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THE MOVEMENT
THE MOVEMENT
The African American Struggle
for Civil Rights
Thomas C. Holt
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Acknowledgments
NOTES
FURTHER READING
INDEX
ACKNOWLEDGMENTS
It may seem odd that a very short book should have incurred such a
long list of people to whom I am endebted, but most of these debts
were acquired long before this project was even conceived. Some
are owed to my maternal grandmother Carrie for the stories she
shared during idle moments on our back porch about the history of
the place we inhabited and in other more emotionally charged
moments when she silently modeled for a preadolescent boy how
one might negotiate its hostile terrain with dignity. Others are owed
to my father, whose stories about how our family’s history evolved in
that hostile place and about the different worlds he had seen far
beyond its confining and sometimes confounding boundaries
somehow enabled me to think differently about my own place in the
world. Growing up in a hostile world can make one self-destructive,
but somehow these stories delegitimized its rule and suggested that
building a very different world was possible.
All this prepared me to welcome others into my life whose
influence on this book is even more direct. As I came of age, the
Danville Movement brought Avon Rollins, Matthew Jones, James
Forman, Dottie and Bob Zellner, and Ivanhoe Donaldson to town,
each of whom taught me much about the social movement they had
witnessed taking shape and to which my peers and I were drawn.
Lessons in nonviolent workshops with Ivanhoe (surely the most
violent nonviolent person I have ever encountered), mass meetings
with Avon, and jail cells shared with Matthew taught me much of
what the Movement was about, what it aspired to be, and what it
wasn’t. As a student at Howard University during those years, I
would learn more still, from a front-row seat to world-changing
events and the bigger-than-life personalities among Howard’s
Nonviolent Action Group and the Student Nonviolent Coordinating
Committee to which it was affiliated.
My more recent debts are owed to the students I have taught at
the University of Michigan and the University of Chicago, some of
whose works are cited in the endnotes to this book. Discussions with
them in classes, during office hours, and in more casual
conversations have provided alternative perspectives on social
movements that have enriched my analysis. No doubt I got back
more from them than I gave. Indeed, this book would not exist in its
current form without the contributions to Movement historiography of
Barbara Ransby, Laurie Beth Green, Janette Gayle, Quincy Mills,
Traci L. Parker, and Elizabeth Todd-Breland. More recently, I owe a
very special debt to Alexander Hofmann, whose diligent and careful
collection of local census data provided the evidentiary basis for the
principal themes organizing my analysis, which were otherwise
based mostly on intuitions from personal experiences: that the roots
and dynamics of the Movement in what I have called “New South
cities” were very different from those in the rural Deep South, and
that this matters both for how we recover this history and the uses
we might make of it.
I am similarly grateful to my professional colleagues who have
added so much to our knowledge of this history. Most are cited in the
pages that follow, but three deserve special mention because not
only did they alert me to stories about the Mississippi Movement that
I did not know, but they also suggested ways of interpreting them I
had not previously considered. For that I am especially grateful to
Nan Woodruff, Charles Payne, and John Dittmer. I owe a debt as
well to the Oxford University Press’s anonymous readers, who
alerted me to the necessity of at least commenting on issues I had
neglected in my effort to keep this a truly “short history.”
I also benefited from the enthusiasm and patience of my editor,
Nancy Toff, and the efficient work of the editorial staff at Oxford
University Press for nudging this book to a much delayed
completion. As always Leora Auslander provided the right mixture of
encouragement and a sharp editorial pen together with stimulating
discussions about the international resonances of my analysis.
Finally, I owe my greatest debt to Catherine Fitzgerald Holt for
passing on my grandmother’s story, which became the core theme of
and inspiration for writing this book, and for the gift of her quiet joy
upon hearing it retold.
