Henry David Thoreau on When Civil Disobedience and Resistance Are Justified (1849)

His­to­ry is rife with exam­ples of oppres­sive gov­ern­ments. The present is rife with exam­ples of oppres­sive gov­ern­ments. You can name your own exam­ples. The ques­tion that presents itself to any oppo­si­tion is what is to be done? Go under­ground? Sab­o­tage? Take up arms? The like­li­hood of suc­cess in such cases—depending on the bel­liger­ence of the oppo­si­tion and the capa­bil­i­ties of the government—varies wide­ly. But I see no moral rea­son to con­demn peo­ple for fight­ing injus­tice, pro­vid­ed their cause itself is just. Nei­ther, of course, did Hen­ry David Thore­au, author of the 1849 essay “Civ­il Dis­obe­di­ence,” a doc­u­ment that every stu­dent of Polit­i­cal Phi­los­o­phy 101 knows as an ur-text of mod­ern demo­c­ra­t­ic protest move­ments.

This is an essay we have become all-too famil­iar with by rep­u­ta­tion rather than by read­ing. Thoreau’s polit­i­cal phi­los­o­phy is not pas­sive, as in the phrase “pas­sive resis­tance.” It is not mid­dle-of-the-road cen­trism dis­guised as rad­i­cal­ism. It lies instead at the water­ing hole where right lib­er­tar­i­an­ism and left anar­chism meet to have a drink. “I hearti­ly accept the mot­to, ‘That gov­ern­ment is best which gov­erns least,’” wrote Thore­au, and ulti­mate­ly “’That gov­ern­ment is best which gov­erns not at all.’”

Like many utopi­an the­o­rists of the 19th cen­tu­ry, Thore­au saw this as the inevitable future: “when men are pre­pared for it, that will be the kind of gov­ern­ment they will have.” Thore­au laments all restric­tions on trade and reg­u­la­tions on com­merce. He also denounces the use of a stand­ing army by “a com­par­a­tive­ly… few indi­vid­u­als.” And yet—despite these rad­i­cal positions—Thoreau has been enshrined in the his­to­ry of polit­i­cal thought both for his rad­i­cal tac­tics and his defense of pre­serv­ing gov­ern­ment, for the present.

“To speak prac­ti­cal­ly and as a cit­i­zen,” he wrote, “unlike those who call them­selves no-gov­ern­ment men, I ask for, not at once no gov­ern­ment, but at once a bet­ter gov­ern­ment.” He does not go to great lengths, as clas­si­cal philoso­phers were wont, to define the ide­al gov­ern­ment. It is rad­i­cal­ly demo­c­ra­t­ic, that we know. But as to what con­sti­tutes injus­tice, Thore­au is clear:

When the fric­tion comes to have its machine, and oppres­sion and rob­bery are orga­nized, I say, let us not have such a machine any longer. In oth­er words, when a sixth of the pop­u­la­tion of a nation which has under­tak­en to be the refuge of lib­er­ty are slaves, and a whole coun­try is unjust­ly over­run and con­quered by a for­eign army, and sub­ject­ed to mil­i­tary law, I think that it is not too soon for hon­est men to rebel and rev­o­lu­tion­ize. What makes this duty the more urgent is the fact that the coun­try so over­run is not our own, but ours is the invad­ing army.

This peo­ple must cease to hold slaves, and to make war on Mex­i­co, though it cost them their exis­tence as a peo­ple.

The fig­ure he cites of “a sixth of the pop­u­la­tion” is not erro­neous. As W.E.B. Du Bois showed in one of his rev­o­lu­tion­ary 1900 soci­o­log­i­cal visu­al­iza­tions, dur­ing the time of Thoreau’s essay, one-sixth of the country’s pop­u­la­tion was indeed com­prised of peo­ple of African descent, most of them enslaved. Thore­au wrote dur­ing debates over the imped­ing Fugi­tive Slave Act, a law that put every per­son of col­or in the expand­ing country—free or escaped, in every state and territory—at risk of enslave­ment or impris­on­ment with­out any due process.

Thore­au found both this devel­op­ing night­mare and the Mex­i­can-Amer­i­can war too intol­er­a­bly unjust for the coun­try to bear. And he rec­og­nized the lim­i­ta­tions of elec­tions to resolve them: “All vot­ing is a sort of gam­ing… with a slight moral tinge to it,” he wrote, then observed with dev­as­tat­ing irony, giv­en total dis­en­fran­chise­ment of peo­ple who were prop­er­ty, that “Only his vote can has­ten the abo­li­tion of slav­ery who asserts his own free­dom by his vote.”

“Unjust laws exist,” writes Thore­au, “I say, break the law. Let your life be a counter-fric­tion to stop the machine. What I have to do is to see, at any rate, that I do not lend myself to the wrong which I con­demn.” Thore­au had put his dic­ta into prac­tice already many years before. He had stopped pay­ing his poll tax in 1842 to protest the war and the expan­sion of slav­ery. He was final­ly arrest­ed and jailed for the offense in 1846. The inci­dent hard­ly sparked a move­ment. He was bailed out, per­haps by his aunt, the fol­low­ing day. And as we well know, the Mex­i­can-Amer­i­can war and the cri­sis of slav­ery were both resolved with… war.

