognized “St. Paul’s Chapel” and Emma Lazarus’ “The New Colossus” as the poems that demonstrate the American spirit.

J. Chester Johnson Is Featured In NBC New York Article

J. Chester Johnson is featured in NBC New York article, which discusses Johnson’s participation at St. Paul’s Chapel, the relief center for the recovery workers after the 9/11 attacks, including the Chapel’s memento card that carries Johnson’s poem, “St. Paul’s Chapel,” that has been distributed around the world. In addition, the article describes the way that the St. Paul’s Chapel experience has inspired Johnson to pursue the creation of a memorial to the Elaine Race Massacre of 1919, which occurred close to Johnson’s hometown in Arkansas. To read the full text of the article, click here.

Download to read later. 

 

J. Chester Johnson Appeared at the Cornelia St. Café on Sunday, June 26th

J. Chester Johnson appeared at the Cornelia St. Café, 29 Cornelia Street, West Village, NYC, at 6:00PM, Sunday, June 26th. His presentation was a key part of the evening’s program devoted to the theme, Why Auden Matters, and examined the famous Auden poem, September 1, 1939, particularly the poem’s strong appeal over the internet to a large number of people following the 9/11 terrorists attacks in 2001. J. Chester Johnson will have two books pubished over the next fifteen months: NOW AND THEN: SELECTED LONGER POEMS (St. Johann Press) and AUDEN, THE PSALMS AND ME (Church Publishing Incorporated), the story of the retranslation of the Psalms, now contained in THE BOOK OF COMMON PRAYER of The Episcopal Church; the Auden book will give particular attention to the participation by W. H. Auden for the retranslation project.

J. Chester Johnson contributed two presentations at the event: one on the collaboration he had with W. H. Auden for the retranslation of the Psalms and the other on Auden’s famous poem, “September 1, 1939”. See access to written comments on the Auden collaboration by J. Chester Johnson below. His remarks on “September 1, 1939” will be published elsewhere: the date and venue for that publication will become available on this Blog.

If you wish to see remarks by J. Chester Johnson from the event, click here for a PDF.

Press Release by Brooklyn Social Media:
WHY AUDEN MATTERS
With the BBC’s Graham Fawcett and Poet J. Chester Johnson
Joined by Charlotte Maier, Matthew Aughenbaugh, and singer Lindsey Nakatani
Sunday, June 26, at 6PM, Cornelia Street Café


Cornelia Street Café presents an evening contemplating and celebrating WH Auden and why he matters now. Graham Fawcett, an acclaimed and entertaining Auden scholar, poet, translator, and lecturer, will discuss why Auden’s work has such lasting significance. He will be joined by actors Charlotte Maier and Matthew Aughenbaugh who will read a selection of Auden’s poetry. Poet J. Chester Johnson, a collaborator of Auden’s, will discuss the poem September 1, 1939, and why it became the anthem of 9/11. The evening will conclude with a performance by singer Lindsay Nakatani of Benjamin Britten’s: On this Island,” a song cycle based on Auden’s poems.

WH Auden (1907-1973) was a giant among poets of his generation; a master-craftsman of metrical rhythms, and a wonderfully adventurous organist of the English language. Nourished by his native Yorkshire and the treasures of the Anglo- Saxon and Middle English; traveler to Iceland, China, Spain and Berlin; close quarters commentator on politics, religion, philosophy, art and human relations, Auden translated his gifted perceptions into some of the finest and most substantial poems England and the world have ever seen.

Auden’s “September 1, 1939” become an essential—even prophetic—poem after 9/11 when New Yorkers grieved the sudden loss of nearly three thousand citizens. As Adam Gopnick wrote in the New Yorker. “At the beginning of the new century, he is an indispensable poet. Even people who don’t read poems often turn to poetry at moments when it matters, and Auden matters now.” This poem and many others will be read and discussed.

Bios

Graham Fawcett tours England giving his poetry lecture-performances-with-readings Seven Olympians (including Dickinson) and World Poets on the life and work of individual poets from Homer to Heaney, among them Whitman, Lorca, Auden and Dylan Thomas. He presents illustrated lectures on poetry and art—from Homer to the present day—and on Dante’s Divine Comedy (The Book You Always Meant To Read). BBC Radio Drama commissioned his verse translation of Dante’s La Vita Nuova. He taught the world poetry canon in English and translation for many years for London’s Poetry School and Italian-English translation at Goldsmiths College. He has interviewed poets in the US including Gunn, Rich, Milosz, Kinnell and Hass, for BBC Radio 3, where he has broadcast for 25 years on literature, music and Italy.

J. Chester Johnson is a poet who collaborated with WH Auden on the retranslation of the Psalms for THE BOOK OF COMMON PRAYER (book of liturgy for The Episcopal Church). The signature poem, ‘St. Paul’s Chapel,’ in Johnson’s book of verse, ST. PAUL’S CHAPEL & SELECTED SHORTER POEMS (now in its second printing), has been used since 2002 as the memento card at St. Paul’s Chapel, which miraculously stood after 9/11, becoming the relief center (where Johnson volunteered during the cleanup period) for the recovery workers at Ground Zero. He has appeared for interviews and readings on the BBC, the History Channel, and NBC; and his work has been featured in The New York Times, Best American Poetry Blog, International Poetry Review, and Green Mountains Review. Johnson has two books being published over the next fifteen months: NOW AND THEN: SELECTED LONGER POEMS and AUDEN, THE PSALMS AND ME, the story of the retranslation of the Psalms for The Episcopal Church, including the participation by W. H. Auden.

Charlotte Maier is a stage, film and television actor. Born in Chicago, she lives in New York City. Her work includes the following:  BROADWAY:  Act One; The Columnist; God of Carnage; Inherit the Wind; Losing Louie; Dinner at Eight; A Delicate Balance; Abe Lincoln in Illinois; Picnic; Arsenic and Old Lace. OFF-BROADWAY: By The Water and The Last Yankee (MTC); Witnessed by the World (59E59); Balm in Gilead (Circle Rep); REGIONAL: Goodman Theater; Westport Country Playhouse; Berkshire Theatre Festival; Spoleto Festival; Merrimack Rep. FILM: Custody; Two Weeks Notice; The Pink Panther; Music and Lyrics. TELEVISION: Elementary; Person of Interest; Boardwalk Empire.

Matthew Aughenbaugh has been acting for over twenty years in performances ranging from Shakespeare to Musical Theater having trained at The Baltimore School for the Arts, The Boston Conservatory and Emerson College where he studied with world-renowned voice teacher Kristin Linkletter. Most recently he was seen as Malvolio in Twelfth Night and Snout the Tinker in Midsummer Nights Dream for New Place Players in Brooklyn, New York. Having taken some time away from the stage to help build a school for orphans in Tanzania and teach English in Bangkok, Thailand, he has returned to New York to pursue his first love, the theater.

Soprano Lindsey Nakatani’s lyric quality of tone and natural stage presence has already marked her as a captivating performer. Last summer Ms. Nakatani returned to the Caramoor Summer Music Festival as an Apprentice Artist where she performed in multiple solo concerts and as Sister Alice in the chorus of Dialogues des Carmélites. Ms. Nakatani was most recently seen in the role of Ilia in Mozart’s Idomeneo with the Princeton Opera Alliance in New Jersey. In recent performances Ms. Nakatani has also been seen as Serpetta in The Juilliard School’s production of La Finta Giardiniera as well as Rosaura in Juilliard’s production of Le Donne Curiose. In past summers Ms. Nakatani has been a participant of such esteemed programs as the International Vocal Artist Institute, The Franz-Schubert Institute, OperaWorks, Opera on the Avalon and the Caramoor Sumer Music Festival. Ms. Nakatani received her Bachelor of Music Degree from the Juilliard School in 2013 and her Master’s Degree at Mannes The New College of Music in 2015. Ms. Nakatani is a student of Ms. Amy Burton.

J. Chester Johnson reads as part of “FOUR WAY BOOKS AND FRIENDS” Program at NYU Bookstore

On Thursday, April 14 at 6:00PM, J. Chester Johnson read his poetry at the main bookstore of New York University, located at 8th Street and Broadway in Manhattan, as part of a program entitled “FOUR WAY BOOKS AND FRIENDS.” As a “friend,” J. Chester Johnson read alongside several poets at the event who are published by FOUR WAY BOOKS. Among other pieces, Johnson read excerpts from his  book of poems, NOW AND THEN: SELECTED LONGER POEMS, published by St. Johann Press.

J. Chester Johnson at Heavenly Rest Episcopal Church, NYC, February 25th, 2016

J. Chester Johnson read his published poetry and talked about his life and work, including, among other things, his writings on the American Civil Rights Movement (several of his writings on the subject now appear in the J. Chester Johnson Collection of the Civil Rights Archives at Queens College – NYC) and his work with W. H. Auden as the two poets on the drafting committee for the retranslation of the Psalms, which version is now contained in the current Episcopal Book of Common Prayer. His presentation took place on the evening of Thursday, Feb. 25th, 2016 at 6:30PM in the Heavenly Rest Episcopal Church, 90th St. and Fifth Avenue, Manhattan, NYC.

Reading/Discussion by Reginald Dwayne Betts at Trinity Wall Street – J. Chester Johnson, Moderator

A Reading and Conversation with Reginald Dwayne Betts author of Bastards of the Reagan Era (Four Way Books)
Chester Johnson, Moderator

Sunday, February 21, 2016
Trinity Parish, 2 Rector Street, NYC

“Fierce, lyrical and unsparing, the poems in Reginald Dwayne Betts’ new book, Bastards of the Reagan Era, bear witness to the author’s difficult journey from prison to law school, and the experiences of the men he got to know in prison…” – Michiko Kakutani, The New York Times, October 2015

Click here for a PDF of the commentary on Betts’ poetry by J. Chester Johnson

Presentation at 9/11 Tribute Center (Ground Zero in New York City), Tuesday, December 15, 2015

At the installation into the 9/11 Tribute Center on Tuesday, December 15, 2015 of a pew from St. Paul’s Chapel, which had been the relief center for recovery workers during the cleanup at Ground Zero following the 9/11 attacks, J. Chester Johnson reads his well-known poem, “St. Paul’s Chapel,” which has been extensively published, both domestically and abroad. The poem, ‘St. Paul’s Chapel,’ has been the Chapel’s memento card since 2002 for its 30,000 visitors and pilgrims who come weekly. Quotes from J. Chester Johnson have also been permanently placed in the 9/11 Tribute Center alongside the pew from the Chapel.

Pew from St. Paul’s Chapel at 9/11 Tribute Center

Pew from St. Paul’s Chapel at 9/11 Tribute Center

J. Chester Johnson and his wife, Freda, stand beside several of his quotes, associated with the installation of a pew from St. Paul’s Chapel into the 9/11 Tribute Center – both the pew and the quotes have been made part of the Tribute Center at Ground Zero in lower Manhattan in New York City.

“For Conduct and Innocents”– Multimedia Performance Based on Drama In Verse by J. Chester Johnson

Johnson’s drama in verse, “For Conduct And Innocents,” about the martyr and 20th century theologian, Dietrich Bonhoeffer, was presented as a multi-media event (drama, music, dance, film) on Oct. 18, 2015 at Trinity Wall Street with nearly 50 performers participating.

Courtesy of Trinity Wall Street, New York

“For Conduct and Innocents,” a Multimedia Performance

Johnson’s drama in verse, “For Conduct And Innocents,” about the martyr and 20th century theologian, Dietrich Bonhoeffer, was presented as a multi-media event (drama, music, dance, film) on Oct. 18, 2015 at Trinity Wall Street with nearly 50 performers participating.

“I love the Bonhoeffer play. . .The whole dynamic of moral indignation and spiritual ardor, combining and recombining there in endless variation – a quality the lyrics also possess – made the reading fascinating.” – Vijay Seshadri

“What an amazing undertaking – so impressive in scope, intent and understanding. This must have taken years of energy.”– Molly Peacock

To watch the video of this performance, click here to visit the Happenings page.

To read the full text, click here.

Set forth below is additional information on the event:
“For Conduct and Innocents,” a multimedia performance, based on the drama in verse written by J. Chester Johnson, commemorating the martyrdom of Dietrich Bonhoeffer, a German cleric, major theologian and staunch opponent of the Third Reich, had been presented on Sunday, October 18 at Trinity Church, Lower Manhattan. Bonhoeffer was hanged in a Nazi concentration camp in 1945 for taking part in a plot to assassinate Adolf Hitler. This event represented part of a worldwide commemoration of the 70th anniversary of Bonhoeffer’s execution by the Nazis.

The performance was adapted for the stage by J. Chester Johnson from a poem written by him and directed by playwright Alan Baxter. Actors – including Robert Scott, Frank Romano, and Emily Kitchens – portrayed significant moments leading up to the martyrdom of Bonhoeffer; the play’s performance contained expressions by the Trinity Movement Choir, serving as a Greek chorus, whose members provided dance-based commentary on the proceedings, choreographed by Marilyn Green. The production included original music by the composer Paul Knopf for a planned film on Bonhoeffer.

In addition, the Trinity Youth Chorus premiered a work for youth choir, composed by Atlanta-based choral director and composer Diane Abdi Robertson. The composition was based on the poignant poem, “Dream,” the work of a teenage Polish Jew, Abraham Koplowicz, who already had a reputation for lyric poetry when he was killed in a concentration camp.

ABOUT DIETRICH BONHOEFFER
Bonhoeffer, an important 20th century theologian, was born in Breslau (now Wrocław, Poland) into an upper middle class German family in 1906. He received a doctorate from the University of Berlin and served a German parish in Barcelona before attending Union Theological Seminary in New York. During his time at Union, he became especially involved with Abyssinian Baptist Church in Harlem, an experience that profoundly impacted his future activism and theology. Bonhoeffer’s writings trace the evolution of his theologically-based resistance to the Third Reich. He was the first theologian to address the role of the Church in Nazi Germany, concluding that the Church was obligated to object to persecution, to help the victims of injustice, and to take all steps necessary to end persecution. By 1940, Bonhoeffer was a member of the resistance, working to build foreign support for a German plot to overthrow Hitler and helping many Jews escape to Switzerland. As a result of these activities, he was arrested in April, 1943 and, in 1944, was implicated in a failed plot to assassinate Hitler. He was executed in the Flossenburg concentration camp on April 9, 1945.

ABOUT TRINITY WALL STREET
Chartered in 1697, Trinity Wall Street is an Episcopal parish offering daily worship services and faith formation programs at Trinity Church, St. Paul’s Chapel, and online at trinitywallstreet.org. Trinity Wall Street includes Trinity Grants, providing more than $80 million in funding to mission partners around the world since 1972; St. Margaret’s House, providing subsidized housing to the elderly and disabled since 1982; Trinity Preschool; Trinity Institute, an annual theological conference; an extensive arts program presenting more than 100 concerts each year through series such as Concerts at One, and performances by the Grammy-nominated Choir of Trinity Wall Street and the Trinity Youth Chorus. Trinity Real Estate manages the parish’s six million square feet of commercial real estate in lower Manhattan, providing funding for the parish’s local and global mission outreach. For more information, visit trinitywallstreet.org.


J. Chester Johnson interview in ILLUMINATIONS Magazine

When the Episcopal Church set about updating its Book of Common Prayer nearly 50 years ago, its committee to retranslate the Psalms faced a daunting task. Not only did it have to re-translate the Psalms, considered by many the “poetry” of the Bible, but it was losing its one poet on the committee who was moving back to England. It’s hard to imagine anyone filling the shoes of W.H. Auden, but the young poet and translator J. Chester Johnson did just that.

In the current issue of Illuminations, J. Chester Johnson reflects on that experience–how he came to replace Auden, correspond with the great poet, and then set about helping the Episcopal Church refine the Psalms in the light of new scholarship. Poet and translator Ann Cefola interviews Johnson about the influence this experience with Auden and the retranslation of the Psalms had upon Johnson’s literary career; she also discusses with Johnson the principles and practices that guided the retranslation process that lasted for nearly a decade. The interview encapsulates a critical period in Episcopal Church history and valuable insight into translating sacred texts.

Illuminations, the literary journal of the College of Charleston, has published poets such as Seamus Heaney, Stephen Spender and Carol Anne Duffy, as well as emerging writers, since its inception in 1982. (Click here to read the interview.)

