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Researching Civil War Home Fronts and Beyond

by Vikki Bynum

Back in fall, 2001, just months after the release of my book, Free State of Jones, David Woodbury (moderator of Battlefields and Bibliophiles) interviewed me for the Civil War Forum Conference Series. As I read today the questions that he and others posed, and my answers to them, it becomes clear why I wrote The Long Shadow of the Civil War: Southern Dissent and Its Legacies. There was so much more I wanted to know, or knew and wanted to tell. For example, although I identified the Collins and allied families as representing the heart of Jones County Unionism, I had only touched on the parallel renegade band led by another branch of the same family in the Big Thicket of East Texas.  Likewise, I had barely tapped into records detailing the postwar political activism of Collinses in both Mississippi and Texas.  And then there was Newt Knight himself. I obtained copies of Newt’s voluminous claim files of 1887-1900 from independent researcher Ken Welch shortly before Free State of Jones went to press. Although the claim files did not change my essential understanding of Newt Knight, they provided such rich detail about the claims process, and the men who either joined or opposed the Knight Band, that I decided to devote a chapter to them in the new book. In yet another chapter, I expanded on the history of the multiracial Knight community that resulted from collaboration between Newt Knight and Rachel, the former slave of his grandfather. For the new book, I also returned to my research on the Unionists of the North Carolina Piedmont who figured so prominently in my first book, Unruly Women. The inner civil war that raged in North Carolina’s “Quaker Belt” (Montgomery, Moore, and Randolph Counties) had stimulated me to research the similar “war” of Jones County.  Yet, despite their similarities, I soon discovered important differences between these Civil War home front wars. That’s when I decided to compare all three communities of dissent–those of Jones Co., MS, the NC Quaker Belt, and the Big Thicket of East Texas–in the same volume. And so the idea for Long Shadow of the Civil War was born. As you read the 2001 question and answer session that follows, I think you’ll understand why I felt compelled to continue my research on southern dissenters, and to expand the story even further beyond the Civil War. My thanks to David Woodbury for permission to repost his Q & A session with me.

 

Transcript of the 35th session of the Civil War Forum Conference Series. GUEST: Dr. Victoria Bynum TOPIC: The subject of her book, “The Free State of Jones: Mississippi’s Longest Civil War” Date: October 25, 2001 ——————————– Greetings, and welcome to the  35th session of the Civil War Forum conference series. We are very pleased tonight to have with us Dr. Victoria Bynum, professor of history at Southwest Texas State University in San Marcos, discussing the subject of her new book: “The Free State of Jones: Mississippi’s Longest Civil War” (Chapel Hill: University of North Carolina Press, 2001). Let’s get started.

Q. (David Woodbury): Welcome Dr. Bynum.  Since this is probably a fairly obscure topic even among Civil War buffs, can you begin with an overview of Jones County, and what set it apart from the rest of Mississippi (e.g., the paucity of slaves there), and the events that gave rise to stories of the so-called “Free State,” or Kingdom of Jones?

A. (Victoria Bynum): Jones County was founded in 1826, and it’s part of one of the earlier-settled sections of Mississippi (because of Native Americans already being pushed out of that part of the state, but not out of the more fertile portions of Mississippi). Many of the earliest settlers were veterans of the War of 1812, especially. I won’t go too much into it, but because it was the Piney Woods region, you didn’t have a great many slaveholders there. Slavery was important — there were slaveholders — but not many *big* slaveholders. It had the lowest number of slaveholders of any county in the state, and almost 80 percent of those slaveholders owned fewer than four slaves. So, just to leap forward to the Civil War itself, this was a region that was pretty ripe — by around 1862 — for seeing the war as a “rich man’s war” and “poor man’s fight,” because they were the poorest men in the state. I don’t want to imply that they were landless, because they were small landowners, but in terms of slaveholders, they were the poorest in the state. [The county] voted almost 2-1 against secession. Moving ahead to the 20th century about how all these stories got started — what made this story so legendary and why it has persisted so long is that the leader of this band of deserters crossed the color line. Now, it’s not that crossing the color line was so unusual, it’s the way that Newton Knight did it. He not only crossed the line, but two of his children intermarried with the children of the slave woman who was his chief collaborator (it was after the war that they intermarried — she was his collaborator during the war). And that resulted in a mixed-race community that’s still very vibrant today — a very large mixed-race community that claims descent from Rachel the slave, and Newton, the leader of the deserter band. …So you’ve had this ongoing battle — this is why I make the second part of the title, “Mississippi’s Longest Civil War,” because factions of this family have been debating the meaning of this uprising since the Civil War. And with the racial aspect, it has made the debate particularly volatile. Those who wanted to defend the Unionism of the Knight band generally just erased the story of the race-mixing, and those who were pro-Confederate . . . used the racial mixing as just further examples that these were deviant men who committed treason against the country, against the Confederacy, and against their race. That’s why the story has lasted, [and] because there have been several books written, and a novel, and even a movie made from the novel.

Q. (David Woodbury): One of the fun things about reading your book is the spirit of investigation, or discovery, in unmasking the past. Can you recall any major breakthroughs during the course of your research, or any particular surprises you encountered upon digging deeper?