But Thore­au used his expe­ri­ence as the basis for “Civ­il Dis­obe­di­ence,” which he wrote to a local audi­ence in his home state of Mass­a­chu­setts, and which went on to direct­ly inspire the mas­sive­ly suc­cess­ful, nation­al grass­roots move­ments of Gand­hi, Mar­tin Luther King, Jr. and oth­er non-vio­lent Human Rights and Anti-War lead­ers around the world. So what did he rec­om­mend dis­senters do? Here are the basics of his pre­scrip­tions, with his words in quotes:

“I do not hes­i­tate to say, that those who call them­selves Abo­li­tion­ists should at once effec­tu­al­ly with­draw their sup­port, both in per­son and prop­er­ty, from the gov­ern­ment of Mass­a­chu­setts.” Thore­au then goes on to describe his par­tic­u­lar form of resis­tance, the non-pay­ment of tax. His the­sis here, how­ev­er, allows for any just refusals to rec­og­nize gov­ern­ment author­i­ty.

“Under a gov­ern­ment which impris­ons any unjust­ly, the true place for a just man is also in prison.” Thore­au him­self suf­fered lit­tle, it’s true, but mil­lions who came after him—dissidents on all con­ti­nents save Antarctica—have endured impris­on­ment, beat­ing, and death. “Sup­pose blood should flow,” writes Thore­au, “Is there not a sort of blood shed when the con­science is wound­ed?” As for the just­ness of dis­obe­di­ence, Thore­au makes a very log­i­cal case: “If a thou­sand men were not to pay their tax-bills this year, that would not be a vio­lent and bloody mea­sure, as it would be to pay them, and enable the State to com­mit vio­lence and shed inno­cent blood.”  

Thore­au goes on to intro­duce a good deal of nuance into the argu­ment, writ­ing that com­mu­ni­ty tax­es sup­port­ing high­ways and schools are eth­i­cal, but those sup­port­ing unjust war and enslave­ment are not. He rec­om­mends dis­cern­ing, thought­ful action. And he expect­ed that the poor would under­take most of the resis­tance, because the bur­dens fell heav­i­est on them, and “because they who assert the purest right, and con­se­quent­ly are the most dan­ger­ous to a cor­rupt State, com­mon­ly have not spent much time in accu­mu­lat­ing prop­er­ty.” This has gen­er­al­ly, through­out his­to­ry, been true.

The best thing a per­son of means can do, he writes, is “to endeav­or to car­ry out those schemes which he enter­tained when he was poor.” Or, pre­sum­ably, if one has nev­er been so, to fol­low the poors’ lead. The para­dox of Thoreau’s asser­tion that the least pow­er­ful present the great­est threat to the State resolves in his recog­ni­tion that the State’s pow­er rests not in its appeal to “sense, intel­lec­tu­al or moral” but in its “supe­ri­or phys­i­cal strength.” By sim­ply refus­ing to yield to threats, anyone—even ordi­nary, pow­er­less people—can deny the government’s author­i­ty, “until the State comes to rec­og­nize the indi­vid­ual as a high­er and inde­pen­dent pow­er, from which all its own pow­er and author­i­ty are derived.”

Read Thoreau’s com­plete essay, “Civ­il Dis­obe­di­ence,” here.

Relat­ed Con­tent:

6 Polit­i­cal The­o­rists Intro­duced in Ani­mat­ed “School of Life” Videos: Marx, Smith, Rawls & More

Hear 21 Hours of Lec­tures & Talks by Howard Zinn, Author of the Best­selling A People’s His­to­ry of the Unit­ed States

‘Tired of Giv­ing In’: The Arrest Report, Mug Shot and Fin­ger­prints of Rosa Parks (Decem­ber 1, 1955)

Mar­tin Luther King, Jr. Writes a List of 16 Sug­ges­tions for African-Amer­i­cans Rid­ing New­ly-Inte­grat­ed Bus­es (1956)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

When Vladimir Nabokov Taught Ruth Bader Ginsburg, His Most Famous Student, To Care Deeply About Writing

There are a few ways to get a glimpse of Vladimir Nabokov as a teacher, a role he occu­pied for almost twen­ty years at Welles­ley and Cor­nell. We can take the “good read­er” quiz he gave to his stu­dents. We can lis­ten to his inter­views on life and lit­er­a­ture, though they won’t give us any sense of spon­tane­ity. The Russ­ian-émi­gré writer insist­ed on care­ful­ly script­ed ques­tions and answers “to ensure a dig­ni­fied beat of the mandarin’s fan.”

We can see also see Nabokov, as played by Christo­pher Plum­mer, teach his sec­ond favorite nov­el, Kafka’s The Meta­mor­pho­sis, at a Cor­nell lec­ture above. Plum­mer, who intro­duces him­self in the role, tells us, “this urbane, world­ly Russ­ian aris­to­crat spent a large part of his pro­duc­tive life in Itha­ca, New York.” And the char­ac­ter­i­za­tion, if not a like­ness, is a con­vinc­ing dra­mat­ic inter­pre­ta­tion of a very urbane, and wit­ty, Pro­fes­sor, not a man who “speak[s] like a child,” as the real Nabokov once wrote of him­self in 1973.