– From press release by Ann Cefola

Lecture on Dietrich Bonhoeffer: Theologian and Martyr

Sanctuary, Trinity Wall Street, Broadway and Wall, NYC, 10:00AM-11:00AM, Sunday, June 14, 2015

J. Chester Johnson presented a lecture at Trinity Wall Street, New York City, on Sunday morning, 10:00AM-11:00AM, June 14, 2015 on the life and beliefs of the great German theologian, Dietrich Bonhoeffer, who was martyred at the Flossenburg concentration camp by the Nazis two weeks before the liberation of the camp by American forces in April, 1945. Mr. Johnson discussed the way in which Bonhoeffer’s life experiences impacted his views, as reflected in his significant writings, including Sanctorum Communio, The Cost of Discipleship, Ethics, and Letters & Papers From Prison, among others. Bonhoeffer, as a principal figure in the establishment of spiritual direction for the 20th and 21st centuries through both his life and word, has helped shape the modern and post-modern worlds. (Click here to read written remarks.)

J. Chester Johnson at the main entrance to Lambeth Palace, London, England

. Chester Johnson at the main entrance to Lambeth Palace, London, England

J. Chester Johnson at the main entrance to Lambeth Palace, London, England, where Thomas Cranmer is said to have compiled the first BOOK OF COMMON PRAYER in 1549. J. Chester Johnson was one of two poets (the other being W. H. Auden) on the drafting committee for the retranslation of the Psalms, contained in the current version of the BOOK OF COMMON PRAYER, issued by the Episcopal Church (USA).

Ricks On Dylan (Bob, Not Thomas)

Introduction by Samantha Madway, Editor, Literary Matters

Both J. Chester Johnson and Kasia Buczkowska wrote articles about the third gathering in the series of talks given by Christopher Ricks at the Kosciuszko Foundation in New York City during October 2014. Each author took such different messages away from the presentation, entitled “Just Like a Woman? Bob Dylan and the Charge of Misogyny,” that to have both accounts appear together is a stunning testament to how literature itself, and works of scholarship about literature, can inspire so many unique interpretations and understandings. How could there be room to debate the meaning of Dylan’s lyrics, and room to debate the merits of the debate itself, if we didn’t all consent—whether explicitly, or so innately that it never needed to be considered before moving forward—to the premise that a work of art doesn’t mean only one thing?
That even if we were to ask the poet or the playwright, what is the meaning of this?, that we might not be satisfied with the creator’s own answer. Once a work is released to its audience, its shape and space and substance are different for each person experiencing it, and even for that person, it may transmute further the next time he or she takes it in. All of these encounters between reader and text generate individual — perhaps conflicting at times — accounts, but we need not select only one to serve as the absolute truth, the authoritative analysis.

Ricks On Dylan (Bob, Not Thomas)
By J. Chester Johnson
The third and last of three lectures given by Christopher Ricks and sponsored by the ALSCW was held at the Kosciuszko Foundation in New York City on the evening of Wednesday, October 22, 2014. The two previous lectures by Ricks had been wide ranging and illuminative, explicating works by T. S. Eliot, Thomas Hardy, and George Eliot, with frequent and satisfying side trips into the literary landscapes of related writers and poets. The final lecture, entitled “Just Like A Woman? Bob Dylan and the Charge of Misogyny,” dealt with one of Ricks’ favorite subjects, Bob Dylan.

I admit I’m a fan of Christopher Ricks; he’s a treasure for the literary arts of the English language—on both sides of the pond. I read his work and listen to him whenever I have a chance. Having acquired and read much of Ricks’ book Dylan’s Visions of Sin (Penguin Group, 2003) in advance of the lecture, I was especially interested to hear his remarks.

Reflective of both Ricks’ writings on Dylan and the lecture’s title, two areas given special consideration at the third lecture were the poetic construction of the poem-songs and the degree to which Dylan’s “Just Like A Woman” bears some prejudicial characteristics of misogyny. Once I had listened for a while to Ricks’ exploration of the former area— Dylan’s poetic construction—it became clear that Ricks has, in fact, done a great service to American poetry; I would also guess he has done much the same for English poetry, but I have less experience in the British venue to conclude that is the case. Through his focus on Bob Dylan, Ricks has given us reason to expand, in crucial ways, our view of American poets and poetry.

For years, I listened to and enjoyed Dylan’s music without thinking that a serious poet— maybe even a major poet— stood behind the songs. Though this notion changed over time, Ricks enabled a number of us to shed more thoroughly the limitation of that earlier impression. Of course, Dylan had, many years ago, told music critic Robert Shelton that he considered himself a poet first and a musician second; indeed, Dylan stretched the geography beyond the traditional pools where convention suggests notable American poets may be found.

Regarding the second way Ricks has, through his work on Dylan, affected positively the American perspective on verse, I have feared for a long time now that we Americans were choosing to narrow both our practice and our appreciation of verse into contemporary bastions to an extent that certain traditional techniques, such as rhyme—whether in the form of line endings or internal or elastic structures—couldn’t and wouldn’t be acceptable at all. By stressing the compositional aspects, dramatized on the evening of October 22 through our listening to Dylan recordings, and delving into the seductive force of rhyme, a theme he also underscores in Dylan’s Visions of Sin, Ricks provides an attraction to rhyme too often eschewed and discarded. Though a few of us may take some issue with Ricks’ apparent sharp preference for line ending rhyme, as opposed to internal or elastic rhyme, he makes his point effectively nonetheless.

In the end, whether “Just Like A Woman” should be deemed misogynistic isn’t easily confirmed one way or the other—I didn’t leave the lecture with a steadfast conviction. Through my own discussions with folks familiar with the poem-song, I’ve come to find that views vary: I’ve heard it’s a sincere love poem with the woman’s shortcomings recognized and with her vulnerabilities (“but she breaks like a little girl”) accepted for what they are—individual, if not peculiar, vulnerabilities that can undo human beings. At the same time, I’ve been told the poem-song definitely displays misogynistic aspects, not toward womankind in general, but toward a specific kind of woman. These subjects of possible or overt prejudice should rightly occupy considerable attention for those who serve to enlighten through the literary world, whether the focus is on this Dylan poem-song or, by way of another example, on poetic works by T. S. Eliot that may mirror anti-Semitism. Similarly, when poems are used as tools in defense of autocratic political regimes, the practice should also be called out; in this respect, I’m reminded of the debate a number of years ago held in the West that surrounded Yevtushenko’s poem “Bratsk Station”—had it been written by the poet to exalt the Soviet system, and was it being employed internally and externally by the USSR to justify the Soviet State? It is not enough to call a poem or poem-song simply good or great from an artistic or structural perspective; rather, even though a fixed conclusion may not necessarily be “Ricks on Dylan (Bob Not Thomas)” apparent, an obligation still exists for the piece also to be judged by its ethical and human messages.

Personally, I regret that the lecture series by Christopher Ricks has now ended. Still, I’m glad to have had the opportunity to attend, especially on a rainy night in New York City with Bob Dylan playing along.

Click to download PDF of entire Literary Matters Publication. This article starts on page 16.

Poetry: Uniting Commerce and Verse to Enhance Life and Work

The Senior Committee of the Harvard Business School Club of New York held an event: “Poetry: Uniting Commerce and Verse to Enhance Life and Work”, a discussion with a distinguished panel of business people who have included poetry in their lives, discussing how poetry forms the foundation for their success and how it has enhanced their lives and business careers. It took place on March 4, 2015 at Poets House. Speakers included: Lee Briccetti, Kate Cheney Chappell, J. Chester Johnson and Bruce McEver.
Click here for written remarks by J. Chester Johnson.
Or you can listen to an audio recording of the entire event below.

J. Chester Johnson Is Martin Luther King Birthday Speaker At Trinity Church

Honoring Martin Luther King Jr. with a sermon at Trinity Wall Street, January 18th, 2015 by J. Chester Johnson (Video courtesy of Trinity Wall Street)

Chester Johnson gave the Martin Luther King Jr. Birthday sermon at Trinity Wall Street on Sunday, January 18, 2015 at 11:15AM. Previous speakers for this occasion at Trinity Wall Street have included Andrew Young, Jesse Jackson, the presiding bishop of the Episcopal Church, Marion Wright Edelman (founder and president of the Children’s Defense Fund), Calvin Butts (senior minister at the Abyssinian Baptist Church in Harlem), among many others, who have contributed meaningfully to the American civil rights movement. Trinity Wall Street, founded over three hundred years ago, is the iconic church with the large cemetery surrounding it (where Alexander Hamilton, Robert Fulton, Albert Gallatin, among others, are buried), located at the top of Wall Street on Broadway in lower Manhattan (New York City). 

In the late 1960s, after the murder of Martin Luther King Jr. and near the height of the civil rights movement, J. Chester Johnson left New York City, returning to Monticello, Arkansas in the Mississippi River Delta, where he had grown up before leaving for college, to teach in an all African-American public school in advance of integration of the education system in southeast Arkansas. In 2008, he wrote the litany of offense and apology in prose and poetry for the national Day of Repentance, when the Episcopal Church formally apologized, with the presiding bishop officiating, for its role in transatlantic slavery and related evils. He has also written on the American Civil Rights Movement, several pieces of which are contained in the J. Chester Johnson Collection of the Civil Rights Archives at Queens College (New York City), the school Andrew Goodman attended before joining Freedom Summer when he was martyred, along with James Chaney and Michael Schwerner, in Philadelphia, Mississippi.

Click here to download a transcript of the sermon.

“Auden: Defender at Dusk,” published by Green Mountains Review in late 2014

This article, “Auden: Defender at Dusk,” was originally published in an early 2014 volume on W. H. Auden in Spain as part of the Papers de Versalia project on major poets; the previous three poets included in the series, published by Papers de Versalia, were Rainer Maria Rilke, Giuseppe Ungaretti, and Emily Dickinson. Additional American and British writers who contributed to the Papers de Versalia book on W. H. Auden included Edward Mendelson, Jonathan Culler, John Fuller, among others. A reprint of this article by J. Chester Johnson on W. H. Auden was published by Green Mountains Review in late 2014 (Volume XXVII, No II).
Click here to read the full article.

Elaine Race Massacre Symposium – The Reconciliation Journey in The Episcopal New Yorker

A packed-house symposium on the Elaine Race Massacre, which occurred in the fall of 1919 on the Arkansas side of the Mississippi River Delta and in which more than hundred (and possibly hundreds of) African-Americans were killed, was held at St. Paul’s Chapel in New York City on September 20, 2014. Subsequently, an article entitled, “After Sins of the Fathers, Steps Toward Reconciliation,” was written by Lynn Goswick, associate editor of Trinity Wall Street, and published in THE EPISCOPAL NEW YORKER, fall 2014; the article describes, among other matters, the reconciliation journey that J. Chester Johnson, whose grandfather, Lonnie, joined in the Massacre, and Sheila Walker, whose great-uncles were victims, have taken together to dispel any remnants of adverse human and spiritual consequences from the racial conflagration.
Click here to read the full article.

Coming to Illuminations, June 2015

The literary journal, Illuminations, published a long interview of J. Chester Johnson by Ann Cefola in its upcoming June, 2015 edition. Over the years, the pages of Illuminations have included the works of such luminaries as Nobel Laureate Seamus Heaney, Stephen Spender, Nadine Gordimer, James Merrill, Carol Ann Duffy, Allen Tate – just to name a few. Ann Cefola, an accomplished poet and translator, is author of the poetry volumes, Face Painting in the Dark, St. Agnes, Pink-Slipped and Sugaring, and has translated Helene Sanguinetti’s Hence This Cradle; among other notable achievements, she was awarded the Robert Penn Warren Award, judged by John Ashbery. The interview to appear in Illuminations is wide-ranging and covers Johnson’s own poetry but also focuses significantly on his participation, along with W. H. Auden, as the two poets on the drafting committee for the retranslation of the psalms, currently included in the Book of Common Prayer of the Episcopal Church (USA), which version has also been adopted by Lutherans in the United States and Canada, the Anglican Church of Canada, and the Scottish Episcopal Church.

Elaine Race Massacre Symposium – The Reconciliation Journey

Elaine Race Massacre Symposium - The Reconciliation Journey

A packed-house symposium on the Elaine Race Massacre, which occurred in the fall of 1919 on the Arkansas side of the Mississippi River Delta and in which more than hundred (and possibly hundreds of) African-Americans were killed, was held at St. Paul’s Chapel in New York City on September 20, 2014.

Subsequently, an article entitled, “After Sins of the Fathers, Steps Toward Reconciliation,” was written by Lynn Goswick, associate editor of Trinity Wall Street, and published in THE EPISCOPAL NEW YORKER, fall 2014; the article describes, among other matters, the reconciliation journey that J. Chester Johnson, whose grandfather, Lonnie, joined in the Massacre, and Sheila Walker, whose great-uncles were victims, have taken together to dispel any remnants of adverse human and spiritual consequences from the racial conflagration.

The article appears on page 21 of THE EPISCOPAL NEW YORKER.

Downtown Panel Will Tackle Legacy of One of Nation’s Deadliest Race Riots

LOWER MANHATTAN — Descendants on both sides of one of the country’s deadliest racial conflicts, a massacre that took place nearly a century ago in a little Arkansas town along the Mississippi River, will gather in Lower Manhattan this weekend to discuss the riot and its tangled legacy.

The Elaine Race Massacre, which involved days of murderous riots in September 1919 — and left hundreds of African Americans dead — stirred advocates to fight all the way to the Supreme Court, where they ultimately helped lay the legal groundwork for the civil rights movement.

On Saturday, (September 20th) a descendant of the one of the riot’s victims, as well as relative of the one of the massacre’s perpetrators, will gather for a panel talk at St. Paul’s Chapel on Fulton Street and Broadway to discuss the mob violence and its implications in the continued fight for racial justice.

The free talk, at 2 p.m., will feature historians and authors, including New York City poet J. Chester Johnson, who’s written about grappling with his own grandfather’s involvement in the Arkansas Ku Klux Klan and his likely role in the killing spree that overtook the town for two days.

“Working through what my grandfather had done was particularly grueling,” said Johnson, an Arkansas native who began to research the massacre several years ago, unaware of his grandfather’s involvement, or the scope of the riots.

“I adored him, and there was no way, ultimately, to reconcile what he had done with the man I knew — they were just two different Lonnies [Johnson’s grandfather’s name].”

To read more go to DNAinfo New York

Download to read later. 

Symposium on The Elaine Race Massacre: The Racial Conflagration That Changed American History

In the fall of 1919, a brutal race massacre occurred on the Arkansas side of the Mississippi River delta, constituting perhaps the most deadly race massacre in the nation’s history, but also resulting in a Supreme Court decision in 1923 that provided legal underpinnings for the Civil Rights Movement of the 1950s and 1960s. The symposium examined both the massacre and its aftermath. (see videos for the symposium below)

A special event, sponsored by Trinity’s Task Force Against Racism and described below, was held at St. Paul’s Chapel on Saturday, September 20th, 2014. There were numerous visitors for the occasion, and a hearty Trinity welcome was experienced by our guests. The symposium was videotaped by Franzi Blome (see note below), an Emmy award winner for her documentary work.

Symposium on The Elaine Race Massacre
The Racial Conflagration That Changed American History

Date: September 20, 2014
Place: St. Paul’s Chapel of Trinity Wall Street
Location: Broadway between Fulton and Vesey Streets In Lower Manhattan (New York City)
Sponsor: Task Force Against Racism (TFAR), Trinity Wall Street

In the fall of 1919, a race massacre broke out on the Arkansas side of the Mississippi River Delta with more than a hundred (possibly hundreds of) African-American deaths, constituting one of the most deadly racial conflicts – perhaps, the most deadly race massacre – in our country’s history. In addition to the sheer number of African-Americans who perished, the significance of Elaine also rests on the legal case that rose out of the massacre (Moore v Dempsey), decided by the Supreme Court in 1923 with Oliver Wendell Holmes writing the majority opinion, which gave life to the 14th Amendment to the U. S. Constitution (equal protection and due process under the law) and created legal underpinnings for the Civil Rights Movement of the 1950s and 1960s. The conflagration and the legal ramifications of Elaine have only begun to receive the attention they deserve.

Participants:

Robert Whitaker: author of the definitive work on the Elaine Race Massacre and its aftermath, ON THE LAPS OF GODS.

J. Chester Johnson: author of the four-part article, “Evanescence: The Elaine Race Massacre,” published by the literary journal, Green Mountains Review, that describes a likely role the author’s grandfather played in the massacre.

Sheila Walker: relative of Albert Giles, one of the Elaine 12, African-American sharecroppers who were convicted of murder in speedy and unfair trials immediately following the massacre and one of those ultimately freed as a result of progressive litigation efforts.

David Solomon: member of a pioneer and prominent family in Phillips County, Arkansas where the massacre occurred and who is working toward the creation of a memorial for the massacre and greater recognition of the event at both the national and state levels.