Introduction: Carrie’s Rebellion
Carrie Lee Fitzgerald was sick with worry when she boarded the
Trailways bus in Lynchburg headed to her home on the rural
outskirts of Danville, Virginia, in January 1944. She had just visited
her husband of forty-two years at the hospital for “coloreds,” where
he was being treated for kidney disease. She left fearing it might be
the last time she saw him alive. And, indeed, he would die just a few
weeks later. Perhaps her grief and state of mind explain her
unexpected actions that day. Or perhaps it was the blatant
contradiction between her treatment and the fact that at that very
moment one of her three sons was serving with the American
invasion army in Europe, while the husband of her youngest
daughter—the one who accompanied her that day—was in the
Pacific fighting on yet another front to “save the world for
democracy.” Or perhaps it was simply the accumulated insults over
the course of her sixty-six years in a state that systematically
demeaned and disrespected black life.1
Whatever the cause, to her daughter’s horror, she took a seat in
the front of the bus—the section reserved for “whites.” The driver
noticed; he barked an order that she move to the back. Her reply
cracked like a whip through the suddenly quiet bus, a tone all too
familiar to her family and friends. She refused. Refused in no
uncertain terms. The “cullid” seats, she pointed out, had been taken
by the overflow of white college students who had filled the bus
before she got on, so she was taking the first one freed by a
departing passenger. Perhaps the driver found the prospect of
wrestling an old lady out of her seat distasteful and the delay of
waiting for the police inconvenient; in any event he decided to leave
well enough alone, Virginia law and custom be damned. Thus Carrie
rode the rest of the sixty miles to Danville undisturbed. Years later,
family lore would celebrate her rebellion as “a Rosa Parks moment,”
an unsung rehearsal for the iconic beginning of the Civil Rights
Movement ten years later.2
The life of Carrie Fitzgerald, shown here with the author several months after
challenging Virginia’s segregation laws, bridged the struggles and aspirations of
the generation born after the first Reconstruction and that of her grandchildren,
who forged the second. Photo courtesy of Katherine Holt Jewett
Before Montgomery
A Legacy of Protest
It is perhaps ironic that on April 2, 1917, Woodrow Wilson, the
president who had brought the southern racial order to the nation’s
capital, also set the table for challenges to that regime when he
asked Congress to declare war on Germany, in order, he assured
the nation, for the world to “be made safe for democracy.” The war
that followed not only accelerated changes in the nation’s racial
demography but also quickened African Americans’ demands for
equality. On July 28, 1917, less than five months after Congress’s
declaration of war, black Americans marched down New York’s Fifth
Avenue in a silent protest, demanding democracy at home. They
were responding both to a bloody race riot in East St. Louis three
weeks earlier and to the wave of racial violence then ravaging black
communities more generally. Marching from Fifty-Seventh to Twenty-
Fourth Street to the funereal cadence of muffled drums, these ten
thousand men, women, and children created a striking visual
spectacle of their rightful claims on the nation. The children made up
the front ranks of the march, while women dressed in white and men
in black followed, their dignity and decorum underscoring claims to
respect and national belonging. A few of the men wore their army
uniforms, driving home a central theme etched on one of the signs
they carried: “We have fought for the liberty of white Americans in six
wars; our reward is East St. Louis.”1
Montgomery
Although some of the earliest challenges to the southern racial order
emerged in cities in the Upper South, where demographic and
economic changes were well advanced by the end of World War II,
the first community-wide mobilization characteristic of the so-called
classic era of civil rights activism emerged in Montgomery, the
storied heart and first capital of the Confederacy. By the mid-
twentieth century, however, Montgomery had been buffeted by
diverse forces that may well have rendered it more vulnerable to
change than ostensibly more progressive southern cities. The city’s
population had grown by 30 percent every decade since 1900, as
rural whites and blacks poured into the capital from the Alabama
countryside. Consequently, the rough racial parity the city had known
for most of the interwar period had given way to a 63 percent white
majority by 1955, which ironically destabilized rather than confirmed
the political grip of the city’s traditional white elite. With civil service
reform in 1949 and the emergence of a self-conscious, residentially