What of his stu­dents? What can they tell us about Nabokov as a teacher? One of his most famous, Thomas Pyn­chon, won’t say much. But per­haps his best known pupil, Ruth Bad­er Gins­burg, has paid him trib­ute many times, telling The Scribes Jour­nal of Legal Writ­ing in 2011, “I attribute my car­ing about writ­ing” to Nabokov, who “was a man in love with the sound of words. He taught me the impor­tance of choos­ing the right word and pre­sent­ing it in the right word order.”

Gins­burg, who stud­ied under Nabokov as an under­grad­u­ate in the ear­ly fifties, still sings his prais­es over six­ty years lat­er. “He was mag­net­i­cal­ly engag­ing,” she told The Cul­ture Trip this week. “He stood alone, not com­pa­ra­ble to any oth­er lec­tur­er.” And last month, the Supreme Court Jus­tice wrote a New York Times Op-Ed titled “Ruth Bad­er Ginsburg’s Advice for Liv­ing.” Sec­ond on the list, “teach­ers who influ­enced or encour­aged me in my grow­ing-up years.” Her first exam­ple, Nabokov, who “changed the way I read and the way I write.”

If Nabokov so pro­found­ly influ­enced Ginsburg’s read­ing and writ­ing, and made such a dra­mat­ic impres­sion on her as a pro­fes­sor, would we find any traces of that influ­ence in her jurispru­dence? Per­haps. As Jen­nifer Wil­son notes in the Los Ange­les Review of Books, Nabokov pro­nounced him­self “res­olute­ly ‘anti-seg­re­ga­tion­ist.’” This was among the “few issues he spoke out against strong­ly and unambiguously—Marxism, fas­cism, anti-Semi­tism, and racism.”

You may or may not see some influ­ence of Nabokov—of his repug­nance for legal­ized dis­crim­i­na­tion or of his metic­u­lous wording—in Ginsburg’s pas­sion­ate dis­sent to the 2013 gut­ting of the Vot­ing Rights Act, for exam­ple. There, Gins­burg called vot­er sup­pres­sion “the most con­sti­tu­tion­al­ly invid­i­ous form of dis­crim­i­na­tion” and wrote “giv­en a record replete with exam­ples of denial or abridge­ment of a para­mount fed­er­al right, the Court should have left the mat­ter where it belongs: in Con­gress’ baili­wick.” With­in their con­straints of legal writ­ing, I’d argue Ginsburg’s best sen­tences con­tain the cut­ting pre­ci­sion and wit of Nabokov’s scathing, deeply con­sid­ered obser­va­tions.

via The Cul­ture Trip/Vin­tage Anchor

Relat­ed Con­tent:

Take Vladimir Nabokov’s Quiz to See If You’re a Good Reader–The Same One He Gave to His Stu­dents

Vladimir Nabokov Names the Great­est (and Most Over­rat­ed) Nov­els of the 20th Cen­tu­ry

Vladimir Nabokov Talks About Life, Lit­er­a­ture & Love in a Metic­u­lous­ly Pre­pared Inter­view, 1969

Vladimir Nabokov (Chan­nelled by Christo­pher Plum­mer) Teach­es Kaf­ka at Cor­nell

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

 

Sal Khan & the Muppets’ Grover Explain the Electoral College

Grover, the more intel­lec­tu­al­ly-aspi­rant of Sesame Street’s two blue mon­sters, is a self-appoint­ed expert on anato­my (“the head is cov­ered with this long stringy stuff”), hygiene, and Span­ish, but the work­ings of the Unit­ed States Elec­toral Col­lege elud­ed him, until Salman Khan, founder of the Khan Acad­e­my wan­dered into the frame.

The pairing’s not as odd as you might think. The Khan Academy’s mis­sion is in many ways quite sim­i­lar to that of Sesame Street—free edu­ca­tion for the peo­ple, dis­trib­uted on a glob­al scale. Both are non-prof­it. The Khan Acad­e­my uses white­board screen­cast­ing where Sesame Street uses Mup­pets, but the goal is the same.

The ener­getic and high­ly dis­tractible Grover would be a chal­leng­ing pupil in any set­ting. Khan, whose teacher-stu­dent inter­ac­tions are rarely so face-to-face, han­dles him like a pro, wise­ly par­ing down a stan­dard issue Khan Acad­e­my les­son on the Elec­toral Col­lege to an eas­i­ly digestible three-and-a-half min­utes.

The take­away?

The Unit­ed States is an indi­rect democ­ra­cy.

Each state awards its elec­toral votes to the can­di­date who wins the pop­u­lar vote in that state.

The num­ber of elec­toral votes in any giv­en state is equal to its num­ber of con­gress­peo­ple plus its two Sen­a­tors.

