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LiFT Art Salon: Hammonds House II

...read the late twentieth century writings of Octavia Butler, Steven Barnes, and Samuel R. Delany alongside the visual images of early 20th century artists, like Aaron Douglas. Exploring connections across genres and time periods, as...

LiFT Art Salon: Hammonds House

...spread across the city's many neighborhoods. The rebranding of City Hall East, Krog Street, and the Atlanta Railroad as Ponce City Market, Krog Street Market, and the celebrated Atlanta Beltline underscores a shared aesthetic at the heart of...

Frank Willis

...friend Jennifer said so, never went to the Jefferson Memorial, climbed the stone rhino at the Smithsonian, cursed tourists, took exquisite phone messages for my father, a race man, who...

Chattanooga, Tennessee images

Chattanooga, Tennessee: Inflatable Figures, Rock City, Lookout Mountain Located on top of Lookout Mountain, Rock City is only six miles from downtown Chattanooga. Woman on Cell Phone and Construction Site...

Goin' to Chicago and African American "Great Migrations"

...a comment from a researcher that I hired to track down historical film and video of black Chicago. One day during a phone call she expressed anger and frustration at...

Battle of Atlanta Project Discussion and Exhibit Set for July 17 at Emory's Woodruff Library

...Thursday, July 17, at 6:30 p.m. in the Joseph W. Jones Room. Developed by the Emory Center for Digital Scholarship (ECDS), the smartphone-friendly tour provides GPS directions and mapping, historical...

MAP IT | Little Dots, Big Ideas: Transforming the Humanities with Geo-Spatial Analysis

...to take permission from a government authority before acquiring, disseminating, or publishing or distributing any geospatial information of India." The Times report explains that passage of the bill would mean...

Queering Southern Gospel: A Review of Douglas Harrison's Then Sings My Soul

...like Germany without its Jews." Harrison's gay-gospel paradox transcends race and could be applied to any homophobic area of American life, but the hypocrisy seems all the more glaring, as...

Envisioning Faulkner and Southern Literature

...by his contemporary, Walter Anderson, a ﬁgure who was known for his pottery and who made madness into art. This being said, the William Faulkner who had any interest in...

References
1.	Eric Foner, Reconstruction: America's Unfinished Revolution, 1863–1877 (New York: Harper and Row, 1988).
2.	Shawn Lay, The Invisible Empire in the West: Toward a New Historical Appraisal of the Ku Klux Klan of the 1920s, ed. Shawn Lay (Urbana: University of Illinois Press, 1992): 56.
3.	Mark Auslander, "Driving Back into the Light: Traversing Life and Death in a Lynching Reenactment by African Americans," in Vehicles: Cars, Canoes and other Metaphors of Moral Imagination, eds. David Lipset and Richard Handler (New York: Berghahn Books, 2014): 178–193.
4.	Teresa Lenox, "The Carver Village Controversy," Tequesta: The Journal of the Historical Museum of South Florida, no. 50 (1990): 39–51.
5.	Robert Franklin Williams, Negroes with Guns (Detroit: Wayne State University Press, 1962): xiv. In July 1965, gunfire from the Deacons for Defense and Justice dispersed a Klan motorcade firing shots at African American homes in Bogalusa, Louisiana.[fn]Christopher B. Strain, "'We Walked Like Men': The Deacons for Defense and Justice," Louisiana History: The Journal of the Louisiana Historical Association 38, no. 1 (1997): 43.
6.	David Cunningham, There's Something Happening Here: The New Left, the Klan, and FBI Counter-Intelligence (Berkeley: University of California Press, 2005).
7.	Mark Auslander, "'Holding on to Those Who Can't Be Held'": Reenacting a Lynching at Moore's Ford, Georgia," Southern Spaces, November 8, 2010, https://southernspaces.org/2010/holding-those-who-cant-be-held-reenacting-lynching-moores-ford-georgia.
8.	Although opponents of the flag often assume it was used by the Ku Klux Klan from the time of the organization's founding in 1865, there is little evidence that the Klan used the flag until the 1940s (John Coski,The Confederate Battle Flag: America's Most Embattled Emblem [Cambridge: Belknap Press of Harvard University Press, 2005]: 85–96.) To be sure, the founders of the first Klan were Confederate veterans and honored the memory of the Lost Cause, and many second Klan members from 1915 through World War II felt great loyalty to the memory of the Confederacy, but they appear to have shared the prevailing white Southern sentiment that the flag was best reserved for honoring the Confederate dead in cemeteries and in solemn commemorative marches. From the time of General Robert E. Lee's surrender at Appomattox until the mid-1940s, the flag was largely under the control of heritage organizations such as the Sons of Confederate Veterans and the United Daughters of the Confederacy. From 1945 onwards, the revised Klan made extensive use of the Confederate battle flag, at times in conjunction with cross burnings at Stone Mountain and other sites. Following the war, members of the elite white fraternity Kappa Alpha increasingly displayed the flag at football games and in "Old South" processions. The rise in public flag display coincided with growing white southern resistance to Truman's civil rights proposals. The flag was widely used in the 1948 National States Rights Democratic Party, the "Dixiecrats," although it was never adopted as the party's official emblem. By 1951, Roy V. Harris, editor of the Augusta Courier and former speaker of the Georgia House of Representatives would write that the flag, "is becoming to be [sic] the symbol of the white race and the cause of the white people. The Confederate flag means segregation" (Coski, 137).
9.	Coski, 126.
10.	Auslander, "Driving Back into the Light," and "'Holding on to Those Who Can't Be Held.'"
11.	Gwendolyn Brooks, "The Chicago Defender Sends a Man to Little Rock, Fall 1957," in The Bean Eaters (New York: Harper, 1960).
12.	Laura Wexler, Fire in a Canebrake: The Last Mass Lynching in America (New York: Scribner, 2003).

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