segregated white working class responsive to insurgent challenges
to elite rule, white solidarity was fractured, inadvertently giving blacks
a measure of political leverage.11 Meanwhile, wartime population
growth spurred black political activism, producing a seasoned local
leadership. In 1943, for example, E. D. Nixon organized the Alabama
Voters League, whose registration drives would double the number
of black voters by 1955. Given the politically divided white electorate,
the city’s black minority was able to win important concessions: The
city hired black policemen and built two black high schools. Indeed,
in 1953 a black newspaper dubbed Montgomery the state’s “most
enlightened city.”12 It may well have been their sense of steady
progress that encouraged the indigenous black leadership’s faith in
cautious negotiations with the city fathers to address community
grievances, including Rosa Parks’s arrest.13
By 1955, however, forces beyond the city would shape the
attitudes of both blacks and whites to the racial status quo. Despite
all the dramatic changes in the socioeconomic and cultural
infrastructure of the postwar South, the conditions for black
advancement and even physical safety in the region remained
precarious and fraught. No event made this fact more palpable than
the vicious murder in the late summer of that year of fourteen-year-
old Emmett Till, a native of Chicago visiting family in the Mississippi
Delta. Till’s mutilated body was exposed in all its horror by Jet
magazine, a Chicago-based African American weekly launched in
1951 that was itself a creature of the broader postwar transformation
of northern black life. Aided by a newly emergent black media
infrastructure, the NAACP publicized the Till lynching and rallied the
national black community to protest.14
Indeed, just four days before her arrest, Rosa Parks had attended
one of the mass meetings protesting Till’s murder. Like Carrie
Fitzgerald and Irene Morgan a decade earlier, it is clear that her act
of defiance on that Cleveland Avenue bus was spontaneous, but
only in the sense of being the last straw in a lifetime of suffering
callous disrespect. For a number of years Parks had also been
engaged in civil rights activities, including a stint as secretary to the
local NAACP branch, leadership training from Ella Baker in
Jacksonville, Florida, in 1946, and more recently a two-week
conference on school desegregation and voter registration at the
Highlander Folk School. It is abundantly clear, nonetheless, that she
did not anticipate challenging Alabama’s segregation laws on that
fateful evening. Headed home to the public housing apartment she
shared with her husband and aging mother, she had dutifully
occupied one of the seats set aside for black passengers. But after
an influx of white riders at the Empire Theater stop, the driver moved
the sign marking the racial divide and ordered four black passengers
to surrender their seats to the new white arrivals. Three blacks
moved; Rosa Parks did not. As she explained years later, she did not
because she felt “mistreated and humiliated.” She also revealed later
that the recent Emmett Till atrocity came to mind at that moment,
confirming her conviction that she “had been pushed as far as I
could stand to be pushed.” It was time, she declared, “to know once
and for all what rights I had as a human being and a citizen.”15
This mugshot of Rosa Parks was taken after her second arrest on February 22,
1956, together with nearly a hundred other protesters. Parks’s arrest on December
1, 1955, for violating a city ordinance requiring segregated seating on Montgomery
buses had sparked a 381-day boycott. Alabama Department of Archives and
History
Language: English
GEORGES PERROT,
PROFESSOR IN THE FACULTY OF LETTERS, PARIS; MEMBER OF THE INSTITUTE,
AND
CHARLES CHIPIEZ.
CHAPTER I.
CIVIL AND MILITARY ARCHITECTURE.
PAGE
§ 1. General Character of the Mesopotamian Palace and History of
the Excavations 1–8
§ 2. The Palace of Sargon 9–32
§ 3. Other Palaces of Mesopotamia 32–53
§ 4. Towns and their Defences 53–77
CHAPTER II.
SCULPTURE.
§ 1. The principal themes of Chaldæo-Assyrian Sculpture 78–109
§ 2. Materials 109–125
§ 3. The Principal Conventions of Chaldæo-Assyrian Sculpture 125–142
§ 4. On the Representations of Animals 142–173
§ 5. Chaldæan Sculpture 173–202
§ 6. Assyrian Sculpture 203–243
§ 7. Polychromy 243–250
§ 8. Gems 251–280
§ 9. The General Characteristics of Chaldæo-Assyrian Sculpture 281–291
CHAPTER III.
PAINTING 292–297
CHAPTER IV.
THE INDUSTRIAL ARTS.
§ 1. Ceramics 298–308
§ 2. Metallurgy 308–313
§ 3. Furniture 313–324
§ 4. Metal Dishes and Utensils 324–343
§ 5. Arms 343–349
§ 6. Instruments of the Toilet and Jewelry 349–363
§ 7. Textiles 363–372
§ 8. Commerce 372–374
CHAPTER V.
COMPARISON BETWEEN EGYPT AND CHALDÆA 375–400
PLATES.