There are a total of 538 elec­toral votes. In order to win the pres­i­den­tial elec­tion, a can­di­date must win at least 270 of those votes.

Sim­ple enough, but this mea­sured expla­na­tion does not com­pute with Grover.

So Khan employs an edu­ca­tion­al Nin­ja tech­nique. “How can I explain it in a way that you might under­stand?” he asks.

It turns out Grover is some­thing of a visu­al learn­er, who’s not at all shy about the work­ings of his own per­son­al brain. He’s prob­a­bly not ready for 8th grade alge­bra, but the Khan Acad­e­my sub­sti­tu­tion method pro­vides a water­shed moment, when Khan replaces elec­toral votes with chick­ens.

(If your frag­ile grasp of the Elec­toral Col­lege process would be mud­dled by the intro­duc­tion of chick­ens, stop watch­ing at the two minute mark. As the pro­lif­er­at­ing com­ments on the Khan Academy’s fifth Amer­i­can Civics les­son prove, some­times the sim­ple approach cre­ates more ques­tions than it answers.)

Relat­ed Con­tent:

Free Online Polit­i­cal Sci­ence Cours­es 

Mor­gan Free­man Teach­es Kids to Read in Vin­tage Elec­tric Com­pa­ny Footage from 1971

Elec­tion 2012: Your Free Tick­et to a Pop­u­lar Stan­ford Course

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

Father Writes a Great Letter About Censorship When Son Brings Home Permission Slip to Read Ray Bradbury’s Censored Book, Fahrenheit 451

book permission slip.jpg Ironic permission slip request https://twitter.com/i/moments/790703810427494400

How does cen­sor­ship come about in advanced, osten­si­bly demo­c­ra­t­ic soci­eties? In some cas­es, through insti­tu­tions col­lud­ing in ways that go unno­ticed by the gen­er­al pub­lic. As Noam Chom­sky has argued for decades, state agen­cies often col­lude with the press to spread cer­tain nar­ra­tives and sup­press oth­ers. And as we see dur­ing Banned Books Week, leg­is­la­tures, courts, and edu­ca­tion­al insti­tu­tions often col­lude with pub­lish­ers, teach­ers, and par­ents to sup­press lit­er­a­ture they view as threat­en­ing. One such case remains par­tic­u­lar­ly iron­ic giv­en the book in ques­tion: Ray Bradbury’s Fahren­heit 451, the sto­ry of a dystopi­an soci­ety in which all books are banned, and fire depart­ments burn con­tra­band copies.

Between the years 1967 and 1979, Bal­lan­tine pub­lished an expur­gat­ed ver­sion of the nov­el for use in high schools, remov­ing con­tent deemed objec­tion­able. Brad­bury was com­plete­ly unaware. For six of those years, the bowd­ler­ized ver­sion was the only one sold by the pub­lish­er. We can remem­ber this case when we read the response of writer Daniel Radosh to a per­mis­sion slip his son Milo brought home from his 8th grade teacher for a book club read­ing of Fahren­heit 451. Writ­ten in Milo’s own hand, the ini­tial note, at the top, informs Mr. Radosh that the nov­el “was chal­lenged because of it’s [sic] theme of the ille­gal­i­ty and cen­sor­ship of books. One book peo­ple got most angry about was the burn­ing of the bible. Sec­ond­ly, there is a large amount of curs­ing and pro­fan­i­ty in the book.”

After this con­fes­sion, Milo’s note asks for a parental sig­na­ture in a post­script. Address­ing the let­ter’s true writer, Milo’s teacher, Daniel Radosh respond­ed thus, in the typed note attached to his son’s let­ter.

I love this let­ter! What a won­der­ful way to intro­duce stu­dents to the theme of Fahren­heit 451 that books are so dan­ger­ous that the insti­tu­tions of soci­ety – schools and par­ents – might be will­ing to team up against chil­dren to pre­vent them from read­ing one.

It’s easy enough to read the book and say, ‘This is crazy. It could nev­er real­ly hap­pen,’ but pre­tend­ing to present stu­dents at the start with what seems like a total­ly rea­son­able ‘first step’ is a real­ly immer­sive way to teach them how insid­i­ous cen­sor­ship can be.

I’m sure that when the book club is over and the stu­dents realise the true intent of this let­ter they’ll be shocked at how many of them accept­ed it as an actu­al per­mis­sion slip.

In addi­tion, Milo’s con­cern that allow­ing me to add to this note will make him stand out as a trou­ble­mak­er real­ly brings home why most of the char­ac­ters find it eas­i­er to accept the world they live in rather than chal­lenge it.

I assured him that his teacher would have his back.

Radosh’s insin­u­a­tion that the let­ter his son was induced to write is not an “actu­al per­mis­sion slip” under­scores his claim that the exer­cise is real­ly a means of con­trol­ling chil­dren by means of col­lu­sion, even though, he jests, such a thing must be part of the les­son itself. Should he be allowed to read the nov­el, the sign­ing and deliv­ery of the per­mis­sion slip, Radosh dev­as­tat­ing­ly sug­gests, com­pletes Milo’s humil­i­a­tion, bring­ing home to him “why most of the char­ac­ters” in the book remain pas­sive, and “find it eas­i­er to accept the world they live in rather than chal­lenge it.”