NOTE: The symposium was videotaped by Franzi Blome, an Emmy award winner for documentary work. Also a credit goes to BlueSpark Collaborative. (By being in attendance, you consented and gave permission to record your image, likeness, and voice in photograph and video, for use in any program, media, or other use of any kind in perpetuity in any manner worldwide with no compensation.)

Part One

Part Two

Part Three


Anne-Marie Fyfe & J. Chester Johnson at Troubadour Cafe

Anne-Marie Fyfe and J. Chester Johnson outside the Troubadour in London. Born in Cushendall in the Glens of Antrim and now living in West London, the poet Anne-Marie Fyfe is the former chair of the Poetry Society (2006-2009); she founded and has run for seventeen years Coffee-House Poetry at the Troubadour.

Anne-Marie Fyfe & J. Chester Johnson at Troubadour Cafe

“In The Rows”: A Poetic Tribute

“In The Rows”:, A Poetic Tribute written by J. Chester Johnson to a friend, as it appears in the program employed for the ceremonial celebration of the friend’s thirty-four years of service as an Episcopal priest at Trinity Wall Street, the venerable, iconic church located in lower Manhattan in New York City.

“In The Rows”: A Poetic Tribute

(Click here to read full poem.)

A Massacre in Arkansas: Facing Love and History

The map depicts important scenes of the Elaine Race Massacre.

Published on Best American Poetry Blog
A year ago, Green Mountains Review Online featured, in a four-part series, “Evanescence: The Elaine Race Massacre”. The article, which I wrote, describes a forgotten massacre of more than a hundred (maybe even hundreds) of African-Americans in the fall of 1919 in Phillips County, Arkansas, along the Mississippi River Delta. The massacre resulted in a 1923 Supreme Court decision, which gave life to the 14th Amendment of the Constitution (equal protection and due process under the law) and helped pave the way for the civil rights movement of the 1950s and 1960s. In Evanescence I portrayed the personal conflict I experienced in discovering, during my research, that my maternal grandfather, whom I adored (and who adored me) and with whom I lived for several years from age one, upon my own father’s death, more than likely joined in the massacre. He lived most of his life along the Arkansas Delta, as did I for most of the first two decades of my life.

During Black History Month this February, speaking on more than one occasion about the Elaine race massacre, I was often asked to concentrate on the personal conundrum of my grandfather Lonnie’s participation in the event. On the face of it, the rendering could purely be factual, as much as I discovered of a credible nature; however, in the larger sense, while I could indeed conflate the convincing pieces that led to the conclusion that Lonnie took part in the massacre, I could not reconcile my love for him and his apparent views about and role in racism, as practiced in the Arkansas Delta by whites during the first part of the 20th century.

Young children do not have the wherewithal to calibrate direction from a moral compass for the placement of their love. When protection and habitual endearment are present, children do not adhere to any such standards at all and will, without qualms or conscience, show affection to or receive affection from racist and saint alike. At the same time, I realize my response to Lonnie would have been entirely different had I been older and known of his violence and racism; with age, our moral compass filters and refines the focus of our affections. I would, of course, not choose to share my life with a racist, but, as a child, one doesn’t have the option to make that choice.

In my examination of the period in which the massacre happened, I recall the references to the Arkansas Delta as the heart of darkness, and it may have been – with my own grandfather’s propensity adding, in good supply, no doubt, to the pool of darkness that spread murderously and perniciously over the land. Yet, he was always kind to me – much kinder than virtually anyone else. So, I cannot reconcile the two – it would be false, serpentine and artificial. But maybe he couldn’t reconcile the two either. He was who he was, and now that he has been dead for several decades, I can only ponder the questions – with the answers secluded and forever distant. Still, I know unreservedly my own path to the Elaine race massacre was, in part, to discover a slice of him that eluded my awareness and baffles my personal conscience.

In August, 2012, I traveled from my home in New York City to Phillips County, Arkansas to explore the site of the massacre – maybe even to find that a note of reconciliation with Lonnie lay in the Delta land. I was joined by a director from the University of Arkansas Center for Arkansas History. As we surveyed the killing fields and adjacent areas in the fierce and thick summer sun and Arkansas humidity, guided mostly by the eerie notion of a concealed necropolis underfoot, two striking and related conclusions sprung to mind. First, little change to most of the landscape or along the narrow, dirt roads had taken place over almost 100 years. Second, no one ever intended to set any historical reminder in this place – a marker of explanation, a monument, a memorial of any kind – for notable exposition so future generations could know, with a degree of certainty, that several whites and an untold number of African-Americans died in these humble and unremarkable fields and in like spaces within Phillips County as part of one of the most important racial conflagrations in our country’s history.

In my quest to sight an existential piece of Lonnie among those unnamed and silent ruins of the Elaine Race Massacre, I had, after all, concluded that history can be doubtless. Too much and too little abided in the fields and fury of Phillips County for Lonnie and me to inhabit any amicable turf there – too much intervening and unsympathetic time, too much dismay as I turned the leaves of record, which bore too much descent and strife and turpitude, too little comity, too little heart.

J. Chester Johnson is a poet, nonfiction writer and translator. Johnson has published numerous volumes of poetry, most recently St. Paul’s Chapel & Selected Shorter Poems (second edition). His writings have been published domestically and abroad and translated into several languages. He has also composed many works on the American Civil Rights Movement, six of which are included in the Civil Rights Archives at Queens College (New York City).

Coffee Hour Forum

A MASSACRE IN ARKANSAS – Facing Love and History with J. Chester Johnson, February 16, 2014, symposium at St. Luke’s Episcopal Church, Metuchen, New Jersey whose rector at the time was Rev. Barbara C. Crafton.

Coffee Hour Forum

Cave Canem Event

J. Chester Johnson and Freda with the poet Cornelius Eady and his wife, the novelist Sarah Micklem, at a Cave Canem event.

Cave Canem Event

Book Launch at St. Paul’s Chapel

Edward Mendelson, literary executor and principal biographer for W. H. Auden and Professor of English and Comparative Literature at Columbia University, who wrote the introduction for St. Paul’s Chapel & Selected Shorter Poems, speaks about the book at its launch held in St. Paul’s Chapel, New York City.

Book Launch at St. Paul’s Chapel

J. Chester Johnson Reading at Kairos Poetry Café, NY, NY

J. Chester Johnson was the featured poet appearing at the Kairos Poetry Café, St. John’s Lutheran Church in the West Village, on Sunday, November 17th, 2013. Johnson read a number of his shorter poems – some older pieces, some new. He introduced each poem with a short comment on the event or salient motif that inspired the creation of the verse.

Courtesy of Kairos Poetry Café

Book Launch Party

At David Lehman’s book launch party on November 6, 2013 for his New and Selected Poems, this picture includes, among others, the poets: Vijay Seshadri, Tina Chang, Larry Joseph, David Lehman, and J. Chester Johnson. Photo © Star Black.

Book Launch Party

Mogadishu and Verse

Published in Literary Matters

On Tuesday, October 1, the ALSCW cosponsored a local meeting in New York City with the Center for the Humanities and the PhD Program in English at the CUNY (City University of New York) Graduate Center. The event, which consisted mainly of a reading by and conversation with poet Tom Sleigh, was moderated by the poet Phillis Levin, who currently serves on the ALSCW’s Council.

The evening started with remarks by the critic and writer Morris Dickstein, who discussed the interdisciplinary alliance that must be fostered between the worlds of poetry and scholarship, which are inextricably linked; he referenced the CUNY Graduate Center as a place that exemplifies and empowers this important alliance.

After an introduction by Levin—which evoked Sleigh’s “double life” as both poet and nonfiction writer and the special qualities found in Sleigh’s verse, including the demonstrable reverence in his poems for the work and techniques of previous poets—Sleigh read for about forty minutes from both his older and recent poems. This afforded me the opportunity of hearing once again some verse he had read a few months ago at a poetry festival in New York City where Sleigh was the featured poet and I a guest poet.

As Sleigh read this time, I was once more reminded of the poetry of James Dickey by some of Sleigh’s “home-choice,” muscular poetry of analogous subject matter and texture— in particular, doubtless personal struggles frequently given vent by both poets through physicality. For example, in “Self Portrait With Shoulder Pads,” which Sleigh recited at both readings, the métier is a high school football scrimmage in which Sleigh has been set apart in non-verbal interrogation, testosterone-centric combat, nose-to-nose on all fours, crashing away over the turf against his twin brother— Timmy and Tommy, identical gladiators—while attendant coaches and gridiron teammates encircle the two warriors and vociferously incite, encourage the physical eruption of doppelganger battle. Now that’s an artistic, poetic scene James Dickey would have envied and glorified.

The second part of the program began with a series of questions posed by Levin that dealt with the confluence of the two parts of Sleigh’s “double life” and the impact of non-fiction writing and related experiences on his verse, especially the evolution of lyricism in his poetry. Following those exchanges, Sleigh described the provocative events and intense dangers involved in getting to and being in Mogadishu, Somalia and those surrounding his time at Kenyan refugee camps—parts of writing a realtime nonfiction article. During the interface between audience and poet, much dialogue centered on the dynamics and fusion of forces driving the composition of verse and nonfiction. The expositive journey into eastern Africa was often hypnotic and benefitted from the curiosity of members of the audience and Sleigh’s obvious regard for individual Africans and fascination with the challenges associated with the front line.

On my way to the subway after the ALSCW event that night, I pondered the seeming absurdity of connecting the art of poetry—or any art, for that matter—to survival in Somalia and concluded that a line I wrote some time ago was, unfortunately, still valid: “the god of art is no match for the god of survival.”

J. Chester Johnson is a poet, nonfiction writer, and translator.W. H. Auden and Johnson were the two poets on the drafting committee for the retranslation of the Psalms, which version is contained in the current edition The Book of Common Prayer (The Church Hymnal Corporation, 1979) of The Episcopal Church (USA). Johnson has published numerous volumes of poetry, the most recent being the second edition of St. Paul’s Chapel & Selected Shorter Poems (Saint Johann Press, 2010); the collection’s signature poem remains the memento card for the 30,000 weekly visitors to the chapel at Ground Zero that survived the 9/11 terrorist attacks. He has also composed several works on the American Civil Rights Movement, six of which are included in the Civil Rights Archives at Queens College (New York City).

Published in Literary Matters

Becoming and Unbecoming Henri Faust Part IV by J. Chester Johnson

(Ed. note:  This is Part IV of Chester Johnson’s series about Henri Faust.  You can read Part I here, Part II here, and Part III here.)

Maybe just one of these exceptional forces or maybe an aggregation of a few or possibly all or maybe none caused the poet, William Edgar Spencer, then to seek a life outside of Arkansas.  We do know that armed with a law degree from the University of Arkansas and with additional, advance legal studies in hand from Northwestern University, Spencer went to Washington, D. C. in 1938 as personal secretary to U. S. Congressman W. F. Norrell, long-term representative from southeast Arkansas and who, more than twenty years later, would appoint the author at age fourteen to be a Congressional page.  Subsequently, Spencer held the position of administrative law judge with the National Labor Relations Board in Washington, D. C., and then in California, where he ultimately retired.

Between 1930 and 1975, even though Spencer continued to write verse – still, in the name of Henri Faust – and publish poems in newspapers and poetry magazines, he did not produce another volume of poems.  It should nonetheless be mentioned that Half-Light and Overtones was reissued by the AMS Press of New York in 1971. Then, in December, 1975, a new book of his verse appeared, entitled Sharecropper Sonnets – at last, under his real name; Spencer was finally freed from the encumbrance of his vassal, the long-tendriled Henri Faust. Notwithstanding the fact that decades had passed since Spencer lived in Arkansas, he chose, once again, southeast Arkansas, not northern California, where he had been living and working, as the campestral setting for his new book of verse.  In the Introduction to the Sharecropper Sonnets, he states, “Many of the poems that follow were written in my late teens and early twenties when, following my mother’s death, I lived alone with my father on his hill farm of several hundred mortgage ridden acres near Lacey, Arkansas (Drew County).”

A meaningful part of the volume does not consist of sonnets at all, and several poems are written in free verse, a distinct departure from the earlier style that dominated Half-Light and Overtones. I’m not one who normally disagrees with the last few words of a poet.  I trust Spencer that the sonnets are indeed from an earlier period; however, there are other poems in a section of the book he calls “Arkansas Sketchbook” that reflect a much different style of writing; in such poems, the construction is more stark, less uniform and more contemporary, if you will.  For example, while the milieu remains southeast Arkansas, the perspective of the poet in this excerpt from the poem, “Swamp,” is hardly one reflected, either in structure or content, from Spencer’s youthful verse:

“There’s something whispers a secret every night
Across the cypress knees of Buzzard Bayou
But none have lingered
To make it out.

Stricken with a fatal malady
The swamp is decomposing
And myriad tadpoles like maggots
Turn in its soft, gangrened flesh.”

Before the poetry actually surfaces in Sharecropper Sonnets, a front section of the volume recounts the poet’s background and previous work, emphasizing that during the full arc of his adult life, Spencer had written and often published poetry. If this be true (and why shouldn’t it be?) and if Half-Light and Overtones and Sharecropper Sonnets  illustrate the poet’s early work, up to the age of around thirty – with the probable exception of some poems included in “Arkansas Sketchbook” of Sharecropper Sonnets – then what became of the rest of his verse, written during the long period, 1930-1975? Importance of the subsequent, missing verse gains more relevance when one considers that Spencer, at one point, called the Yale prize book, “premature.”   William Edgar Spencer died a few months after publication of the Sharecropper Sonnets, but there is a statement in that volume that it constituted only the first of four volumes to be issued. One could thus presume that those three additional volumes to be published would have contained the poems he wrote during the 1930-1975 period.  He died before the goal could be reached – thus, with a likely outcome that the body of Spencer’s work had been left in an inchoate state.  I’m sorry I won’t have the opportunity to read the missing verse.

From the “Arkansas Sketchbook” section of the Sharecropper Sonnets emerges the poem, “Epitaph For A Solitary Oak,” out of which the following excerpt is taken:

“For my epitaph (if there be an epitaph
For my unshriven dead)
I would have the unrepentant truth,
That I led
A life of indifference
More impenetrable through the years;”

William Edgar Spencer.  Indifferent?  Hardly.  Impenetrable? With the absence of the poems we have reason to believe were composed by him over more than four decades, possibly forming a crucial part of his overall oeuvre, the prescience of the line, “more impenetrable through the years,” should not be missed – those words may now have become the most forcefully ironic line of Spencer’s known body of verse.

Becoming and Unbecoming Henri Faust Part III (by J. Chester Johnson)

(Ed. note:  This is Part II of Chester Johnson’s series about Henri Faust.  You can read Part I here and Part II here.)

The Fugitives Poets in 1956: Allen Tate, left, Merrill Moore, Robert Penn Warren, standing, John Crowe Ransom and Donald Davidson.

Spencer was, at least, equally affected by William Alexander Percy, the well-known poet, who lived much closer in Greenville, Mississippi, situated right on the Big Muddy.  Even though Percy remained associated with the Fugitives, he, as a result of the geographic distance from Nashville and his slightly older age, represented more of an outlying god-father or mentor to them. In turn, it would therefore not be surprising that Percy also took a liking to and spoke well of Spencer’s verse, including, as Percy put it, the quality of Spencer’s ear and “subtle reaction to the impressions of beauty.”  I find it intriguing to speculate whether Spencer in the title of the Yale prize volume, Half-Light and Overtones, consciously expressed homage to Percy whose poem, “Overtones,” is one of Percy’s most widely anthologized pieces of verse.  Perhaps of consequence is the fact that during the years, 1925-32, William Alexander Percy edited the Yale Series of Younger Poets.

I also cannot evade a sneaking suspicion that Spencer, as a young man, read the Arkansas poet, John Gould Fletcher.  By the 1920s, Fletcher had attained a crest of fame, though almost two decades would thereafter pass before he won the Pulitzer Prize for Poetry – becoming the first Southern poet to receive the award.  While living in Europe, Fletcher joined Ezra Pound and Amy Lowell in the Imagist poetry movement, but his Imagist period seems to have expired by the early 1920s.  Still, enthusiastic flares and gyres of imagery in nature and the combination of nature and various musical allusions and intimations, so present in Fletcher’s Imagist verse, find venue in Spencer’s Half-Light and Overtones.