I. Royal statue, found by M. de Sarzec To face
page 126
II. Two Chaldæan heads, found by M. de Sarzec „ 128
III. Lion, from Nimroud „ 130
IV. Winged bull, from Khorsabad „ 136
V. Assurbanipal in his chariot „ 138
VI. Bronze lion, from the palace of Sargon „ 154
VII. Fragment from the Balawat gates „ 212
VIII. Enamelled brick, from Nimroud „ 294
Enamelled brick, from Nimroud „
IX. 294
Fragment of painting on stucco, from Nimroud
X. Decoration in enamelled brick, from the harem at „
Khorsabad 294
FIG. PAGE
1. Map of Nineveh and its neighbourhood 6
2. The mound and village of Khorsabad before the
commencement of the excavations 9
3. Plan of Sargon’s palace in its present state 12
4. Longitudinal section through the palace of Sargon 13
5. South-eastern gateway of Sargon’s palace at
Khorsabad 17
6. Plan of the harem in Sargon’s palace 21
7. Harem court in the palace of Sargon at Khorsabad 25
8. A hanging garden 30
9. Plan of a palace at Warka 33
10. Plan of chambers at Mugheir 34
11. Plan of chambers at Abou-Sharein 34
12. Plan of chambers at Abou-Sharein 34
13. General view of Nimroud 38
14. Plan of the north-western palace at Nimroud 39
15. Assurnazirpal offering a libation to the gods after his
victory over a wild bull 41
16. Plan of the south-western palace at Nimroud 43
17. Upper chambers excavated at Nimroud 44
18. Map of the site of Nineveh 45
19. Plan of the mound of Kouyundjik 46
20. Part plan of the palace of Sennacherib 47
21. Sennacherib at the head of his army 49
22. Town besieged by Sennacherib 54
23. Siege of a city 60
24. Plan of one of the ordinary gates at Khorsabad 66
25. Restoration in perspective of one of the ordinary gates
of Khorsabad 67
26. State gateway at Khorsabad 68
27. Longitudinal section through the archway of one of the
city gates, Khorsabad 69
28. Fortified wall; from the Balawat gates 73
29. Siege of a fort 74
30. An attack by escalade 75
31. Chariot for three combatants; from the palace of
Assurbanipal 76
32. The demon of the south-west wind 81
33. Head of a winged bull of Assurbanipal 83
34. Cone of chalcedony 85
35. Izdubar and Lion 86
36. Winged genius 87
37. Carrying the gods; from the palace of Sennacherib 90
38. Istar and the sacrificing priest 90
39. Istar between two personages 90
40. Lapis-lazuli cylinder 91
41. 42. Fragments of an ivory statuette 92
43. Merodach- or Marduk-idin-akhi 95
44. Captives on the march; from the palace of
Sennacherib 97
45. Sargon before the sacred tree 99
46. Assyrian standard 102
47. Sennacherib before Lachish 105
48. Procession of captives 107
49. One face of the obelisk of Shalmaneser II. 111
50. Statuette of a priest 114
51. Dagon 114
52. Head of a lioness 115
53. Canephoros 117
54. Man driving goats and sheep; from the Balawat gates 118
55. Lion carved in wood 119
56. Ivory seal 119
57. Ivory tablet in the British Museum 120
58. Ivory fragment in the British Museum 121
59. Ivory tablet in the British Museum 122
60. Statue of Assurnazirpal 123
61. Statue of Shalmaneser II. 127
62. Pair of warriors 129
63. Prisoners; from the palace of Sennacherib 130
64. Vassal bringing monkeys 133
65. Head of a eunuch 136
66. Assyrian soldier 137
67. Fragment of a Chaldæan bas-relief 141
68. Head of a cow 143
69. Terra-cotta tablet 144
70. Cylinder of black marble 145
71. Terra-cotta dog 146
72. The hounds of Assurbanipal 147
73. Chariot horses 150
74. Wild ass; from the hunt of Assurbanipal 151
75. Embroidery on the king’s robe 153
76. Fight between a man and an ostrich 153
77. Lion and lioness in a park 155
78. Lion coming out of his cage 156
79. Wounded lion 157
80. Wounded lioness 161
81. Niche decorated with two lions 163
82. Sword and scabbard 164
83. Combat between a lion and a unicorn 165
84. Lion’s head, in enamelled earthenware 165
85. Recumbent goat ditto 166
86. Dog, in terra-cotta 167
87. Fantastic animal 168
88. Man-lion 169
89. Winged horse 171
90. Griffins seizing a goat 171
91. Human-headed bird 172
92. Inscription engraved on one of the seated Chaldæan
statues 175
93. Fragment of a stele; from Tello 177
94. Fragment of a stele; from Tello 179
95. Fragment of a stele; from Tello 181
96. Statue; from Tello 182
97. The hands of a statue; from Tello 183
98. The large statue from Tello 185
99. Female statuette 187
100. Statuette; from Tello 188
101. Fragment of a relief; from Tello 189