In short, Radosh’s response, for all its pithy irony, digs deeply into the mech­a­nisms that sup­press speech deemed so “dan­ger­ous that the insti­tu­tions of society—schools and parents—might be will­ing to team up against chil­dren to pre­vent them” from read­ing it.

See Metro UK for a com­plete tran­scrip­tion of both let­ters.

via Vin­tage Anchor

Relat­ed Con­tent:

Hear Ray Bradbury’s Clas­sic Sci-Fi Sto­ry Fahren­heit 451 as a Radio Dra­ma

The Cov­er of George Orwell’s 1984 Becomes Less Cen­sored with Wear and Tear

Frank Zap­pa Debates Cen­sor­ship on CNN’s Cross­fire (1986)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Odd Vintage Postcards Document the Propaganda Against Women’s Rights 100 Years Ago

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The vicious, vit­ri­olic imagery and rhetoric of this elec­tion sea­son can seem over­whelm­ing, but as even casu­al stu­dents of his­to­ry will know, it isn’t any­thing new. Each time his­toric social change occurs, reac­tionary counter-move­ments resort to threats, appeals to fear, and demean­ing caricatures—whether it’s anti-Recon­struc­tion pro­pa­gan­da of the 19th cen­tu­ry, anti-Civ­il Rights cam­paigns 100 years lat­er, or anti-LGBT rights efforts today.

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At the turn of the cen­tu­ry, the women’s suf­frage move­ment faced sig­nif­i­cant lev­els of abuse and resis­tance. One pho­to­graph has cir­cu­lat­ed, for exam­ple, of a suf­frage activist lying in the street as police beat her. (The woman in the pho­to is not Susan B. Antho­ny, as many claim, but a British suf­frag­ist named Ada Wright, beat­en on “Black Fri­day” in 1910.) It’s an arrest­ing image that cap­tures just how vio­lent­ly men of the day fought against the move­ment for wom­en’s suf­frage. [It’s also worth not­ing, as many have: the ear­ly suf­frage move­ment cam­paigned only for white women’s right to vote, and some­times active­ly resist­ed civ­il rights for African-Amer­i­cans.]

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As you can see from the sam­ple anti-suf­frage post­cards here—dating from the late 19th to ear­ly 20th cen­turies— pro­pa­gan­da against the women’s vote tend­ed to fall into three broad cat­e­gories: Dis­turbing­ly vio­lent wish-ful­fill­ment involv­ing tor­ture and phys­i­cal silenc­ing; char­ac­ter­i­za­tions of suf­frag­ists as angry, bit­ter old maids, hatch­et-wield­ing har­ri­dans, or dom­i­neer­ing, shrewish wives and neglect­ful moth­ers; and, cor­re­spond­ing­ly, depic­tions of neglect­ed chil­dren, and hus­bands por­trayed as saint­ly vic­tims, emas­cu­lat­ed by threats to tra­di­tion­al gen­der roles, and men­aced by the sug­ges­tion that they may have to care for their chil­dren for even one day out of the year!

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These post­cards come from the col­lec­tion of Cather­ine Pal­czews­ki, pro­fes­sor of women’s and gen­der stud­ies at the Uni­ver­si­ty of North­ern Iowa. She has been col­lect­ing these images, from both the U.S. and Britain, for 15 years. On her web­site, Pal­czews­ki quotes George Miller’s com­ment that post­cards like these “offer a vivid chron­i­cle of Amer­i­can polit­i­cal val­ues and tastes.” Pal­czews­ki describes these par­tic­u­lar images as “a fas­ci­nat­ing inter­sec­tion [that] occurred between advo­ca­cy for and against woman suf­frage, images of women (and men), and post­cards. Best esti­mates are that approx­i­mate­ly 4,500 post­cards were pro­duced with a suf­frage theme.”

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As she notes in the quote above, the post­cards print­ed dur­ing this peri­od did not all oppose women’s suf­frage. “Suf­frage advo­cates,” writes Pal­czews­ki, “rec­og­nized the util­i­ty of the post­card as a pro­pa­gan­da device” as well. Pro-suf­frage post­cards tend­ed to serve a doc­u­men­tary pur­pose, with “real-pho­to images of the suf­frage parades, ver­bal mes­sages iden­ti­fy­ing the states that had approved suf­frage, or quo­ta­tions in sup­port of extend­ing the vote to women.” For all their attempts at pre­sent­ing a seri­ous, infor­ma­tive coun­ter­weight to incen­di­ary anti-suf­frage images like those you see here, suf­frage activists often found that they could not con­trol the nar­ra­tive.