Unfortunately, the years Spencer dedicated his energies and efforts to the interests of Drew County proved to be laden with adversity and trauma.  Race relations in southeast Arkansas after World War I faced a momentum of increasing violence and tragedy.  Introducing the 1920s was the Elaine Race Massacre, which occurred in the fall of 1919 in nearby Phillips County, Arkansas, resulting in an untold number – some knowledgeable experts say “hundreds” – of African Americans being killed in a conflict that may have been the worst racial conflagration or pogrom in our nation’s history.  Numerous other killings of African Americans transpired in southeast Arkansas around that time. In 1921, for instance, a notorious lynching actually took place right in the center of Monticello, Drew County seat, with a reported 1,000 (a sizeable portion of the town’s population) whites transformed into a deadly and truculent mob. Only a few miles north in Star City, the burning alive of a black man and a separate shooting and lynching of an African American veteran occurred.  In neighboring communities and throughout eastern and southeast Arkansas, these bloody racial convulsions, in those years, were not uncommon. Indeed, at the time, some national leaders and spokespersons often relied on the title of the Joseph Conrad novel in portraying that part of Arkansas as the “heart of darkness.”

The decade of the 1920s was indeed a wrenching time for southeast Arkansas.  Beyond the feral racism that gripped the region, a series of other events battered those living there and undoubtedly made governing in Drew County a constant Gordian knot.  After World War I, prices of agricultural products, including cotton, the region’s white gold, fell precipitously, leaving many farmers deeply in debt with bankruptcy their only option. Then, the Great Flood of 1927 swallowed much of the State with areas closest to the Mississippi River being especially devastated.  Next came the Depression of 1929, followed almost immediately by the debilitating drought years that ushered in the 1930s.

to be continued . . .

Becoming and Unbecoming Henri Faust, Part II [by J. Chester Johnson)

(Ed. note:  This is Part II of Chester Johnson’s series about Henri Faust.  You can read Part I here.)


Around the same time, across the Big Muddy, another poet and writer of about the same age as Spencer didn’t seem to be bothered at all by the appellation of “poet” or “writer.” While Spencer was representing Drew County in the Arkansas legislature during the early 1920s, William Faulkner, future griot of the Delta and permutated poet, held the only civilian public service office he appears to have ever had – postmaster for the University of Mississippi – a position from which, after a couple of years, he would be summarily fired for drinking and writing on the job, for cronyism and for often simply throwing away pieces of mail.

Faulkner, artist and quintessential observer, apparently had no desire whatsoever to be party to the power fulcrum; Spencer would, on the other hand, exhibit a commitment to public service throughout his life, though reconciliation between the artistic life and a pragmatic, political one proved uneasy, to wit: Henri Faust.

A reader of poetry is always tempted to understand a poem from the perceived stylistic influences on the poet that occurred at the time of the poem’s creation, in order to put the particular verse in some kind of apprehended, but not always accurate context – for one can become overzealous in and overreliant on this seemingly logical pattern of examining a poet’s work; a good poet is normally not as predictable as we anticipate her or him to be. Notwithstanding the limitations of this approach, by probing Spencer’s verse in Half-Light and Overtones, it becomes apparent from both the work itself and other information that the Fugitives and related Southern Agrarian poets, the especially talented bevy of literati then present at Vanderbilt, influenced his poetry, both in style and theme. John Crowe Ransom, Donald Davidson, Allen Tate, and Robert Penn Warren were several of the better known and more important members of the group, which defended formal structures in poetry and agrarian values against industrialization – the latter frequently creating poetic themes of farmland and nature. A quatrain of the poem, “Entreaty Of The Dark Lover,” from Spencer’s Yale prize volume illustrates the canon. It is helpful to know that the poem plays against a backdrop of momentary solitude in nature.

“Enter into my dark where all of sound
Exists within the sepulchers of mind,
Reverberate, and infinitely winds
Its music where the plangent quiet is found.”

Here, Spencer, of course, complies with the traditional form of iambic pentameter for all four lines and a regular heavy rhyme scheme at the endings for the first and fourth lines.  The rest of the five quatrain poem is so ordered. The Fugitives would have been proud.

The Nashville poets gave Spencer advocacy and encouragement. For example, Donald Davidson said of Spencer in the Nashville Tennessean, with a slightly mocking tone, but with reassuring humor for the young poet, “We have just learned that a poet has been elected to the Arkansas legislature, and a good poet he is.  Does the Arkansas citizenry know that he writes poetry?” In addition, The Fugitive, literary journal of the Vanderbilt group, published several of Spencer’s poems.

to be continued . . .

Becoming and Unbecoming Henri Faust, Part I [by J. Chester Johnson)


A few months ago, as guest author, I posted several articles here, including “The Double Life For Poets,” which discussed the double lives (i.e., concurrently writing verse and working in an unrelated occupation) of so many major and not-so-major American poets. The following piece could accurately be depicted as a variation on the same “double life” theme, albeit with singular twists.

In its description of the award, the Yale Series of Younger Poets emphasizes the proud point that it is the oldest annual literary prize in the United States and lists some of its previous winners, citing specifically Muriel Rukeyser, Adrienne Rich, William Meredith, W. S. Merwin, John Ashbery, John Hollander, James Tate and Carolyn Forche – all well-recognized names in American poetry that are often anthologized. It is fair to say that over the history of this award that began in 1919, many of its recipients constitute a veritable gallery of some of our country’s finest poets.

In 1929, William Edgar Spencer was awarded a Yale Series of Younger Poets prize for the manuscript, Half-Light and Overtones. Rather, to be exact, Spencer’s nom de plume, Henri Faust, actually won the prize; Henri Faust is still the one listed, even now, by Yale Series of Younger Poets as winner for 1929.  In any case, the one who wrote the poems, William Edgar Spencer, proved a most unusual recipient – over and above the flummoxing issue of whether he or his nom de plume deserved the award.  In the early 1920s, Spencer, a mere stripling at 22 years of age when first elected, served as state representative to the Arkansas legislature from Drew County, his home county, located in the rural, southeastern part of the State on the cusp of the Arkansas Delta, only a few miles west of the Mississippi River.  After about four years, Spencer would then become County Judge there; in Arkansas, the position of County Judge carries more than judicial power – it enjoys generous political and authoritative clout for the day-to-day running of a county. Later in life, Spencer admitted that he chose to write under a pseudonym, for he feared that being a poet, if widely known, would diminish his stature as a public official.

Before proceeding any further with this article, I have an admission:  Like William Edgar Spencer and Henri Faust, I too hail from Drew County, Arkansas – more particularly, from Monticello, County seat, the place where I spent the better part of my youth, including the entirety of my childhood education until I departed for college. For the sake of full disclosure, I should also acknowledge that I never met William Edgar Spencer, except through his verse. Now, that that’s off my chest, we can move on.

to be continued . . .

If One Note Is Missing: C. D. Wright’s One With Others

– Published in Literary Matters

During a short period a number of years ago when I corresponded with Robert Graves, the poet and classicist, he declared in a letter with considerable certitude and a touch of impish hyperbole that he had never won any literary prize of any kind in his entire life. While this pronouncement wasn’t completely true, he nevertheless solidified a valuable point: one does not need to rely on prizes to justify works of art. Notwithstanding Graves’s cautionary note on the subject, C. D. Wright’s One With Others (Port Townsend, WA: Copper Canyon Press, 2010) deserves all the notice and prizes it has thus far received, including its selection as the winner of the 2010 National Book Critics Circle Award and the Academy of American Poets’ Lenore Marshall Prize in 2011.

I attend many poetry readings, from those convened in cramped taprooms to those sponsored by any one of the several national poetry organizations located here in New York City. I also read a good deal of contemporary verse. One flaw I discover among some current verse more often than I would like is the absence of big ideas in favor of what one literary critic terms “regretful isolation.” This fault will not be detected in One With Others. Never steeping herself in subjective ambience and private revelation, Wright forges ahead in establishing for the reader an environment in which both writer and reader face translucent choices for responsible attention, if not action. Thus, the poet acknowledges and confirms her and the reader’s role as citizens in and of the world.

At the outset, the reader should know One With Others is a story—actually, three stories told in tandem. Of course, the work has features of a long poem, but it would be a mistake to come to this book expecting the conventions typical of a long piece of verse. First, it is part of the story of the 1960s’ civil rights movement in the American South at a time when many whites there responded manically, “with fear and trembling,” and, on occasion, violently to the threat of compulsory integration and an imminent end to Jim Crow. Second, One With Others is a narrative, reflected in memories, ruminations and testimonials, about the March Against Fear that occurred in the summer of 1969, with protesters walking from West Memphis, Arkansas to Little Rock, Arkansas. Indeed, I remember the end of that summer well. I had begun, in an effort to help black students become more familiar with whites in advance of desegregation, to teach in an all–African American public school on the cusp of the Arkansas delta along the Mississippi River, south of where the march took place, the last year before school integration; the region was on the verge of embarking on a new way of life, and harsh predictions were pervasive everywhere, among both blacks and whites. Third, One With Others is intrinsically the story of a Wright mentor, Margaret Kaelin McHugh—a white woman, a mother and wife— who lived at the time along the route of the march. She carried the moniker of “V” for Wright—drawn from Thomas Pynchon’s title for his debut novel—and joined the march only to be expulsed from her Arkansas town and family. Multidimensional in its reach, One With Others is a social commentary on the endangered and affronted racism of the 1960s in the South, a carefully assembled diorama of the March Against Fear, and a buoyant and memorable biography of McHugh all enveloped in a saga told with cogency, élan, humor, and unrelenting and unforgettable verse.

The challenge Wright places on herself as guide for a citizen’s journey is surely not inchoate for her. She previously tasked herself with similar undertakings in One Big Self (Copper Canyon Press, 2007), her long witness poem about those persons who endure substantial stretches of confinement in the Louisiana state prisons, and in Rising, Falling, Hovering (Copper Canyon Press, 2009), her cross-border outreach to evince the limits, controls, and effects outside the United States of recent versions of Pax Americana.

Although unfair and amiss to characterize C. D. Wright as a distinctly Southern writer, she nonetheless does continue to rely on a transported treasure trove and sundry accoutrements from her Arkansas roots as inspiration for vivid incidents and vivid characters to fuel her art. In this respect, she and James Joyce, with his transmutation of Dublin to Europe, share a bit of a common, homespun Muse. References to Arkansas, locations within the State, and vignettes of Arkansas events emerge in both her short and long poems. In One With Others, she also inserts a little Southern gothic, such as the matter-of- fact comment about a sheriff who always kept a man’s testicles in a jar on his desk. In this work, Wright ventures back into this Southern territory— both geographic and existential—fraught with the consequential forebodings of memory through expressed and ineffable, arresting and evading, words.

Though akin to the poetic design of certain other long pieces by Wright, especially to that of One Big Self, the line structure in One With Others is often, however, more truncated, with thoughts and recalls becoming virtual snippets in much of the poem. This occurs most frequently in depictions and recollections of various aspects of the march and in the exposition and evidence of the vicinal racism. I wonder whether Wright, either consciously or not, employs more abbreviated lines to communicate the strain, the qualms, the intimidation, and the risks of disclosure—that is, the telling, the verbal exposure, in a precarious, easily conflagrant environment that insists little be said publicly about the racial dysfunctions, domination, and duress.

Another technique, present in One With Others and utilized in prior Wright poems, is the repetition, the recycling of moments, remembrances, impressions, and phrases that appear early in the poem and rise again recognizably at another later time or phase. I cannot help but think that this echoing style of Wright’s derives from William Faulkner’s technique of manipulating time intervals and gamboling around with interludes, reacquainted consciousness, and resurrections of scene and language. This feature of One With Others adds comfort and familiarity to the reader engaged in a story that contains a multiplicity of voices, sources, and episodes.

Auden once defined poetry as “memorable speech.” A number of lines from One With Others—quotes from individuals in the story or passages from Wright’s own poetry—happen to be quite “memorable” for me. At the least, several lines insisted I remember them well after I closed the book. Here are a few: “If religion is the opiate of the masses fundamentalism is the amphetamine” (p. 35); “Mind on fire, body confined” (18); “Nothing is not integral” (149); “Any simple problem can be made insoluble” (75); “Whoever rides into the scene changes it” (116). Of course, some readers may consider these simply aphorisms; even if that is true, I still do not wish to forget them.

One With Others takes on big issues, and the reader— the citizen, if you will—departs from a work about unusual times and people with incontrovertible insights and sensibilities. In exploring a book of verse, I often search for the right excerpt that can summarize both the poet’s intent and much of the volume. The idiom of Wright’s voice for the citizen in One With Others is, I believe, largely embodied in this one short melodic selection: “It is known that when a blackbird calls in the marsh all sound back and if one note is missing all take notice. This is the solidarity we are born to” (107). And so we are.

About the Author
J. Chester Johnson is a poet, nonfiction writer, and translator. He has published twelve books of poetry, the most recent of which is St. Paul’s Chapel & Selected Shorter Poems (Brunswick Publishing Corporation, 2006). His work has been published in the New York Times, Best American Poetry, International Poetry Review, Twin Space (Italy), and elsewhere. Johnson has also composed numerous pieces on the American Civil Rights Movement, five of which are included in the Civil Rights Archives at Queens College. In February, his article “Evanescence: The Elaine Race Massacre” was featured in Green Mountain Review.

Published in Literary Matters

Evanescence: The Elaine Race Massacre

Four Parts (Consolidated)

Preface

Across the sweeping canvas of American history, two markers–inherited and ineluctable–from the Elaine Race Massacre of 1919 in Phillips County, Arkansas of the Mississippi River Delta invite a degree of attention to the episode yet to be received from public consciousness. First, the sheer number of persons who died in the massacre–-more particularly, the countless African-Americans who perished-–would certainly cause this massacre to be judged one of the most deadly racial conflicts–-perhaps, the most deadly racial conflagration-–in the history of the nation. Second, the wellspring of the civil rights movement in the United States during the 1950s and 1960s drew constantly from the 1923 U. S. Supreme Court’s decision in Moore v. Dempsey that emerged out of the legal proceedings in Phillips County against African-American defendants, charged with the murders of whites allegedly committed during the massacre. The ruling in Moore v. Dempsey broke a long chain of Supreme Court decisions brutally adverse to the safety and rights of African-Americans.

Two heroes whose individual backgrounds could not have been more dissimilar share in this American saga. Most apparent, Scipio Africanus Jones, African-American lawyer, who started as a laborer in the Arkansas fields to become a 20th century Moses, climbed, through brilliance and tenacity, to forensic heights to free the black sharecroppers, unjustly found guilty of crimes in the aftermath of the massacre, and, at the same time, developed the legal strategy that, ultimately, through the intervention of the U. S. Supreme Court, altered the application of the 14th Amendment to the U. S. Constitution to protect the individual rights of and due process for American citizens. The other hero, Oliver Wendell Holmes, Boston patrician and distinguished jurist, who wrote the majority opinion for Moore v. Dempsey, not only opened the door to freedom for wrongfully convicted Arkansas sharecroppers, but also articulated a new judicial precedent and principle under which the federal government would more forcefully thereafter engage in the constitutional protection of its citizens.

Oliver Wendell Holmes wrote the majority opinion for Moore v. Dempsey, which altered the U. S. Supreme Court’s approach toward equal protection, thus paving the way for more progressive civil rights decisions. (Photo: Library of Congress)

Notwithstanding the historical and legal significance of the Elaine Race Massacre, outside a handful of advocates and a somewhat wider audience that those advocates engendered, the massacre and its aftermath have been largely ignored. Whether this inattention can be explained by the remote location of the massacre, by the desire of many blacks and whites in Phillips County and through Arkansas to keep quiet about it, or by the rush of other affairs affecting the State and the nation, we’ll never know. It is certainly time for more airing of those few days at the very end of September and early October, 1919 and subsequent associated and gravid events, if, for no other reason, than to debunk the erstwhile success of silence.

The Beginning of the Beginning

Alonzo Birch, known as “Lonnie.” Thin. Not tall, not short. White. Native of the Arkansas Delta. Bespectacled with large pale frames. Inveterate smoker. Agnostic. Thick, gray hair. Tranquil. Inviolately available. Long retired from the Missouri Pacific Railroad (“MoPac”).

For several years following my father’s death in 1946 when I was a year old, I lived with Lonnie and Hattie, my maternal grandparents–until my mother brought my older brother, who, upon our father’s death, spent much more of his time with the paternal side of the family, and me together under one roof in Monticello, another small town in Southeast Arkansas. Soon, thereafter, Lonnie died of a cerebral hemorrhage, but even today, I reminisce over the adoration we shared for each other.

