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• W2932154201 abstract "Archiving Hate: Lynching Postcards at the Limit of Social Circulation M ark Simpson University of Alberta To articulate the past historically does not mean to recognize it ‘the way it really was.’ It means to seize hold of a memory as it flashes up at a moment of danger. Benjamin, Theses on the Philosophy ofHistory” Subjects of photography, seized by the camera, we are mortified: objectified, thingified , imaged. Cadava, “Words ofLight: Theses on the Photography ofHistory” F rederick Douglass begins his 1892 essay “Lynch Law in the South” by placing lynching’s practice within an international frame: The frequent and increasing resort to lynch law in our Southern States, in dealing with alleged offenses by negroes, marked as it is by features of cruelty which might well shock the sensibility of the most benighted savages, will not fail to attract the atten­ tion and animadversion of visitors to the World’s Columbian Exposition. (221) The strategy is brilliant: thus understood, lynch law— the preferred name, since at least the antebellum era, for a concatenation of practices widely held to be distressingly, exceptionally American— constitutes a global scan­ dal inextricable from its regional outrage. Where the organizers of the 1893 World’s Columbian Exposition strove to promote the event as a sign of u.s. progress, not just the index but the glittering proof of national civilization, in this passage Douglass anticipates the irony, and the crisis, entailed for such an endeavor by lynch law’s horror. Predicting lynching’s repellant attraction for a fully international community of fairgoers, Douglass ESC 30.1 (March 2004): 17-38 M ark Sim pson teaches English at the University of Alberta. Trafficking Subjects, his book on the politics of mobility in nineteenthcentury America, will be published by Minnesota this fall. His current research addresses issues of collection and collectivity in North America around 1900, and includes, in addition to the ssHRC-supported study of postcard culture from which “Archiving Hate” derives, a project on conservation and taxidermy as material practices. limns a key element of the ritual’s cruel power: its spectacle. The Chicago fair, structured around spectacular displays, will be haunted by the spec­ tacle— lynching— it must fail, in excluding, to exclude. Intimately bound to the ideology of progress in the postbellum u.s., lynching for Douglass constitutes the catastrophic supplement to the national and international celebration of Columbian history.1 Even more than Douglass— though in collaboration with him— Ida B. Wells worked to broadcast such supplementarity at Chicago’s White City. The Reason Why the Colored American Is Not in the World’s Columbian Exposition, the pamphlet she edited and in large part wrote, managed to document for a global audience the crippling contradictions at issue in the fair’s appeal to American civilization.1 2Over six chapters and 81 pages, Wells, Douglass, I. Garland Penn, and Ferdinand L. Barnett relentlessly exposed and indicted the regional and national, legal and extralegal forms of racism that together conspired to oppress African-Americans. The authors’s analyses turn on a devastating irony: whereas the tremendous accomplishments of black folk since Emancipation should epitomize the meaning and substance of “progress” in the u.s. instance, their exclusion from the Chicago fair— like the violence they face on a daily basis— can only mark the barbarity, not civilization, of American whites. The key sign of such barbarity is, of course, lynching.3 1 As Patricia Schechter notes, by publishing the “Lynch Law” essay in the presti­ gious North American Review, Douglass could command “an audience, especially among white readers,” unavailable to other antilynching activists in this period (300). Those reading his piece in 1892 would undoubtedly have recognized the oxymoronic expression “lynch law,” since it had been commonplace for well over 50 years. Webster’s 1848 Dictionary captures its paradox succinctly: “The practice of punishing men for crimes or offenses by private, unauthorized per­ sons, without a legal trial.” The expression’s genealogy is certainly convoluted, as many commentators have shown. For an investigation of that genealogy roughly contemporaneous with Douglass’s essay, see Cutler; for a selective chronology of published nineteenth-century uses of the term, see the definition given by Craigie and..." @default.
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• W2932154201 title "Archiving Hate: Lynching Postcards at the Limit of Social Circulation" @default.
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