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As Lisa Tick­n­er writes in The Spec­ta­cle of Women: Imagery of the Suf­frage Cam­paign 1907–1914, post­card pro­duc­ers with­out a clear agen­da often used pho­tos and illus­tra­tions of suf­frag­ists to rep­re­sent “top­i­cal or humor­ous types” and “almost inci­den­tal­ly” under­cut advo­cates’ attempts to present their cause in a news­wor­thy light. The image of the suf­fragette as a triv­ial fig­ure of fun per­sist­ed into the mid-twen­ti­eth cen­tu­ry (as we see in Gly­nis Johns’ com­i­cal­ly neglect­ful Winifred Banks in Walt Disney’s 1964 Mary Pop­pins adap­ta­tion).

suffragists-7

Palczewski’s site offers a brief his­to­ry of the “Gold­en Age” (1893–1918) of polit­i­cal post­cards and orga­nizes the col­lec­tion into cat­e­gories. One vari­ety we might find par­tic­u­lar­ly charm­ing for its use of cats and kit­tens actu­al­ly has a pret­ty sin­is­ter ori­gin in the so-called “Cat-and-Mouse Act” in the UK. Jailed suf­frag­ists had begun to stage hunger strikes, and jour­nal­ists pro­voked pub­lic out­cry by por­tray­ing force-feed­ing by the gov­ern­ment as a form of tor­ture. Instead, strik­ing activists were released when they became weak. “If a woman died after being released,” Pal­czews­ki explains, “then the gov­ern­ment could claim it was not to blame.” When a freed activist regained her strength, she would be rear­rest­ed. “On Novem­ber 29, 1917,” Pal­czews­ki writes, “the US gov­ern­ment announced it plans to use Britain’s cat and mouse approach.”

suffragists-13

You can see many more his­tor­i­cal pro- and anti-suf­frage post­cards at Palczewski’s web­site, and you are free to use them for non-com­mer­cial pur­pos­es pro­vid­ed you attribute the source. You are also free, of course, to draw your own com­par­isons to today’s hyper­bol­ic and often vio­lent­ly misog­y­nist pro­pa­gan­da cam­paigns.

suffragists-8

via Dan­ger­ous Minds

Relat­ed Con­tent:

Down­load All 239 Issues of Land­mark UK Fem­i­nist Mag­a­zine Spare Rib Free Online

11 Essen­tial Fem­i­nist Books: A New Read­ing List by The New York Pub­lic Library

Down­load Images From Rad Amer­i­can Women A‑Z: A New Pic­ture Book on the His­to­ry of Fem­i­nism

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Watch Online Every Presidential Debate Since 1960–and Revisit America’s Saner Political Days

On Wednes­day night, Las Vegas will mer­ci­ful­ly host the final pres­i­den­tial debate. And it promis­es to be anoth­er rated‑R affair. You’d except noth­ing less from the can­di­date who’s going to “make Amer­i­ca great again.”

If you want a spec­ta­cle your kids can actu­al­ly watch, then shut your TVs and trav­el back into Amer­i­ca’s past. Cre­at­ed by PBS and Microsoft, the web site watchthedebates.org lets you watch every tele­vised pres­i­den­tial debate since 1960. They’re gen­er­al­ly sub­stan­tive, all rat­ed PG, and cer­tain­ly a lit­tle nos­tal­gia-induc­ing.

Above you can watch Kennedy and Nixon go at it in the first tele­vised debate (1960). Head over to www.watchthedebates.org for more.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Free Online His­to­ry Cours­es

John Green’s Crash Course in U.S. His­to­ry: From Colo­nial­ism to Oba­ma in 47 Videos

The His­to­ry of the World in 46 Lec­tures From Colum­bia Uni­ver­si­ty

When L. Frank Baum’s Wizard of Oz Series Was Banned for “Depicting Women in Strong Leadership Roles” (1928)

wizard_oz_1900_cover

We’ve reached the final stretch of the most infu­ri­at­ing, unset­tling elec­tion I’ve ever expe­ri­enced. And we find the U.S. so polar­ized  that—as The Wall Street Jour­nal chill­ing­ly demon­strates in their “Blue Feed Red Feed” feature—the left and right seem to live in two entire­ly dif­fer­ent real­i­ties. Still, one would have to work very hard on either side, I think, to deny the role sex­ism has played. One can­di­date, a known and well-doc­u­ment­ed misog­y­nist, leads mil­lions of sup­port­ers call­ing for his opponent’s death, impris­on­ment, and humil­i­a­tion. That oppo­nent, of course, hap­pens to be the first woman to run on a major par­ty tick­et in a gen­er­al elec­tion.

Do many Amer­i­cans still have a prob­lem with accept­ing women as lead­ers? I per­son­al­ly don’t think there’s much of an argu­ment there, and peo­ple who see the ques­tion as redun­dant mar­vel at how long archa­ic atti­tudes about women in pow­er have per­sist­ed. At least these days we can open­ly have the—often high­ly inflamed—conversation about sex­ism in busi­ness, enter­tain­ment, and gov­ern­ment. And we can sup­port a cul­tur­al indus­try thriv­ing on strong female char­ac­ters in fic­tion, film, and tele­vi­sion. Not so much in 1928, when the Chica­go Pub­lic Library banned The Wiz­ard of Oz, writes Kristi­na Rosen­thal at the Uni­ver­si­ty of Tul­sa Depart­ment of Spe­cial Col­lec­tions, “argu­ing that the sto­ry was ungod­ly for ‘depict­ing women in strong lead­er­ship roles.’”