Out of the blue–I must have been in junior high school–without provocation or any apparent reason, Mother casually mentioned that prior to her becoming a teenager, Lonnie had participated in a “well-known” race riot while in the employ of MoPac. Later on, she editorialized about it now and then: How he traveled on a MoPac train to the battle between the races, how the place of bloody engagement with the blacks had been close to the railroad tracks. Not much more than that. Whenever she mentioned the race riot, Mother frequently referred to Lonnie, in a matter-of-fact tone, as a member of the Ku Klux Klan.

The Birch family, pioneer residents of Desha County, immediately south of Phillips County in which Elaine is located, consisted of planters, but, unlike other male family members, who chose to farm, Lonnie instead took a job with MoPac in McGehee, only a few miles from the Birch farms. Home for himself, Hattie, and their several children and situated about sixty miles south of Elaine, McGehee had become MoPac’s regional center for Southeast Arkansas. If anyone in that part of the country found it necessary to get to Phillips County by railroad, the easiest mode of non-local land travel in the early part of the 20th century, the path generally led through the community. Arkansas Governor Charles Hillman Brough had brought federal troops from Little Rock to Elaine via McGehee to “restore” order, and except for those coming through Memphis, all other contributors or witnesses to the Elaine Race Massacre, if, by rail, probably passed by way of Lonnie’s hometown.

Much later, I made the simple connection that the race riot to which Mother nonchalantly alluded and the Elaine Race Massacre were one in the same. It was not very difficult to conflate the related and disparate factors leading to Lonnie’s participation in the massacre–his employment in Southeast Arkansas with MoPac; the routine, quasi-police role MoPac undertook during that time in that region of the State; Lonnie’s chthonic views about race, evidenced by his membership in the Ku Klux Klan; and the history, conveyed by Mother’s verbal remembrances. I had learned that Lonnie, though employed by MoPac, kept in contact, for kinship and financial reasons, with the farmers in the Birch family and therefore would have undoubtedly known of the rumored threats for unionization by African-American sharecroppers in the Arkansas Delta to negotiate for higher cotton prices with the white planters; after all, Robert Hill, the black organizer of black sharecroppers, and his Progressive Farmers and Household Union, both of which were to be so indivisibly linked to the massacre in Phillips County, resided in Winchester, a small hamlet about six miles north of the Birch farms on Highway 65.

I can indeed conflate the convincing pieces that led to the conclusion Lonnie took part in the Elaine Race Massacre, but I cannot reconcile my love for Lonnie and his apparent views about and role in racism, as practiced in the Arkansas Delta by whites during the first part of the 20th century. In my readings that dealt with the period, I recall the references to the Arkansas Delta as the heart of darkness, and it may have been–with my own grandfather’s propensity adding, in goodly supply, no doubt, to the pool of darkness that spread murderously and perniciously over the land. Yet, he was always kind to me–much kinder than virtually anyone else. So, I will not try to reconcile the two–it would be false, serpentine and artificial. But maybe he couldn’t reconcile the two either. He was who he was, and now that he is dead, I can only ponder the questions–with the answers secluded and forever distant. Still, I know unreservedly my own path to Elaine is, in part, to discover a slice of him that eludes my memory and baffles my personal conscience.

The Elaine Race Massacre Revealed

In 2008, writing the litany of poetry and prose for the formal apology by the Episcopal Church in a national service–Day of Repentance–for the Church’s role in slavery and associated evils, a project that segued a little later into a series of poems I composed and entitled Meditations For Civil Rights Activists, I dove headlong into research to refine my knowledge of consequential African-American writers and leaders. As I read various books, letters, essays and sundry materials of such personages as W. E. B. Du Bois, James Weldon Johnson, Ida B. Wells-Barnett and others, I repeatedly came across references to and comments about the Elaine Race Massacre of 1919. Although reared–a white male–during the 1950s and early 1960s in Southeast Arkansas, some eighty miles or so from Elaine, except for episodic and abstruse allusions about Lonnie by Mother, which I later used to make connections to the massacre, I could recount nothing told or read about the event. I never learned about the Elaine Race Massacre during my school days, in history classes, even in Arkansas history instruction; I never heard it discussed in family circles or in casual conversations at the local cafés or coffee shops or at church and social gatherings. Nothing. A handful of whites died, but many more African-Americans lost their lives–several writers say hundreds, others say less–mostly in “the killing fields,” just north of Elaine. Ida B. Wells-Barnett, the fervid lynching critic, traveled from Chicago to Arkansas in early 1920 to understand the event and to interview African-American prisoners, convicted of the murdering of whites during the massacre; she had even written about the incident, including a book of some sixty pages, The Arkansas Race Riot. But I knew nothing. Several friends from Monticello High School with whom I’ve continued a rather close relationship were contacted; they likewise had no or little information to bear on the matter. A void, the silence, evanescence, if you will, of neglected history.

As part of my research, which grew in intensity, I learned the massacre had gradually crept into the public consciousness among many Arkansans, as, over time, information and recounted recollections seeped into the open air. Indeed, I eventually discovered that a symposium had been held a few years ago in Phillips County, allowing both African-Americans and whites to coalesce information that people gleaned over the years about the massacre and its immediate aftermath. I also learned that three excellent books, which discussed the massacre, had been written since 2000: Robert Whitaker’s On the Laps of Gods and Grif Stockley’s two books–Blood in Their Eyes and Ruled by Race. These books built on earlier information about and studies of the massacre. The excellence of these three books by these two formidable writers convinced me to rely heavily on information presented by them as being distinctly reliable. In reciting the facts and narrative of the Elaine Race Massacre, I have depended mainly on Whitaker and Stockley–not to the exclusion of other sources. But since these two writers are not in agreement in all circumstances, I have chosen to follow a course that seemed most determinative in each case, and that decision affects the contents of this article.

Notwithstanding these books, the silence of neglected history still prevailed. I soon contacted several times the Arkansas branch of a national African-American organization to ascertain whether it had plans, even preliminary ones, for a centennial observance of the massacre. After all, if there were a significant set of programs, memorials, and general reminiscences to be scheduled for the centennial in 2019 for commemoration of the massacre, some initial plans or fundraising should soon begin. No return calls, no letters written in response to the inquiries. In additional instances, outreach to others met with similar silence. On the other hand, I did find strong interest by some Arkansans for giving more attention to the massacre–through public forums or other public acknowledgements. I’ve nonetheless had to conclude there is an unwritten agreement, among many blacks and whites, for silence or only modest acknowledgement about the massacre and other unsettling history. Indeed, in her recent and acclaimed book, One With Others, published in 2010, both a poetic and investigative account of the 1969 March Against Fear from West Memphis, Arkansas to Little Rock, Arkansas, C. D. Wright changed or omitted names–nearly a half century after the march, presumably as a result of vicinal responses to various inquiries Wright pursued about the past epoch. I guess I’m forced to consider quite seriously the cynical words of one elder Arkansan, who told me a few years ago: “We should have learned that racism is a scab that never heals. If you poke at it enough, it’ll start to bleed, and we’ve had more than enough blood spilling out of the wound.”

The Times: Black, Red and White

A new, threatening world gripped the white planter class in the Arkansas Delta at the conclusion of World War I. African-American men, returning in consequential numbers from Europe, were different men than those who left the shores of the United States to fight. Europe had shown respect for black Americans, and many were decorated heroes. After risking their lives for this country, these African-Americans expected to be treated with greater fairness and equity upon their return. As an immediate concern to the planters, these African-American veterans knew how to take care of themselves and how to use firearms. However, as soon as these blacks set their feet back on home soil, whites were determined to make it clear that nothing, at all, had changed; maybe, it had even gotten worse in early 1919 with lynchings, shootings or burnings alive of African-American veterans and other blacks in places like Star City and El Dorado, Arkansas, and in near-by states of Louisiana and Mississippi.

At the same time, communism had just recently swept Russia and promoted a world-wide conquest; in the United States, did this mean vigorous unionization of farm workers, especially among African-Americans, who tilled the Arkansas Delta cotton fields? Fear of the radicalization of the African-American in this country, assumed at the inspiration of Bolshevist agitation, became rampant.

Racial confrontations broke out everywhere in the country during the summer of 1919: Chicago, South Carolina, Washington, D.C., Texas, Georgia, Tennessee, Nebraska, and as far west as Arizona–prompting the black poet, James Weldon Johnson, to coin a double entendre phrase for the nation’s upheaval, “The Red Summer of 1919.” Numerous journalists, in and out of the United States, believed the internal American conflict, at the time, constituted a race war.

Hoop Spur And “The Killing Fields”

During 1919, rumors and tense times pervaded the white citizens of Phillips County, Arkansas on the Mississippi River–home to many substantial cotton farms. Indeed, a committee, composed of County leaders and plutocrats most of whom lived in Helena, the County seat, had formed to monitor any potential problems that might surface among African-Americans. In fact, white planters heard from “spies” and other sources that a certain Robert Hill, a newly returned African-American veteran, living a few miles outside of Phillips County in Winchester, Arkansas, planned to organize black sharecroppers into a union–the Hoop Spur Lodge of the Progressive Farmers and Household Union. The union would give black sharecroppers enhanced leverage to bargain over cotton prices and to eliminate the “take it or leave it” power among the planters that had kept prices artificially low at which sharecroppers sold their cotton. There was a hot, disturbing rumor associated with the union’s organizational efforts that a list existed of white planters in Phillips County targeted for murder and that a black uprising could be forthcoming.

In truth, late into the evening on Tuesday, September 30, 1919, existing and prospective African-American members of a newly formed union and Robert Hill were meeting in the Hoop Spur church, right off of Highway 44, on the northern outskirts of the town of Elaine, some twenty miles southwest of Helena. In addition to the men present, women and infants attended–aggregating about 100 persons. At a little after 11:00 PM, a Model T Ford, whose passengers consisted of the Phillips County deputy sheriff, a security agent from MoPac, and a black “trustee” (prisoner from the county jail), pulled up next to a bridge that crossed the Govan Slough–within eyesight of the guards posted outside the church in case someone tried to interfere with the union proceedings. Within minutes, bullets streamed and whistled through the air and into the church, glass crashed–people inside fell to the floor and over each other, and some crawled out windows and began running into surrounding fields. Outside, next to the car, the MoPac agent lay dead with a load of buckshot in his belly and with another shot in his neck–the car riddled with bullets. The deputy sheriff–with a bullet wound to his knee–crawled to safety along the MoPac tracks, which, at that point, paralleled Highway 44; he would later climb aboard a passing train. The unharmed “trustee” walked to a nearby community. Mysteriously, the Hoop Spur church burned to the ground later that night, disguising the bullet shots that had sprayed the interior.

In three hours, the county sheriff’s office had been informed of the deadly shootout; a few hours later, Helena posses of white men were deputized and on the hunt to crush the black insurrection, which County fathers now feared had begun with the gunfire at Hoop Spur. Mid-morning on October 1st, once past the Hoop Spur church, the Helena posses continued south a short distance and turned west on a dirt road where blacks were living–the shooting of the African-Americans commenced. In addition to the Helena posses, another one came from south to north from Elaine. Blacks hid in the woods, coppices and in the slough that ran roughly along Route 44. Several blacks emerged from the slough holding up their hands, but they were shot and killed. Other African-Americans simply ran, but they too were gunned down–frequently among lineated cotton rows–at the hands of the posses.

The map depicts important scenes of the Elaine Race Massacre.

According to the note to me from Robert Whitaker, author of On the Laps of Gods, which note appears later in this article, approximately 15-20 African-Americans were killed that first morning. Two additional whites also died–either from blacks shooting at posse members or from friendly fire by or between bands of white shooters.

Groups of whites started to arrive from close communities, Mississippi, Memphis, and other outside areas, and it is reported that those posses were responsible for much indiscriminate killing of blacks, including those who were simply working cotton fields in Phillips County, well away from Hoop Spur and unaware of the events.

Soon after noon on that day, October 1st, with the total tally of whites actually killed so far at three though reported to be four (the fourth turned out to be only a minor wound), a call went out from Phillips County to Arkansas Governor Charles Hillman Brough for help; in turn, Brough sent a message to the nation’s war secretary indicating that four whites had been killed and African-Americans were ready to mass an attack. Specifically, the Governor requested authorization to use federal troops from nearby Camp Pike, thereby bypassing a required step for Governor Brough to first call out the Arkansas National Guard, but the war department quickly consented to the request, and the Governor and the federal troops were shortly on their way to Phillips County via McGehee. According to Whitaker in a following note, most of the African-Americans killed, as part of the Elaine Race Massacre, were slain by the federal troops, including the immolation of one African-American.

With guns in hand, white men from neighboring communities and states begin to arrive to assist the posses the day following the shootings at the Hoop Spur church. (Image: Courtesy of the Arkansas History Commission).

How many died in the massacre? There is plenty of documentation on the number of whites killed: Five–one security agent from MoPac, three locals, and a corporal with the federal soldiers. However, one meaningful aspect of the massacre still remains unknown and will undoubtedly remain unknown forever: How many African-Americans actually lost their lives in the massacre? A reporter from the Arkansas Gazette at the time estimated that over 850 blacks had died, but this figure is uniformly discredited as being too high. Possible deaths, among African-Americans, now range from as few as twenty-five, a figure which is discredited as being too low, to hundreds. To attempt to bring order to this chaos, created, in large part, by the necessity of looking retrospectively over nearly 100 years, Robert Whitaker in On the Laps of Gods developed a map entitled “The Killing Fields,” demonstrating, according to his best estimates, the location, the number of African-Americans who died as a result of individual attacks, and the responsible parties for those deaths. As a consequence of my own interest in this unresolved (and likely unresolvable) factor–that is, quantifying the African-Americans killed during the massacre–I reached out to Robert Whitaker to determine the extent to which he could even more specifically estimate or reaffirm the total deaths among African-Americans, based on “The Killing Fields” information that appeared in his book. He was especially cooperative and responded as follows:

. . . one of the military reports said that the military alone had killed 60 or so . . . When I was researching and writing, I spent a great deal of time and effort in mapping out–in time and space–the various reports of killings/shootings, etc. And when I put together that map, I felt confident that it was quite accurate. At first glance, the black and white versions of events seem totally disconnnected, but once I had this mapped out, I could see how–in instance after instance–whites and blacks were describing the same events, albeit with a different perspective.

I put together the map through a variety of sources: local maps at the time, local newspaper reports, the military reports, reports from the federal agents, and then from close attention to the testimony given in the legal case. What comes clear is this:

The local posses out of Helena, which came that first morning, probably did kill only 15 to 20 blacks. And that became the number they reported in the news, as though that were the total number killed. The killing by the groups that came across from Memphis and other surrounding areas is much harder to count. There are sporadic accounts from whites that tell of various killing events, and I mapped out those best I could. But this part is indeed murky, and this killing went mostly unreported by the white press. Finally, there is the killing by the soldiers called out to put down the “riot.” The white newspapers told at the time that the soldiers restored the peace. But if you look at their own reports, they tell of opening fire with machine guns and of a significant number of blacks killed.

It is the documentation for the killing by the military, which I write about in the On the Laps of Gods, that is the best evidence, in my opinion, that the total number of killed was above 100. So, I am confident that the map I drew accurately describes reports of killing fields in time and space. And that map does strongly support a total number killed above 100. I personally believe 300 is too high, however. That is because I think that the numbers reported for some of the killing fields, and, in particular, those where the killing was done by the outside posses, were exaggerated by some of the witnesses.

In addition to the reasons Whitaker describes above for difficulty in establishing a precise number of African-Americans killed in the massacre, there are other factors that make a clear calculation impossible. First, an obscurity prevails when such a long time passes between the acts and the search for a realistic record. Second, soon after the massacre, a sizeable group of African-American families and individuals apparently left Phillips County–taking their recollections of the massacre with them. Third, no one, at the time, seemed to have an inclination to take responsibility for documenting this aspect of the massacre. I have no reason to disagree with Whitaker’s view that the figure is “above 100”–with most of that figure attributable to the federal troops and their liberal use of machine gun weaponry. It is, at least, provocative and interesting to note, however, that both the Encyclopedia of Arkansas History and Culture and Grif Stockley refer to “hundreds” of African-Americans having perished in the Elaine Race Massacre.