102. Fragment of a relief; from Tello 191
103. Head; from Tello 191
104. Stone pedestal; from Tello 192
105. Chaldæan statuette 193
106. Statuette of a priest 195
107. Statuette of a woman 195
108. Terra-cotta statuette 196
109. Head; from Tello 197
110. The Caillou Michaux 199
111. The Caillou Michaux, obverse 200
112. The Caillou Michaux, reverse 201
113. Assurnazirpal offering a libation 205
114. Tree on a river-bank 207
115. Detail from the royal robe of Assurnazirpal 209
116. Stele of Samas-vul II. 211
117. Two fragments from the Balawat gates 215
118. Bas-relief; from Khorsabad 221
119. Marsh vegetation 223
120. The great bas-relief at Bavian 227
121. Fountain 230
122. Assyrian bas-relief in the Nahr-el-Kelb 231
123. The bas-reliefs of Malthaï 233
124. Chaldæan cylinder 237
125. Assyrian cylinder 237
126. Wild goats 239
127. The feast of Assurbanipal 241
128. Terra-cotta statuette 242
129. River pebble which has formed part of a necklace 252
130. River pebble engraved 252
131. Concave-faced cylinder 254
132. Cylinder with modern mount 254
133. Tablet with impression from a cylinder 256
134. Cylinder with ancient bronze mount 257
135. Cylinder and attachment in one 257
136. Chaldæan cylinder 257
137. Impression from the same cylinder 257
138. Engraved shell 260
139. Chalcedony cylinder 261
140. Cylinder of black jasper 261
141. Assyrian cylinder 262
142. Chaldæan cylinder; marble or porphyry 264
143. Chaldæan cylinder; green serpentine 266
144. Chaldæan cylinder; basalt 267
145. Chaldæan cylinder; basalt 267
146. Chaldæan cylinder 268
147. Chaldæan cylinder; basalt 269
148. Chaldæan cylinder; black marble 270
149. Chaldæan cylinder of veined agate 271
150. Archaic Assyrian cylinder 272
151. Assyrian cylinder; serpentine 273
152. Assyrian cylinder; serpentine 273
153. Assyrian cylinder 273
154. Chaldæan cylinder dating from the second monarchy;
black jasper 275
155. Impression of a cylinder on a contract 275
156. Cylinder with Aramaic characters 276
157. Cone 277
158. Cone 277
159. Amethyst cone 279
160. Agate cone 279
161. Assurbanipal attacked by lions 283
162. Figure of a goddess 290
163–165. Chaldæan vases of the first period 299
166–168. Chaldæan vases of the second period 299
169. Chaldæan vase 300
170–173. Assyrian vases 301
174–176. Goblets 301
177. Ewer 301
178–180. Amphoræ 302
181. Alabastron 302
182. Fragment of a vase 302
183. Fragment of a vase 303
184, 185. Fragments of vases 303
186. Goblet 304
187. Fragment of a vase 304
188, 189. Fragments of vases 305
190. Glass vase or bottle 307
191. Glass tube 307
192. Iron mattock 310
193. Fragment of a throne 315
194. Fragment of a throne 316
195. Bronze foot of a piece of furniture 316
196. Capital and upper part of a small column 317
197, 198. Fragments of bronze furniture 317
199. Footstool; from a bas-relief 318
200. Stool 318
201. Ivory panel 321
202. Dagger-hilt; ivory 322
203. Bronze tripod 324
204, 205. Metal vases 325
206. Metal bucket 325
207. Applied piece 326
208. Bronze platter 327
209. Bronze platter 330
210–214. Columns or standards figured upon a bronze cup 331
215. Bronze platter 332
216. Part of a bronze cup or platter 333
217. Bronze cup 334
218. Bronze cup 342
219. Border of a cup 343
220, 221. Chariot poles 344
222, 223. Sword scabbards 345
224. Bronze cube damascened with gold 346
225. Votive shield 347
226. Knife-handle 348
227. Comb 350
228. Comb 351
229. Comb 352
230, 231. Bronze fork and spoon 353
232, 233. Bracelets 354
234. Ear-drop 354
235–237. Necklace and ear-drops 355
238. Necklace 356
239. Royal necklace 356
240. Bracelet 357
241. Bracelets 358
242. Ear-drop 358
243, 244. Ear-drops 358
245. Necklace 359
246, 247. Moulds for trinkets 361
248, 249. Gold buttons 359
250. Part of the harness of a chariot-horse 361
251, 252. Ear-pendents 362
253. Embroidery on the upper part of the king’s mantle 365
254. Embroidery upon a royal mantle 367
255. Embroidered pectoral 369
256. Detail of embroidery 370
257. Detail of embroidery 370
258. Detail of embroidery 371
259. Detail of embroidery 372
260. Egyptian mirror 387
261. Egyptian mirror 391
TAIL-PIECES, &c.
Fore-quarters of a lion, glazed earthenware (Louvre) 77
Standard, from a relief 291
Flower, from a relief 297
Head of a ram, ivory (Louvre) 374
The sacred tree, from a relief 400
Ornament from a royal tiara 404
A HISTORY OF ART
IN