First pub­lished in 1900, L. Frank Baum’s fan­ta­sy nov­el ini­ti­at­ed a series of 13 Oz-themed sequels, all of which became immense­ly pop­u­lar after MGM’s 1939 film adap­ta­tion. (You can find them all in text and audio for­mat here.) And yet, “through­out the years the books have been opposed for their pos­i­tive por­tray­als of fem­i­nin­i­ty.” Var­i­ous libraries used sim­i­lar excus­es to ban the books through­out the 50s and 60s. The Detroit pub­lic library banned the Oz books in 1957, stat­ing they had “no val­ue for chil­dren of today.” The ban remained in place until 1972. One Flori­da librar­i­an cir­cu­lat­ed a memo to her col­leagues call­ing the books “unwhole­some,” among oth­er things, and caus­ing a run on local book­stores as chil­dren des­per­ate­ly tried to find them.

Oth­er groups decid­ed that the books pro­mot­ed witch­craft in charges sim­i­lar to those levied at the Har­ry Pot­ter series. In 1986, a group of Fun­da­men­tal­ist Chris­t­ian fam­i­lies in Ten­nessee came togeth­er to remove the The Wiz­ard of Oz from their schools’ cur­ricu­lum, protest­ing “the novel’s depic­tion of benev­o­lent witch­es.” They argued, writes Rosen­thal, “that all witch­es are bad, there­fore it is ‘the­o­log­i­cal­ly impos­si­ble ‘for good witch­es to exist.” Many seek­ing to ban the books since have sim­i­lar­ly referred to their pos­i­tive depic­tions of mag­ic and “god­less super­nat­u­ral­ism,” but the Ten­nessee case stands as a land­mark in the Reli­gious Right’s liti­gious cru­sade against the gov­ern­ment. The attor­ney who rep­re­sent­ed plain­tiff Vic­ki Frost called on “every born-again Chris­t­ian to get their chil­dren out of pub­lic schools.”

It’s odd to think of whim­si­cal children’s lit­er­a­ture so seem­ing­ly innocu­ous as The Wiz­ard of Oz books as ter­ri­to­ry in the long cul­ture wars of the 20th cen­tu­ry. But as we are remind­ed every year dur­ing Banned Books Week (Sep­tem­ber 25 − Octo­ber 1, 2016), lit­er­a­ture often arous­es the ire of those incensed by change and dif­fer­ence. Yet their attempts to sup­press cer­tain books have always back­fired, mak­ing the tar­gets of their cen­sor­ship even more pop­u­lar and sought-after. If you’d like to read Baum’s Oz books now, you needn’t con­front a gate­keep­ing librar­i­an; sim­ply head over to our post on the com­plete Wiz­ard of Oz series, with free eBooks and audio books of all 14 female-cen­tric fan­ta­sy clas­sics.

via The Smith­son­ian

Relat­ed Con­tent:

800 Free eBooks for iPad, Kin­dle & Oth­er Devices

The Com­plete Wiz­ard of Oz Series, Avail­able as Free eBooks and Free Audio Books

North Car­oli­na Coun­ty Cel­e­brates Banned Book Week By Ban­ning Ralph Ellison’s Invis­i­ble Man … Then Revers­ing It

74 Free Banned Books (for Banned Books Week)

1,000 Free Audio Books: Down­load Great Books for Free

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Hear George Orwell’s 1984 Adapted as a Radio Play at the Height of McCarthyism & The Red Scare (1953)

“If you want a pic­ture of the future,” George Orwell famous­ly said, “imag­ine a boot stamp­ing on a human face, for­ev­er.” Since his omi­nous warn­ing of com­ing tyran­ny, and the pub­li­ca­tion of his dystopi­an nov­el 1984, Orwell’s grim vision has been put to var­i­ous par­ti­san uses. Con­ser­v­a­tives lament­ing the polic­ing of speech invoke Orwell. So too does a spec­trum of voic­es speak­ing out against vio­lent author­i­tar­i­an­ism in actu­al polic­ing, and in the pol­i­tics of the right—related phe­nom­e­na giv­en the will­ing­ness of police and secret ser­vice to become enforcers of a campaign’s will at ral­lies nation­wide. The state and cor­po­rate mass media have both become com­plic­it in fos­ter­ing a cli­mate of out­rage, mis­trust, and inse­cu­ri­ty in which there seems to be, as Orwell wrote, “no loy­al­ty except loy­al­ty to the Par­ty.”

How did this hap­pen? If we, in the Unit­ed States, are ever inclined to learn from our his­to­ry, we might avoid falling vic­tim to the para­noid blan­d­ish­ments of dem­a­gogues and fear­mon­gers. While one cur­rent threat to democ­ra­cy comes from out­side the polit­i­cal sys­tem, in the 1950s, an insid­er used sev­er­al of the same tac­tics to hold the nation in thrall. The repres­sive post­war cli­mate of anti-Com­mu­nist pan­ic in which Joseph McCarthy rose to pow­er in the late 40s and 50s entrapped even Orwell, who “named names” in a list he sent to the British For­eign Office, sug­gest­ing cer­tain acquain­tances “were not fit for writ­ing assign­ments” with the gov­ern­ment because of sup­posed Sovi­et sym­pa­thies.

