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The past is never dead. It's not even past

Not Even Past

Commemorating 9/11 in 2017

For too many of us, the events of September 11, 2001 have been embalmed in political rhetoric so thick, that we have lost sight of what happened that day and what it meant. Our greatest city was attacked. Our capital was attacked. 2996 people died.

In addition to our regular programming I want to commemorate that day by re-posting one of the articles from our tenth anniversary series in 2011.


by Joan Neuberger

Let’s end our week of commentary on September 11, 2001 with some images. Visualizing and re-visualizing shape our memories differently than describing and talking. Poetry, photography, and song open up different dimensions to understanding the past. Images keep the past present in different ways as well.

It’s probably fair to say that everyone alive in 2001 can see pictures from that day. And that looking at them again makes everything we’ve read take on new meanings. My then-second-grader still pictures a drawing he made in school of smoke coming from the two “Thin Towers.” The image that first made me aware, viscerally aware, of the magnitude of the attack is a photograph by Marty Lederhandler of three New Yorkers, absolutely horrified by what they were seeing, but they’re standing in front of St Patrick’s Cathedral, all the way up on 51st St, miles away. Here is The New York Times’ collection of photographs from September 11 and the days that followed. (And here is a collection of Times’ articles.)

Frank Guridy shared with us a poem he reads in his classes every year on September 11. “Alabanza: In Praise of Local 100,” by Martín Espada is dedicated to the restaurant workers at Windows on the World. It is a wonderful elegy both for its affection for the international, early-morning world of a restaurant kitchen and for the music — “the kitchen radio/ dial clicked even before the dial on the oven” — that bridged gaps of language and class; and distance.

And finally, Paul Simon. Watch and listen to this perfect rendition of a perfect song, perfectly attuned to the moment, sent to us by Richard (Kip) Pells. “The Sound of Silence” on 9/11 at Ground Zero.

Black Amateur Photography

by Joan Neuberger

The passion for recording our lives, fostered today by the availability of simple digital cameras and posting sites like Flickr, has a long history.  As early 1898, ten years after Kodak released its portable, automatic #1 camera, something like 1.5 million people had seized the ability to shape their own image of the world by purchasing their own cameras.

African American leaders very early on understood the uses of photography for both self-expression and political struggle. Leigh Raiford notes, in her book Imprisoned in a Luminous Glare: Photography and the African American Freedom Struggle, that Sojourner Truth supported her cause by selling photos of herself at lectures and Frederick Douglass wanted to use photography to portray black life more accurately.

Inexpensive cameras offered everyone in the twentieth century the ability to represent themselves, including people who felt misrepresented. One of the most interesting segments of the exhibition, “For All the World to See,” mentioned in a previous blog on African American online history, is devoted to everyday, amateur, photography, “In Our Lives We are Whole: Snapshots of Everyday Life. 1935-75.” The online exhibit begins by saying:

“As the popularity of increasingly inexpensive and easily accessible cameras swept the nation in the early twentieth century, black Americans, like their white counterparts, relied on the snapshot to record and commemorate their lives and achievements. In the end, millions of African Americans took cameras into their hands and used them as the ultimate “weapon of choice” against racism. Snapshot by snapshot, these amateur photographers did for themselves what decades of mainstream representation could not: made visible the complexity of a people.”

Historical amateur photography, African American family photo albums, individual shots and series can be found all over Flickr. For example, informal photos and professional portraits can be found on the Black History Month set on the Flickr site of the Florida State Library and Archives.

An extraordinarily rich collection of everyday photos can be found on Flickr’s Black History Album and its related website, Black History Album. This family photo above, of a grandmother and her grandchildren, labeled “Happy Family,” was taken in 1902 (used with permission). For Black History Month, this website posted a survey of the books by Black photographers, beginning with Picturing the Promise: The Scurlock Studio and Black Washington.  The site includes everything from the Civil War, through the Civil Rights movement, such as this beautifully captured everyday scene of an African American man going in the “colored entrance” of a movie house on a Saturday afternoon in Belzoni, Mississippi in 1939 (used with permission).

Today, African American amateur photography is supported by a wide range of institutions. In Chicago, for example, a group of professionals and amateurs have founded the Chicago Alliance for African American Photographers. The mission of the CAAAP is to document, preserve, and exhibit photographs of African American life. You can take a look at one of their exhibits, “The Awakening.”

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