On Flags and Fraternities:
The Lessons in Charles Chesnutt's "Po' Sandy"
| When Pat Buchanan remarked a few years ago that if there is room for
the song "We Shall Overcome" in our country, then there is room for the
Confederate flag, I was struck again by the obtuseness of those who fail
to see why a flag that was flown by an army fighting to preserve slavery
(albeit among other issues) might be offensive--not only to the descendants
of slavery but also to all who find the institution reprehensible. I bring
up the issue of flying the Confederate flag when I teach Charles Chesnutt's
"Po' Sandy," a story that illuminates clearly how a symbol of the Old South--whether
it be a kitchen built off of the main house, as in this short story, or
a Confederate flag--cannot be separated from the history of slavery and
just represent the romantic side of the time period or Southern pride.
Not only should one not ignore the not-so-romantic other side of the coin,
but also, the reality of that "other" side reveals the illusory nature
of the romance.
"Po' Sandy" is the second story in Chesnutt's The Conjure Woman. The reader learns in the first story that John, the white narrator of each story's frame, and his wife Annie have recently moved to North Carolina from the North. Subtleties in the first story, "The Goophered Grapevine," reveal that although the move was made ostensibly for Annie's health, in reality John has complied with the doctor's recommendation in order to take advantage of the cheap land and labor which are a consequence of the Civil War. Essentially, then, this white man is a carpetbagger. Chesnutt uses this character--ironically--in the tradition of the "authoritative" voice framing such works as Narrative of the Life of Frederick Douglass, an American Slave and Harriet Ann Jacobs's Incidents in the Life of a Slave Girl. Rather than validate the narrative to come, in the opening and closing frame of each story of Chesnutt's collection John attempts to discredit the black narrator of the conjure tales, "Uncle" Julius. The reader soon recognizes, however, that Julius is the true authority in the collection; like Douglass and Jacobs, he is an authority on slavery. |
copyright © 1999 by Margaret D. Bauer