This secret act would have seemed like a bit­ter irony to many dis­si­dents in McCarthy’s Amer­i­ca, who sure­ly read 1984 with increas­ing alarm as the Red Scare took hold of Con­gress. For their part, read­ers fear­ing the Com­mu­nist threat heard echoes of Orwell’s warn­ings in McCarthy’s pro­pa­gan­da.

In what­ev­er way it was inter­pret­ed, 1984 had an imme­di­ate impact on the cul­ture. Its first radio drama­ti­za­tion, star­ring David Niv­en, pre­miered in 1949—the year after the nov­el­’s publication—aired by the NBC Uni­ver­si­ty The­ater. This was fol­lowed just four years lat­er with anoth­er radio adap­ta­tion pro­duced by The Unit­ed States Steel Hour, a radio and TV anthol­o­gy pro­gram that employed Rod Ser­ling as a scriptwriter and fea­tured notable guest stars like James Dean, Andy Grif­fith, Jack Klug­man, and Paul New­man.

The program’s radio dra­mas, called The­atre Guild on the Air, adapt­ed clas­sic nov­els like Pride and Prej­u­dice and plays from Eugene O’Neill and Ten­nessee Williams. Its 1953 radio play of 1984 starred Richard Wid­mark as “Smith” and Mar­i­an Seldes as “Julia.” The play opens—as you can hear above—with a dire announce­ment of “the most ter­ri­fy­ing sub­ject in the news today: the threat to all free men of Com­mu­nism or total­i­tar­i­an dom­i­na­tion in any form.”

Whether they saw creep­ing Stal­in­ism or the rabid anti-Com­mu­nism of McCarthy as the more insid­i­ous force, read­ers of the 1950s found Orwell imme­di­ate­ly rel­e­vant. He has remained so, such that con­ser­v­a­tive colum­nist David Brooks, who has made many an Orwell ref­er­ence in the past, describes the recent “birtherism” turn­around as an “Orwellian inver­sion of the truth” in the PBS New­shour appear­ance above:

And so we are real­ly in Orwell land. We are in “1984.” And it’s inter­est­ing that an author­i­tar­i­an per­son­al­i­ty type comes in at the same time with a com­plete dis­re­spect for even tan­gen­tial rela­tion­ship to the truth, that words are unmoored.

And so I do think this state­ment sort of shocked me with the purifi­ca­tion of a lot of ter­ri­ble trends that have been hap­pen­ing. And so what’s white is black, and what is up is down, what is down is up. And that real­ly is some­thing new in pol­i­tics.

Like com­par­isons to anoth­er, all-too-real, total­i­tar­i­an regime, ref­er­ences to Orwell’s author­i­tar­i­an soci­ety have grown hoary over the decades, and often seem so elas­tic that they fall into triv­i­al­iz­ing cliché. But com­par­isons to fas­cism in a time when many vocal par­ti­sans are avowed fas­cists, or may as well be, seem almost tau­to­log­i­cal. The moment Brooks calls “Orwellian” above also seems pre­cise­ly that—a will­ful, coor­di­nat­ed, bla­tant, and total rever­sal of polit­i­cal language’s rela­tion­ship to any­thing even resem­bling the truth.

You can also stream the radio pro­duc­tion at the Inter­net Archive, who host all 74 The­atre Guild on the Air pro­duc­tions. 1984 was the last of the radio dra­mas before The Unit­ed States Steel Hour moved to tele­vi­sion, where Rod Ser­ling attract­ed con­tro­ver­sy for his 1956 dra­ma Noon at Dooms­day, inspired by the Emmett Till case, and anoth­er Cold War work still ter­ri­bly rel­e­vant to our time.

“The vic­tim” of the play, wrote Ser­ling in the intro to his 1957 col­lec­tion Pat­terns, “was on old Jew who ran a pawn­shop. The killer was a neu­rot­ic mal­con­tent who lashed out at some­thing or some­one who might be mate­ri­al­ly and phys­i­cal­ly the scape­goat for his own unhap­py, pur­pose­less, mis­er­able exis­tence.” The episode imme­di­ate­ly pro­voked “a wel­ter of pub­lic­i­ty that came from some 15,000 let­ters and wires from White Cit­i­zens Coun­cils and the like protest­ing the pro­duc­tion of the play” for its resem­blance to the Till case. “I shrugged it off,” wrote Ser­ling, “answer­ing, ‘If the shoe fits.…’ ”

Relat­ed Con­tent:

George Orwell’s Final Warn­ing: Don’t Let This Night­mare Sit­u­a­tion Hap­pen. It Depends on You!

Hear the Very First Adap­ta­tion of George Orwell’s 1984 in a Radio Play Star­ring David Niv­en (1949)

Hux­ley to Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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