The Threat of A Mob: Justice in Phillips County

Even while federal troops continued to “restore order” to Phillips County, African-Americans were being arrested and impounded–in the Elaine school building, the Phillips County jail annexed to the Courthouse, and buildings nearby both. But the County fathers had an immediate problem. A large number of blacks and a white lawyer, suspected of aiding the sharecroppers, were now held in the County jail, and a sizeable lynch mob had been forming on and off outside the Courthouse during the day on Thursday, October 2nd. County leaders held a deep concern that a mass lynching would further scar the image of Helena for future economic prospects, but, even more, multiple lynchings would surely cause an expanded, immediate, and substantial exodus of African-Americans out of the County–after all, the cotton needed to be picked. The doors of the Courthouse swung opened in the early evening, and the mob was invited inside – doors being locked behind them. At this point, County leaders and plutocrats cajoled the mob into foregoing any further violence; in turn, the mob received a promise from the County fathers that the guilty parties would be prosecuted and electrocuted with celerity. Based on these assurances, the mob dispersed and departed. The promise to a mob and the associated judicial and political proceedings in Phillips County and the State of Arkansas set a course that, in less than four years, concluded with a U. S. Supreme Court decision altering and guarding civil rights in the future.

The puissant center of Phillips County was the County seat, Helena. As the principal heart for the administration of justice in the County, the home for many of the white planters, the social and cultural fulcrum of the region, and, at the time, one of the larger cities in Arkansas, Helena had a key role in weaving the tapestry for the massacre in the aftermath of the violence. The trials of the African-Americans would be held there, black prisoners jailed there, and speeches by County fathers to the “lynching” mob were given there that conveyed assurance swift “justice” would be meted out against the black murderers and insurgents if the crowd just let justice run its course.

By the end of the week, the County fathers had another problem. The Elaine Race Massacre (referred to, at the time, by a series of different appellations) started to gain wide interest throughout Arkansas and the country with many inquiries coming into Helena. What could be said that made sense from the perspectives of the Governor and the County fathers? Further, before leaving Phillips County on Friday, Governor Brough had appointed a Committee of Seven, composed of the County Judge, the mayor of Helena, and prominent landowners, to investigate and decide on the African-Americans to be prosecuted. A story needed to be fashioned and transmitted to cogently satisfy relevant interests, and one finally evolved. On Tuesday night, September 30, the deputy sheriff and the MoPac security agent, not knowing that a union meeting was in progress, had simply stopped next to the Hoop Spur church to fix a tire and were ambushed by blacks, resulting in the death of the MoPac security agent and a bullet wound to the deputy sheriff. The following morning, posses dispersed to arrest the blacks responsible for the murder, but the whites had been overpowered by a more significant force of African-Americans with high-powered rifles. Posses from neighboring states and towns came to help, and federal troops joined in the efforts to quell the insurrection–blacks were waging war against whites in Phillips County. According to this story, a written list existed of twenty-one planters to be killed by the African-Americans, and the tale went on to relate that the initial counts of dead blacks had been seriously exaggerated–no more than fourteen actually died.

Anyone familiar with the massacre knew this version to be fabricated. Indeed, the U. S. Justice Department immediately disseminated several agents, arriving on Friday, October 3rd, to uncover the truth about the deadly conflict. The report that came back to Justice contained a completely different story from the “official,” local one: There had been no planned slaughter of whites by the African-Americans, and the number of blacks killed had actually been many times greater than fourteen. However, operating under the Woodrow Wilson Administration’s policies regarding African-Americans, the Justice Department simply allowed the report to be innocuously filed away; in point of fact, a local Justice Department official, involved in the investigation, even offered comments, at the time, supportive of the local version.

Now came a difficult phase: The prosecution of the African-American union and other leaders in accordance with the County fathers’ story. Prisoners in the County Courthouse, the blacks to appear in court needed to be “convinced.” To receive the desired testimony, City and County law enforcement officers, the black “trustee,” and MoPac security agents would invoke various techniques, including conversation, severe whipping, suffocation, and visits to an electric chair with the current increased until pain couldn’t be sustained, to persuade the prisoners of the “official,” local account. After one, two or three sessions of treatment, most African-Americans could be counted upon to adhere to the version requested, though some blacks still chose to adopt refractory stands instead.

The legal proceedings for those accused were, as an understatement, speedy. Interrogations of the prisoners started on Saturday, October 4th, with a report being issued two days later. Then began the determination of which of the three hundred, imprisoned black men should be indicted for murder–it took just a few days to dispose of those decisions. On Monday, October 27th, the grand jury convened, and the trials commenced on Monday, November 3rd. In advance, County leaders and plutocrats developed the list of lawyers who would serve as prosecutors, and the judge, overseeing the trials, decided on defense counsel for the African-American sharecroppers. Though well credentialed, attorneys for the defense often asked questions that reinforced or improved the prosecutors’ positions, or they didn’t follow up on questions at all. Moreover, the jury box included law enforcement officers and men who took part in the posses that went to Elaine. The trials themselves were also handled with dispatch, and jury verdicts with even more haste–juries often returning decisions in as little time as two minutes.

On November 21st, just eighteen days after the first trial began and less than seven weeks after the massacre, seventy-four convicted, shackled, black prisoners boarded a train–sixty-two headed to Cummins State Farm for lesser crimes, such as second degree murder, assault to kill, and “night riding,” and twelve led on their way to The Walls, a prison located just out of Little Rock, where the Elaine Twelve were scheduled to be electrocuted for murder – six on December 27th and the other six on January 2nd. Thus far, County fathers had lived up to their promise to the lynch mob.

At this moment, however, a new figure enters the drama, and the County fathers could not have possibly envisioned the role this black attorney from Little Rock would play in determining the ultimate conclusion to the Elaine Race Massacre.

A Moses For The Elaine Twelve

Scipio Africanus Jones, son of a black woman and a white man, worked his way from the Arkansas fields to become a lawyer before the age of twenty-six. A member of the black power elite of Little Rock early in his career, he developed a reputation for a keen and lissome legal mind and was a well-regarded attorney by both races. When a proposition came forth to end voting for African-Americans in Arkansas, Jones organized a strong state-wide group to oppose the proposition, which failed decisively. An accomplished trial lawyer, Jones regularly argued before the Arkansas Supreme Court. He waged battles for the civil rights of blacks, and numerous African-American families named their children after him. In 1901, Jones claimed before the State’s Supreme Court that his client’s criminal conviction should be overturned inasmuch as the black defendant had had the Fourteenth Amendment right to due process violated; though Jones lost the case, he would later return to a similar argument to benefit six of the sharecroppers and, more generally, invigorate the legal underpinnings of civil rights for African-Americans.

Scipio Africanus Jones, the African-American lawyer from Little Rock, by becoming the legal Moses for the black sharecroppers who were found guilty in the accelerated trials following the Elaine Race Massacre, provided the case in Moore v. Dempsey that altered the U. S. Supreme Court’s more restricted position on equal protection, thus leading to future Supreme Court decisions favorable to civil rights. (Image: Courtesy of the Butler Center for Arkansas Studies)

At the time the Elaine Twelve arrived at The Walls for execution, Jones and several black attorneys knew it was time to start to work on saving the convicted men–Jones being selected among his colleagues to lead the effort. They also quickly realized it would be a requisite for Jones to team up with a sympathetic and respected white lawyer–the nod went to an elderly, former Confederate soldier, Colonel George W. Murphy. Jones early on decided the initial trials in Phillips County had been manifestly unfair, and, as a first step, a motion for a new trial on the grounds that equal protection had been violated was presented to the local presiding judge, who denied the motion but stayed the executions. While Jones held the opinion that the trials had certainly been unfair, he also believed they didn’t violate the Arkansas due process standards; however, upon review of the verdicts, he detected that in the rush to judgment, the Phillips County juries in six of the cases failed to specify whether the verdict had been for first or second degree murder–this group of cases would thereafter be known as the “Ware Six.” In March, 1920, the Arkansas Supreme Court handed down its ruling that the verdicts for the Ware Six were fatally defective, and it granted new trials for those impacted; with respect to the remaining six, the so-called “Moore Six,” the Court ruled that they had received fair and impartial trials. Nevertheless, until the results of the retrials for the Ware Six occurred, new execution dates for the Moore Six would be postponed.

The Elaine Twelve were found guilty of murder and were scheduled to be executed shortly after the massacre. (Image: Courtesy of the Butler Center for Arkansas Studies)

For the new proceedings in Phillips County, Colonel Murphy took the lead, but soon after the retrials commenced, Murphy, 79, collapsed, requiring Jones to step into the elderly attorney’s place. As the retrial progressed, Jones would succeed in altering the story the jury had heard in the first trial; black witnesses recanted stories, telling the local court that they were tortured for the testimony previously given. In addition, during the proceedings, Jones set a trap for the local presiding judge that he thought would make this retrial also appealable to the Arkansas Supreme Court. Predictably, the Ware Six were once again found guilty of murder by an all-white jury.

At the conclusion of the retrials for the Ware Six with new guilty verdicts, an execution date of July 23, 1920 was established for the twelve. But, as a result of the legal trap Jones set for the presiding judge in Phillips County during the retrials, the Arkansas Supreme Court also invalidated the second convictions of the Ware Six, and yet another new trial was ordered–the threat of imminent electrocutions again being removed. While Jones had, thus far, been able, through legal acumen and tactics, to keep proceedings astir for the Ware Six, it had not gone so well for the Moore Six. In fact, on October 11, 1920, the U. S. Supreme Court denied the petition that had rested on equal protection; coincidentally, Colonel Murphy, who worked well with Jones in defense of the Elaine Twelve, died of cardiac complications the same day of the Supreme Court decision. The replacement for Murphy went to another white attorney, Edgar McHaney, whose departure from the team some time later over money issues would create a temporary predicament for Jones.

It had been believed that until legal proceedings for the Ware Six were concluded, the Moore Six would not receive a new execution date; yet, to the defense team’s dismay and astonishment, a date of June 10, 1921 was set for the execution of the Moore Six by the new Governor, Thomas McRae, who replaced Brough. The leaders and plutocrats of Phillips County had changed their strategy–to apply pressure to sever the timing for the execution of the Moore Six from that of the Ware Six. After the Arkansas Supreme Court set aside the second trial for the Ware Six, Jones had asked the local presiding judge for a change in venue from Phillips County, but the judge decided that he would not rule on this request for the Ware Six until after the June 10 execution date for the Moore Six.

Coffins had already been ordered. The promise to the lynch mob by the County fathers nearly two years previously would now be kept, but the Moore Six continued to believe in Scipio Jones.

Over the last several months, lynchings and mob violence against African-Americans had been widespread throughout the nation. In Arkansas alone during the first months of 1921, there had been in late January the burning alive of a black in Nodena; in March, lynchings of blacks in both Hope and Monticello; and in early May, the lynching of another African-American in McGehee.

U. S. Supreme Court Precedent for Civil Rights: Moore v. Dempsey

Soon after the Civil War, the 14th Amendment to the Constitution was enacted by Congress. The Amendment, in addition to effectively making all former slaves citizens of the United States, stated, in part, that “nor shall any State deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws.” In addition, Congress passed a Habeas Corpus Act in 1867, which provided state prisoners access to federal courts to ensure that due process could be realized. Notwithstanding these two legal pillars, the U. S. Supreme Court had, following passage of both, undercut their intended effect through the next fifty years by determining that states alone, not the federal government, were responsible for the civil rights of their citizens.

Jones found himself with few options for the Moore Six. As an act of near desperation, in a frantic search for deus ex machina, on the afternoon of Wednesday, June 8th, less than forty hours before the scheduled executions, Jones and McHaney appeared before an Arkansas judge, who had dubious authority to hear the criminal case. Yet, upon hearing the facts for the petition that relied upon the tenets of the 14th Amendment, the judge ruled in favor of the request and stayed the execution. The State Attorney General appealed immediately to the Arkansas Supreme Court, asking that the judge’s order be annulled, but the State Supreme Court decided to hear arguments the following Monday. After the hearing, the Arkansas Supreme Court ruled, on June 20th, against the judge’s order with a determination that the execution of the Moore Six could proceed; in turn, Governor McRae set September 23, 1921 as the new electrocution date. The next step would be an appeal by Jones to the U. S. Supreme Court.

In late August, two white, former MoPac security agents, key witnesses in the first trials, now were recanting their stories and telling the truth. With affidavits from these two white MoPac security agents, combined with the affidavits of three sharecroppers who also recanted, the story of injustice in Phillips County to be told in federal district court had become much more credible and compelling. The local court in Phillips County had simply not been independent, for the Committee of Seven, deciding who would be electrocuted and sent to prison and the length of terms given, had taken over the function of the courts. A new factual topography rose for Supreme Court review. Since the State clung to a “demurrer” approach to the facts contained in the Moore Six petition, it was expressing a view that the facts, as stated in the request, did not matter, and, to that point, in late September, 1921, the federal district court ruled against the Moore Six. Jones had thirty days to burnish an appeal to the U. S. Supreme Court, but confusing the situation for Jones was that, surprisingly, the week before the federal district hearing, Jones’ co-counsel, McHaney, who had replaced Colonel Murphy, resigned over money issues with the NAACP, which had been funding a meaningful part of the sharecroppers’ defense. Nonetheless, with the true story of the Elaine Race Massacre now well-publicized and not challenged by the State, it was clear the State did not wish to return to the courtroom to try the Ware Six, so, before proceeding, the State would first simply let the U. S. Supreme Court decide on the Moore Six.

The U. S. Supreme Court would not hear the case until, at the earliest, the fall of 1922, and furthermore, someone, other than Jones, had been approved to present the case to the U. S. Supreme Court. Instead of Jones, Moorfield Storey was chosen by the NAACP; Storey, an older attorney, distinguished Boston Brahmin, former secretary to the abolitionist Senator Charles Sumner, and first president of the NAACP, had much experience arguing cases before the Supreme Court. Upon release of the record on appeal as prepared by Jones, it seemed abundantly clear to Storey that the facts for the sharecroppers should support the proposition that the Arkansas Supreme Court had affirmed torture and a farce for a trial–indeed, the State process had been a “judicial lynching.”

In addition to the preparations necessary for the Moore Six hearing in the nation’s capital, Jones had been active in pursuing freedom for the other prisoners; in October, 1922, he successfully arranged to have all, but fifteen, of the sharecroppers released from the Cummins State Farm.

In advance of Moore v. Dempsey being argued before the U. S. Supreme Court, lynchings and the burnings of blacks alive continued throughout the nation. Only a few days prior to the Supreme Court hearing, a race battle broke out in Florida with several blacks being killed and white posses hunting down African-Americans hiding in the woods–a comparatively smaller incident, but still a grim and lugubrious reminder of the Arkansas massacre.

On the day of the U. S. Supreme Court hearing, which Jones unfortunately missed–a deep, personal and professional loss–as a result of miscommunications with or misinformation from the Court clerk regarding the hearing’s date, Storey punctuated the point in his argument that if the case before them did not warrant the petition requested, then the portion of the Constitution on which the petition was based should be eliminated for it had no meaning. Importantly, the Arkansas Attorney General could not argue the facts since the State had demurred on the facts earlier in the lower court.

Oliver Wendell Holmes, the eminent Supreme Court jurist, would write the opinion for the majority in the Moore v. Dempsey case; he believed firmly the federal court had a duty to provide relief to state prisoners convicted in state proceedings that were grossly unfair. In the 6-2 decision for Moore v. Dempsey, this point received amplification in Holmes’ language:

If the case is that the whole procedure is a mask–that counsel, jury, and judge were swept to the fatal end by an irresistible wave of public passion, and that the State Courts failed to correct the wrong, neither perfection in the machinery for correction nor the possibility that the trial court and counsel saw no other way of avoiding an immediate outbreak of the mob can prevent this Court from securing to the petitioners their constitutional rights.

With this ruling, the federal government became the protector of basic rights of individual American citizens. Some believed the ruling as important as any event since the Emancipation Proclamation. In retrospect, one could have then envisioned that the days of Jim Crow were numbered. The civil rights movement in the United States, as the 20th century would know it, had begun.

Out of The Wilderness: Liberation

The Moore Six, the Ware Six and those at Cummins State Farm remained in prison; Jones acknowledged much still needed to be accomplished. The favorable decision by the U. S. Supreme Court, released on February 19th, 1923, though precedent setting and historic, had not set the Moore Six free. Rather, the ruling ordered the federal district court to hold a trial to determine if the sharecroppers’ allegations were true. Upon that affirmation, then Arkansas would be ordered to release the Moore Six. Jones knew that the Ware Six and Moore Six remained inextricably linked, and he could now implement part of a strategy leading to freedom for all the sharecroppers.

Having also previously set another, more momentous trap for the prosecution, which had failed to comply, for the Ware Six defendants, with Arkansas state law, Jones would now petition the Arkansas Supreme Court for the immediate freeing of those affected defendants. After the filing by Jones of a “motion for discharge” in mid-April, the Arkansas Supreme Court, in fact, ordered the Ware Six free in late June, 1923. With the liberation of the Ware Six, only twenty-one men, including the Moore Six, of the original prisoners found guilty in the aftermath of the massacre were incarcerated.

By mid-September, Jones had received enough signatures to petition the Governor to grant a full and complete pardon to the remaining prisoners. At about the same time, he not only pushed others to assist in a settlement process, but he also conducted an outreach to the County fathers. Did the State and Phillips Country really want a trial to be held in federal court that would further disclose and reprise the manner in which the first trials were conducted? By late September, the mayor of Helena, the Committee of Seven, and other County leaders petitioned the Governor to commute the sentences of the Moore Six and effectively reduce the sentence to time served. A little over a month later, Jones constructed the final compromise with the State for the Moore Six; without pleading guilty to any charge, they had their sentences commuted to twelve years (being immediately eligible for parole) and were promised to be released within twelve months.

Yet, the drama did not abate. A few months following the compromise, seven of the fifteen remaining men at Cummins–but not the Moore Six–were released, and then the anniversary of the November settlement also passed, still with no freedom for the Moore Six. On December 19, 1924, Governor McRae, only a few weeks before leaving office, released the last sharecroppers imprisoned at Cummins. At this point, Jones understood the Governor had reneged on the agreement, and since the newly elected governor, replacing McRae, won the gubernatorial election with the backing of the Ku Klux Klan, Jones had run out of virtually all options.

Jones caught a train to Helena. Once he arrived, Jones went to the various offices of the County fathers; since they had agreed to the negotiated deal a year earlier, County leaders should sign a petition in support of the release of the prisoners. In addition to the signatures received in Helena, Jones made sure names of leading citizens from Elaine were obtained. On Christmas Eve, he delivered to the Governor the petition of hundreds of names, including those from Phillips County and prominent citizens from throughout the State. Again, nothing happened. On January 13th, 1924, Jones visited Governor McRae once more, but, this time, he left with the assurance the men would be freed. Later that day, as his final act as governor, McRae gave the Moore Six “indefinite furloughs.” All the prisoners from the Elaine Race Massacre were now free.

Not only were the sharecroppers, who had been unfairly convicted and imprisoned, free, but Scipio Africanus Jones, African-American, former field hand himself, had also engineered a legal strategy that established a limit on states’ rights in legal proceedings against the individual and created a new, forceful precedent for federal protection of the basic rights of American citizens, as guaranteed by the 14th Amendment.

Another View of “The Killing Fields”

In August, 2012, in route to my 50th high school reunion in Monticello, I flew into Memphis to explore, as much as one could now explore, the physical locale north of Elaine where much of the massacre occurred. A representative from the University of Arkansas–a friend who knew of my continuing interest in and inquiry into the massacre–met me south of Memphis in Helena, and we began our journey back into that patently sad and disturbing moment in American history. Out of Helena, we traveled southwest on Highway 44, a rather deserted, small, but now paved road that shortly brought us to Elaine in less than thirty minutes. While much of the massacre happened on the outskirts, just north of town, we thought we’d spend a little time meandering through Elaine just to get a sense of the place, nearly 100 years later. The town appeared smaller than I had imagined–a hamlet of a little more than 600 persons (according to the 2010 Census). Phillips County had suffered a continuing and depressed economy over the last several decades–its population, which fell nearly 18% from 2000, was now less than half of the 1950 figure of about 46,000. With a population decline of about 26% since 2000, the performance of Elaine paralleled that of the County but was even worse.

The elevated MoPac railroad tracks that brought Governor Brough, the Camp Pike troops, Lonnie and others involved as participants in or witnesses to the Elaine Race Massacre, ran alongside Highway 44 and were unobstructedly visible a few yards from the center of town.

For film buffs, the town conveyed an abraded look and feel of Thalia, Texas in The Last Picture Show–with crumbling and vacant walls for several downtown (to the extent a downtown existed) buildings. After driving only a few blocks further south, we eyed a relatively new school with a gymnasium in back; a plaque declared it had been opened in 1984, but the school was now boarded up with a warning sign proclaiming trespassers would be prosecuted. Across a street from the abandoned school stood another relatively spacious, somewhat impressive, but vacant building. We then stopped in at the town library in the center of Elaine and were told the school closed a few years ago with students now being bused to Marvell, a small neighboring community. Several women in the library gave us a quick, unsolicited summary of the economic ills of the region, but there was no doubt, at all, in their minds, why we, these strangers, came to Elaine–others, also curious to sense the place of the massacre, had preceded us. Without prompting, one woman told us they had nothing of interest, but we could possibly find more information in Helena at the County Museum.

As we walked and rode by and through “The Killing Fields” and adjacent areas in the fierce and thick summer sun and August Arkansas humidity under a broad azure sky with only a few, high cirrus clouds, guided mostly by the Whitaker map and with an eerie notion we could be surveying a concealed necropolis under foot, two striking and related conclusions sprung to mind. First, little change to most of the landscape or along the narrow, dirt roads, off of Highway 44, had taken place over almost 100 years; at the same time, some of the wooded and copse spots, where the African-Americans hid themselves from both the white posses and the federal troops, and the sharecropper shacks had completely disappeared, replaced by ever expanded farmland. We were also able to fix, within rows of the cultivated land, the approximate location of the Hoop Spur church, where the union meeting had been held, where the automobile that carried the deputy sheriff, the MoPac security agent and the “trustee” had closely parked and where the first blood had been spilled on the night of September 30, 1919. Second, no one ever intended to set any historical reminder in this place–a marker of explanation, a monument, a memorial of any kind–for notable exposition so future generations could know, with a degree of certainty, that several whites and more than a hundred (and, perhaps, hundreds of) African-Americans died in these humble and unremarkable fields and in like spaces within Phillips County as part of one of the most important racial confrontations in our country’s history.

In my quest to sight an existential piece of Lonnie among the ruins of the Elaine Race Massacre, I had, after all, concluded history can be doubtless and too much and too little abided in the fields and fury of Phillips County for Lonnie and me to inhabit any amicable turf there–too much intervening and unsympathetic time, too much dismay as I turned the leaves of record, which bore too much descent and strife and turpitude, too little comity, too little heart.

Lonnie on the author’s second birthday in 1946.Lonnie on the author’s second birthday in 1946.

The End of the Beginning

Several people, in and out of Arkansas, have talked about an appropriate commemoration for the Elaine Race Massacre–in connection with or in advance of the centennial. To be sure, the massacre and its aftermath plead for expanded recognition in the public consciousness across the State of Arkansas and nation. Back home alone in my study but still absorbed in this unassailable point, I cautiously return to Phillips County with a troubling vision–to the killing fields, to Elaine, to the forlorn and erstwhile violated countryside, and, in that vision, I despair that if historical markers appear along Highway 44 at the former, blood-drenched sites, contemporary variants of the October, 1919 posses will, on some lonely and tenebrous night, obliterate any conspicuous reminders of the unrestrained pogrom. I conjure up an idea that maybe a fitting memorial should appear next to the steps leading into the Phillips County Courthouse or on the grounds of the State Capitol, near the statues of the Little Rock Central Nine. At that moment, I wonder why silence and void are always the preferred resolve to evil and lies; in the background of the vision, which now travels half way around the world to the outskirts of Kiev in the Ukraine near the Dnieper River and to September, 1941, I then hear the gurgling and groaning sounds from a giant ravine with Jews being indiscriminately shot at the mouth of the pit and haphazardly rolled down the steep slopes–as I also remember the first two lines of the famous poem by the Russian poet, Yevgeny Yevtushenko: “Over Babiy Yar, there are no memorials.”

Copyright © 2012 by J. Chester Johnson

Exclusive: On working with W. H. Auden on The Psalms by J. Chester Johnson

– Published on Best American Poetry Blog

(Ed note: A few months ago, David Lehman met  Chester Johnson at an event that featured a discussion about W . H. Auden.  During the post-event dinner, he and David got to talking about Auden, with whom  Chester had worked on the retranslation of the Psalms for THE BOOK OF COMMON PRAYER (book of liturgy for The Episcopal Church).  David asked Chester to write about the experience for our readers.  We’re thrilled to bring you this exclusive.Thank you J. Chester Johnson — sdh)

The 150 mostly short poems constituting the psalter (the body of psalms) have engendered admiration, emulation, and enduring precedent for a long line of English and American poets. Like so many of those poets before and after him, W. H. Auden regarded the psalms as a special body of memorable poetry.  Indeed, during the last years of his life, he was engaged, as a member of the drafting committee, in the retranslation of the psalms, as contained in The Book of Common Prayer (BCP), the famous book that serves as the liturgical guide for The Episcopal Church (USA), which had, at the time, authorized a complete overhaul of the entire book.

While the form for the psalms evolved through our language into different applications, their original construction influenced the direction of our verse.  For example, though the ancient Hebrew ear apparently enjoyed more truncated lines and fewer cadences, the English-American ear, as a general matter, extrapolated verse structure into longer lines and more cadences. Notwithstanding many other adaptations, including major adjustments to subject matter and tone, the model of the psalms has persisted to effect a stylistic reference point among English and American writers of verse – in innumerable cases, no doubt, without the literary practitioner’s conscious knowledge of the association.

Modern scholarship has advised that the first psalms began to be written around 1,000 BCE, soon after David, the legendary warrior-leader-poet, forged Israel into a formidable theocracy,. Scholars generally agree that the composition of the psalms occurred continued through the period that followed the rebuilding of the second temple in Jerusalem and ended around 500 BCE. When the Hebrews returned from the Babylonian exile around 535 BCE, they renewed a commitment to the faith of their ancestors by taking a series of redemptive steps, including the codification of a worship book of psalms. So we poets today reach back through almost three millennia to establish a connection with some early architects and engineers of our craft.

Even though Auden viewed his participation in the overall revision of the BCP ambivalently, the project, including especially his more direct role in the retranslation of the psalms, nevertheless, occupied a good deal of his attention and seemed to be central to him during this period, as evidenced by the number and intensity of letters and other writings he wrote at the time.. For instance, Edward Mendelson, Auden’s literary executor and principal biographer, closes his most recent book, Later Auden, by discussing W. H. Auden’s role in and reactions to the project.

Auden’s views on the revision of the psalms for the BCP were protective of the verse, illustrated in a letter to me while we served as the two poets, on the drafting committee: “All I can do is to try to persuade the scholars not to alter Coverdale unless there is a definite mistranslation.” To him, if there were to be a revision to the original 16th century Anglican translation by Miles Coverdale, then Auden’s mission was to make sure the surgery on his beloved psalms happened tenderly.

His attitude toward certain other elements of change to the BCP was not so well-mannered and disciplined. A rather humorous moment occurred during this time that dramatically describes his irritation – no, his vitriolic anger – over aspects of the prayer book’s revision.  In a letter to me during the summer of 1971, W. H. Auden shared his outrage over other adjustments then being considered for possible inclusion in the BCP, which dates back to 1549.  Auden wrote:

“My own parish (St. Mark’s in the Bowery) has gone so crazy that I have to go to the Russian Orthodox Church where, thank God, though I know what is going on, I don’t understand a single word.  The odd thing about the liturgical reform movement is that it is not asked for by the laity – they dislike it.  It is a fad of a few crazy priests. If they imagine that their high jinks will bring youth into the churches, they are very much mistaken.”

Taking into account Auden’s strong, opposing views about certain facets (away from the psalm retranslation) of the changes to the BCP, it is a curious irony that the thirtieth anniversary of the 1979 publication of the BCP revision came on the heels of the thirty-fifth anniversary of the passing of W. H. Auden, the revision’s most celebrated participant.

The psalms on which he and I worked have now become part of the official BCP and have been adopted for worship books and services by Lutherans in Canada and the United States and by the Anglican Church of Canada. Auden’s part in the retranslation was quite consequential – one can point to specific and outstanding contributions he made to a number of individual psalms.

English and American poets have often employed their talents in adapting the psalms by having them become metrical and rhythmic for the English language, by using them for launching related or derived insights, by imposing on them personal and stylistic characteristics and devices, or by retranslating them so the poems comport with up-to-date Hebrew scholarship.  George Herbert’s translation of the 23rd psalm, John Donne’s poem upon the translation of the psalms by Philip and Mary Sidney, and the Sidneys’ own psalm adaptations stand as outstanding examples.  Robert Burns, John Milton, Samuel Coleridge and Francis Bacon also occasionally found ways to draw on the psalms.

More recently, American poets who have reached back to those ancient poems for their own particular purposes include Daniel Berrigan, Robert Pinsky, Kathleen Norris, William Stafford, and Anthony Hecht.

The psalms have also helped allay literary feuds.  For instance, in the 1950s, both T. S. Eliot and C. S. Lewis, titans in the world of letters who disagreed on a great variety of subjects, were asked by the Archbishop of Canterbury to serve on the drafting committee for a retranslation of the psalms by the Church of England. Prior to joining the committee, the two had, more than once, traded cutting insults and excoriations.  When Eliot first met Lewis, he is said to have derisively remarked: “Mr. Lewis, you’re much older than I thought you would be.” Lewis had previously referred to Eliot as a promoter of irresponsibility, and, at one point, apparently offered: “T. S. Eliot is the single man who sums up the thing I am fighting against.”

However, once they began to work on the psalms, the previously held antagonisms started to evaporate.  For example, letter salutations from Lewis to Eliot are said to have changed from “Dear Sir” to “My Dear Eliot.”  The ancient poems had broken through the borders of two well organized and well fortified states.

Why do the psalms fascinate poets of every age?  It may be as simple as the words of one poet, who said a few years ago, meaning to be only half-facetious: “Poetry hasn’t improved much since the psalms.”

Professor Tolkien of The Hobbit once suggested that the worst thing that ever happened to poetry was the printing press; one can infer from the comment that poetry in the oral tradition, in which the psalms were fashioned, had to be immediate, attractive, intense, emotional and very personal.  This view would also partially accord with the words of Auden, who wrote to me at one point: “I don’t believe there is such an animal as Twentieth Century Man.”

Auden on Prayer Book Revision: No More Mr. Nice Guy? by J. Chester Johnson

– Published on Best American Poetry Blog

When the article, “On Working with W. H. Auden on The Psalms,” appeared here, I received a number of questions and requests for more information.  So, I’m taking this opportunity to respond – at least, in part.

I’ve noticed it came as a complete surprise to many persons that W. H. Auden was so fully engaged, intellectually and emotionally, in the Episcopal Church’s revision of THE BOOK OF COMMON PRAYER, begun in earnest in the late 1960s. While a portion of his views on the subject was included in the article, associated material by and about Auden on the revision project is also contained in the final pages of Later Auden, the most recent biography by Edward Mendelson, Auden’s literary executor and principal biographer.  To receive a little more flavor of the intensity of Auden’s perspective toward the subject, add the following excerpt from one of his letters:

“What has happened over the last few years has made me realize that those who rioted when Cranmer introduced a vernacular liturgy were right.  When this reform nonsense started, what we should have done is the exact opposite of the Roman Catholics: we should have said ‘Henceforth, we will have the Book of Common Prayer in Latin.’ (There happens to be an excellent translation.)”

These views were further clarified and emphasized in the considerable communication that exists on various aspects of the revision process between Auden and Canon Charles Guilbert, who was, at the time, the Custodian of THE BOOK OF COMMON PRAYER of the Episcopal Church.  The basis for Auden’s fundamental aversion to the revision can be summed up, I believe, in this thoughtful and quite eloquent excerpt from a letter, dated March 19th, 1968, to Guilbert:

“We had the Providential good-fortune, a blessing denied to the Roman Catholics, that our Prayer Book was compiled at the ideal historical moment, that is to say, when the English Language was already in all essentials the language we use now – nobody has any difficulty understanding Shakespeare’s or Cranmer’s English, as they have difficulty with Beowulf or Chaucer – at the same time, men in the Sixteenth and Seventeenth centuries still possessed what our own has almost totally lost, a sense for the ceremonial and ritual both in life and in language.”

Although Auden’s ideas were decidedly contrary to much of the revision project, they were not as vehement regarding the psalm retranslation for which he served on the drafting committee before returning to Europe to live. In this respect, since the two of us held the position of poets on the committee, I’ve been asked from time to time if I could identify specific Auden contributions to the retranslated psalms, now contained in THE BOOK OF COMMON PRAYER. As a consequence of my joining the committee sometime after Auden had become a member, combined with his heavy schedule – mainly, Auden’s frequent trips to Europe and his eventual move from New York City – we never attended the same meetings of the drafting committee.Therefore, I cannot be an original source for Auden’s textual offerings to the finally adopted psalm retranslations. Nonetheless, I was, of course, very interested in the specific recommendations Auden would have made to the committee, and I inquired during my participation on the committee about those contributions. It should be obvious and noted that a true rendering of the translated meaning of the considered text, as a matter of principle, preceded, for obvious reasons, any contribution by either poet.  Before the poets’ assistance was invoked, the scholars on the drafting committee traced, to determine if mistranslations surfaced at points along the trail, received text from the original Hebrew through the Greek (Septuagint), through Old Latin, and through St. Jerome’s Latin revision to Miles Coverdale’s 16thcentury translation, which also relied, in part, on Luther’s German Bible and which constituted, with little adjustment, the psalms contained in THE BOOK OF COMMON PRAYER for virtually the book’s entire life. One final step for the committee also involved a review of the 1928 version of THE BOOK OF COMMON PRAYER, which had accomplished a few modest adjustments to Coverdale.

According to comments of the chairman of the drafting committee, with whom I worked closely on the retranslation for more than five years to completion of the project, Auden provided three memorable contributions to the adopted retranslation:  In psalm 27, he replaced “secret place” in both Coverdale and the 1928 version with “secrecy”; for psalm 42, he replaced “water pipes” in Coverdale and “water floods” in the 1928 version with “cataracts”; and for psalm 95, he replaced “prepared” in both Coverdale and the 1928 version with “molded.”  I also believe Auden made an additional and fourth contribution: He presented forceful pleas for the committee to retain a variety of inherited language; for example, I know he argued for the preservation of this line from psalm 122: “Jerusalem is built as a city that is at unity with itself,” and that is what one finds today in THE BOOK OF COMMON PRAYER.  I’d not be surprised at all if a few more traditional lines were also saved through his erudition and zeal.

Notwithstanding the deep reservations he held about the general revision, Auden still felt compelled to offer help, reflecting, among other things, his ties to both the institution and the qualities of the traditional liturgy. At one point in the correspondence, Auden writes to Guilbert, “I should be honored and delighted to serve in any capacity on the Standing Liturgical Commission.”  I also believe the offer to assist illustrated a genuine generosity and good will, which unfortunately do not comport with the judgment, among many people, that Auden regularly exhibited a honed curmudgeon attitude.  My interchange with W. H. Auden can not confirm this latter view; a person of strong ideas he was – with polymathic knowledge and precise proportion at his fingertips to enhance and justify those views, but he was mostly accessible and transparent and not rude, arrogant, or routinely short – not from my experience.

I distinctly remember my first encounter with him. In my early 20s, I decided to try out New York City as a place to live – during the late 1960s. Early on in the settling process, I found myself thumbing through the mammoth Manhattan phone book, and either accidentally or by intense curiosity, I unearthed the name, W. H. Auden. Now, surely, the poet would not be so open as to list himself in the phone book for everyone to know the number – I assumed it was just a duplicate name in the gargantuan city.  Yet, to confirm my conclusion, I decided to call – the hubris of the young at play.  Someone picked up the phone, and I began to inquire: “Is this W. H. Auden?” “Yes.”  “Is this the poet, W. H. Auden?” “Yes.”  It couldn’t be, could it? So, I started to stumble and stutter into some comment about how much I admired and enjoyed his verse.  He immediately made me feel at ease, and we talked for awhile – I didn’t feel rushed to jump off the phone.  Little did I know that, in four years, I’d be communicating with him over the retranslation of the psalms for THE BOOK OF COMMON PRAYER.

There is also a story involving Edward Mendelson that corresponds with my own, both of which could possibly help shed some of Auden’s adhering reputation among some people for brief tolerance and quick severity.  Mendelson, an assistant professor at Yale at the time, had been given the job of serving as Auden’s chaperon and guide on a visit the poet made to the campus to talk with students and to record his poems.  During the stay, Auden mentioned to Mendelson that he wanted to put together a new collection of his essays, to be titled FOREWORDS AND AFTERWORDS; however, Auden didn’t remember what he had written, to which Mendelson replied that he had copied all of Auden’s essays, which were then in Mendelson’s apartment.  Auden, obviously pleased, spent a few hours with the copies but then said he would need to return at a later date in order to read all of the essays. Following the trip to Yale, after Auden had announced his departure for England, he wrote to Mendelson asking that he, Mendelson, make the selections for him, and sent a check for $150 to cover the costs of copying.  In turn, Mendelson put together a preliminary list of contents, which Auden reviewed and amended; Mendelson, a few days later, sent a sheaf of copies to Auden.  Sometime after these exchanges, Auden asked Mendelson to be his literary executor. And still later, Mendelson remitted a check to Auden for $40, the sum remaining after the costs of copying and mailing were paid.  When Auden received the check, it apparently became a celebratory moment for him and Chester Kallman, with much waving of the check, for, as then exclaimed, they had, at last, found an honest man.

Mendelson chose to end his biography, LATER AUDEN, with attention to the poet’s fervid concentration on liturgy and the conduct of worship. Considering the remarkable focus and energy Auden placed on these issues during the last years of his life, there could be no more fitting way to close the final chapter on the poet’s life.

Writing Verse About 9/11 by J. Chester Johnson

– Published on Best American Poetry Blog

On the afternoon of September 10th, 2011, seven poets participated in a reading, held for the 10th commemoration of 9/11 and sponsored by Poets House, the Lower Manhattan Cultural Council, and Trinity Wall Street. The reading, convened in the cavernous sanctuary of Trinity Church at Wall and Broadway, two  blocks south of Ground Zero, attracted approximately 300 persons.  Poems of grief, remembrance and reconciliation were presented by the poets.

During their readings that day, both Cornelius Eady and Mark Doty referred to difficulties they each had faced in writing about the 9/11 experience.  I believe the obstacles they confronted in writing about the event spoke for many poets, who had dealt with similar demons in the aftermath of 9/11.

The impediments are patent.  Instinctively, we know words cannot and do not supplant reality; words, even if crafted well, can only make damnable reality more understandable. Subtlety is, as a matter of course, the mother’s milk of a poet’s craft; and those immediate and uncorrectable  9/11 experiences of inescapability, unconditioned desperation, palpable incomprehension, and uncompromising exposure, whether one were actually present that day in downtown New York City or not,  simply countervail and explode a poet’s natural field of responsive behavior. The veins and nerves are torn.  One cannot be subtle in the face of impossible violence and destruction, which immediately rip away at words attempting to make meaning out of meaninglessness. The events were too much with and part of us – words could not compete with the visions and imaginings we all had of both Ground Zero and those whose partial remains created the indescribable personality of the Pit, the Pile.

The most notable verse to surface on the subject of 9/11 came from the marvelous poet, Galway Kinnell, whose poem, “When The Towers Fell,” was published in September, 2002 by THE NEW YORKER. The verse put the events elegantly, evocatively and soberly in a context of something larger than the moment and its specific characteristics; rather, the poem put 9/11 seriatim in a long line of indiscriminate horror and violence that have too often proven to be humanity’s bedfellows over millennia.  We seven poets ended the program with a reciting of the poem – each of us taking a part of “When The Towers Fell.”  Reading this work alone or together with other poets, I could not help but recall Yevtushenko’s “Babi Yar” and Whitman’s Civil War poetry.

My own poetic attempts fell principally to a piece, albeit an important piece, of the 9/11 story.  St. Paul’s Chapel, located within yards of the North Tower site, served as the 24/7 relief center – a respite of peace and refuge – for the recovery workers, who toiled in the savage Pit during the nine-month, clean-up phase.  I volunteered part-time there, sometimes during a day, but mostly overnight on a weekend. This experience translated into a poem I wrote, “St. Paul’s Chapel,” which has been, for the last ten years, the memento card for the approximately 30,000 visitors who come weekly to the Chapel.  Though a mere few yards away from the unspeakable, there was in the Chapel at least air to breathe, a place to think, and enough people to hug – not an unfair amount of essence for verse.

The Double Life For Poets by J. Chester Johnson

– Published on Best American Poetry Blog
Is there reason to be especially concerned should, for economic or other reasons, the number of available teaching jobs in creative writing be increasingly inadequate to accommodate new MFA graduates with a concentration in poetry?  Let me suggest this outcome will not be an entirely dire circumstance for the future state of poetry or for the poetic future of those most affected, when we take a retrospective look at the output and careers of poets who have lived the double life – that is, those who wrote verse at the same time they held down non-poetry occupations. The double life has served many poets quite well.

Emily Dickinson helped maintain the Dickinson household in Amherst and did the baking for the family. Walt Whitman wrote copy and editorial commentary for newspapers; he and C. P. Cavafy worked as government employees. There was William Carlos Williams, who practiced medicine, and, for eight years, T. S. Eliot chose to be a banker.  Marianne Moore and Edna St. Vincent Millay were employed in various, unrelated positions while still writing.  Pablo Neruda, a diplomat and politician; Robert Frost and Wendell Berry, farmers.

I’m judging that young poets do not need to get hung up on teaching as the narrow means open to them for a successful poetry career.  Indeed, Wallace Stevens felt strongly the lessons he learned in business – he ran the surety claims department for the Hartford Insurance Company – improved his verse.  When offered a poetry chair at Harvard, he turned it down in favor of the double life.

Is the Wallace Stevens precedent counterintuitive? I think not, and not because he didn’t care deeply about the part of his life that dealt with poetry. No, there is a more subtle reason.  Most serious poets write poems for those surprises through which verse should always lead. Why would it therefore be confusing that someone who constantly traveled someplace unusual through the venue of his verse could also behold the other side of his double life being both surprising and inviting as well? After all, we do not merely leave who we are on the page; rather, we bring who we are to the page.

It’s often not a freedom of choice to adopt a double life, for many poets must accept that path before a career break or an accumulation of breaks occurs. Today, there are known poets who have, along the way, been an accountant, a biologist, an administrator, a musician; in fact, there are still others, including this author, who permanently choose a double life.

If this course seems necessary or opportune, I offer a few guidelines. First, let your poetic side help you select a non-poetic job.  You can’t go home at night with verse on the agenda and be befuddled or burdened by an unhealthy and severe day at work.  Second, pick a job that will not wear you out physically.  Have energy remaining to respond affirmatively to the siren call of your verse.  Third, make sure your daily job is not jejune or vapid, for that will surely convey itself into your writing. Finally, give yourself moments of recovery during each work day to jot down a thought or two or three related to your verse – for, believe me, the thoughts will come.

Once developed with flexibility, practicality, and a little elan vital, the double life can become a durable answer to the many questions hovering around a commitment to the writing of verse.

Return of The Epic by J. Chester Johnson

– Published on Best American Poetry Blog

We should not suppose this return connotes a literary topography akin to PARADISE LOST, BHAGAVAD GITA of the MAHABHARATA, or THE ILIAD.  Of course, we don’t think of ourselves as poets engaged in preserving, in verse, traditional epic contests with warrior battles, supernal interventions, or topical armageddon between conspicuous forces of good and evil.  Rather, a more modern epic form of poetic relevance establishes a consequential context for the events explored and also reflects the values of the particular time and place.

There are recent longer poems or collected series of poems that capture the values of an age, which values often oppose each other within the poem, and do so through an unusual telling of remarkable, singular events.  Examples that immediately come to mind are C. D. Wright’s ONE WITH OTHERS and Cornelius Eady’s BRUTAL IMAGINATION.  Wright wrote this book-length poem about the way a mentor and others conducted themselves in the midst of civil rights events, more particularly, the 1969 March Against Fear (from West Memphis, AR to Little Rock, AR). In the work, we learn much about complicity without redemption and courage with redemption.  Previously in ONE BIG SELF, Wright relied on a similar approach (accompanied by photographs – applied, in an adjacent style, by James Agee and Walker Evans for LET US NOW PRAISE FAMOUS MEN) to communicate life in the Louisiana prison system. With a different structure, Eady employed a long cycle of related poems that discover and explain the environment in which a white mind invokes an imagined black man to cover up a murder; the cycle conveys, among other things, the perspective as shown through the eyes of that fictitious black man whom Susan Smith tried to blame for the killing of her two sons in South Carolina.  Both of these longer works qualify as epic pieces, not simply for the length of each, but also for the considerable examination into the complex and extensive worlds that produced the events on which these poets relied.

It would be incorrect, however, to surmise that Eady and Wright are working alone in this new epic verse mode.  Several other American poets have claimed it in their own discrete styles. Kindred examples include: Nicole Cooley in BREACH, which examines in a cycle of numerous poems the immediate effects of Hurricane Katrina on New Orleans (Cooley’s hometown) and the concomitant aftermath; and Van Brock’s UNSPEAKABLE STRANGERS, a book-length set of poems “about and related to the Holocaust, its causes, and the persistence of its causes and effects” – in the words of Brock.

Some poets, on the other hand, alter the epic mode through intriguing and surprising methods to produce a unique slant.  Kimiko Hahn in TOXIC FLORA probes science (actually, articles on science that appeared in THE NEW YORK TIMES) as the underlying universe for a long set of inter-connected poems.  At the same time, Davis McCombs chooses in ULTIMA THULE the interiors of a network of caves, located in south central Kentucky, to extrapolate into epic dimensions an almost endless context of history, vistas, conflicts and death.

So, who says that Homer and Virgil do not live? Undoubtedly, they do; it’s just they now choose another means of travel.  While I’ve tried my own hand at various applications of the latest use of the epic verse form, it’s best and most prudent for this poet to let the pieces cited in this article stand for the conclusion that long sets of linked poems or single, expansive poems, composed in the new epic verse mode, embolden and enrich the current American poetry world in ways that are both original and convincing.

A Case For Elastic Rhyme

– Published on Best American Poetry Blog

Let me propose an additional instrument to the array we poets already enjoy at our disposal when we put our poems together. I call it “elastic rhyme,” and I’ve been using it here and there for years. Simply put, elastic rhyme, which is especially suited for prose-leaning styles that characterize much current poetry, supplies a flexible order for the writing of verse; while rhyme occurs systematically, the point at which it actually occurs varies – thus, the term, elastic rhyme.

Rhyme can be magic – frequently, subtle magic – that beguiles readers and listeners even today and seduced their forebears from the time poetry enticed early devotees and an audience around a fire to be word-comforted. So, I’d certainly not suggest a terminal scuttling of rhyme, but I would espouse an emendation to soften overtness of hard rhyme – mitigating, if not removing, monotonous, singsongy instances that can repel poets and readers or listeners alike.

Rhyme in elastic rhyme will normally strike, but not always, between alternate lines. One can choose from a vast assemblage of applications – use of measured feet (i.e., pentameter, trimeter, etc.), blank verse, free verse – in combination with elastic rhyme. For example, a poet may assign a certain number of words per line – with variation, if preferred, per line throughout the poem even to that number – depending on the tautness desired, and then select any one of the first few words in every other line to rhyme with any one of the last few words in each succeeding line. The approach could be modified to substitute a syllabic scheme for the word system, just described.

At present, some verse continues to rely on rhyming techniques at the end of lines, utilizing sonnet, sestina, terza rima, or other style arrangements. Elastic rhyme can break the line ending adherence and foster more diversity in rhyme composition. In much earlier verse, poets often found the use of shorter lines more effective, but, over time, extended lines were enlisted; elastic rhyme builds on this liberalization without rejecting order or rhyme altogether. Steadfast fidelity to tight and repetitive elements in poetic form is a scary regimen for most of us – we’ve learned to be dutifully chary of devotion to such methods, for they become more than a bit boring to the poet, and, even more to the point, they contribute to disinterest, if not to downright agitation, by the audience in the midst of oppressive monotony.

For generations, poets supported, by their practice, the thesis that lines of verse are joined, solidified or emphasized at the moment rhyme is finalized. In responding to one of my longer poems, which employs elastic rhyme, the poet, Molly Peacock, made a separate and quite discriminating observation when she concluded that elastic rhyme can actually serve the purpose of “stretching and contracting language.” She thus underscores the benefit that by adjusting rhyme completion away from traditional placement, the poet can, through elastic rhyme, actually stretch and contract signal moments of verse.

Published on Best American Poetry Blog

September 10, 2011: Ten Years After September 11, 2001

Remembrance and Reconciliation Through Poetry

Poets House and Trinity Wall Street, in conjunction with the Lower Manhattan Cultural Council, presented a reading by some of America’s leading poets as part of the 10thanniversary commemoration of 9/11. This event was held in the sanctuary of Trinity Church, a few blocks from Ground Zero. Poets Mark Doty, Cornelius Eady, Marie Howe, Major Jackson, J. Chester Johnson, Lawrence Joseph, and Martha Rhodes read poems of grief, remembrance, and reconciliation. The program was recorded and broadcasted by radio throughout the remainder of the 10th anniversary commemoration weekend.

Based on release by Poets House