A. (Victoria Bynum): I believe some of the most delightful surprises were the ongoing discoveries I made about the Collins family — I believe that their story is one that was buried because of the notoriety of Newt Knight. The discovery that their ancestors were both Regulators back in the 1760s and Populists in the 1890s kind of gave me a whole view of Southern dissent as represented by this family, in a way that just stood right out — and made them the core of the Unionist group there, rather than Newt Knight. And I want to add that probably the biggest surprise was that the Collinses had brothers in Texas who were leaders of their own deserter band, so there were actually two deserter bands which existed simultaneously. It just showed the uncompromising nature of their Unionism; not nearly all the deserters were as Unionist as the Collins’s. There was a core group of about five different families that I would call truly Unionist. Putting that together was very exciting, because I kept finding connections between the very distant past, and the Civil War era, and connections between the  various families as well.

Q. (Margaret  D. Blough): What was the reaction of the Confederate authorities? Was it as  brutal as the suppression of the earlier East Tennessee Unionist uprising?

A. (Victoria Bynum): I’m not sure just how brutal that was, in terms of making an exact comparison, but the Confederacy did send two expeditions into Jones County to put down the uprisings there, and in the Official Records [of the Confederate and Union Armies] there is quite a bit of discussion of Jones County. The most important example is Colonel Lowry’s raid on Jones County. In the space of a few days, they executed ten members of the Knight Company –the Knight Band. That was the worst experience that the  Jones County group experienced. I imagine that it was probably worse in East Tennessee due to the geographic location. Jones County was still pretty remote, and there weren’t as many raids.

Q. (Teresa N. Blaurock): So nice to have you here to tell us more about your book! My co-workers, not Civil War buffs, were intrigued by the subject, and seemed ready to read more on the topic. One question I had is about “jeans” cloth. Can you tell us anything about it?

A. (Victoria Bynum): [You're] referring to when Newton Knight — in 1865, he was relief commissioner — had an order from the military government in place at that time to seize a certain amount of goods from the former CSA representative of the county, who was a merchant, and they refer to Jeans cloth in there…

Q. (Stevan F. Meserve): Jeans cloth is not denim, but a particular weave of wool. It was  commonly used in uniform trousers. I just had to stick that in. My question is about Unionist sentiment in Jones County. How many precincts of the county voted to remain in the Union? Here in Loudoun County, Virginia, for example, three of 16 precincts voted to remain in the Union.  Overall, the county voted 2:1 to secede.

A. (Victoria Bynum): All I know — that I’ve been able to find — is that 166 people voted against secession, and I believe it was about 89 who voted for it… Let’s see… Yes, 166 for the Cooperationist Candidate, and 89 for the Secessionist Candidate. In fact, neighboring Perry County (I don’t have those numbers with me) was even more Unionist. So Jones County was not isolated in that respect. The Perry County delegate held out longer.

Q. (Margaret  D. Blough): Did any of the Jones County Unionists articulate why they supported the Union? The pressure must have been intense in the Deep South for secession?

A. (Victoria Bynum): Yes, of course in their county they didn’t feel that so directly — more so when the war began — but (after the war) they cited the 20 Negro Law [when] citing reasons for their desertion from the Confederacy. The only articulated Unionist statements are by the Collins family, who did not believe that the election of Abraham Lincoln was grounds for secession. And there’s a quote of a certain Collins brother counseling men to try to get duty in the hospitals as nurses if they did join the service — that they should not fight against the Union. And one more statement attributed to the Collinses is that while they didn’t believe in slavery, they also did not believe that the federal government had the right to end it.

Q. (Teresa N. Blaurock): Early in the book, you describe rivers that were dammed to provide power for mills, but preventing fishing for those needing to do that. It seems such a conflict! I know the Jones County deserters were really against the 20 Negro Law, which was the objection to “government” in their era.

A. (Victoria Bynum): One of the things that I found, as you no doubt noticed, were that these were people who were very touchy about the government’s role in their lives. And again to use the Collinses as an example, since they were always in the thick of it — as they moved across the frontier they continued petitioning the government to respect their rights as citizens and to provide them protection, not only against Indians, but against corrupt local officials. So this is a theme that runs throughout their history, and I think that’s the point that you’re making with your comment.

Q. (David Woodbury): It sounds like your research benefited nearly as much from elderly locals and descendants as it did from archival work. That is, they were able to show you things, like the grave sites of Newt and Rachel Knight. Could you have written this book 20 or 30 years from now, after many of these people are gone?

separate photos of tombstones of Rachel (left) and Newt Knight. Photos by Victoria Bynum

A. (Victoria Bynum): I agree that my personal contacts with descendants was really crucial to the book, and no I couldn’t have written the same book. I could have written *a* book — a study — but in fact when I started writing this book I had no idea that I would achieve the kind of contact with local people that I did. It brought perspectives that I just don’t think I could have pieced together from archival documents. In particular, I don’t think I could have described the mixed race community if I hadn’t spent a lot of time among the descendants of Rachel and Newton Knight… And I don’t believe I could have written *nearly* the kind of study of their community without that personal contact. That was crucial.

Q. (Margaret  D. Blough): To tie into what Terry asked, I’ve seen some opinions that many of the Unionists areas in North Carolina, etc., in the mountains had had no experience with the US government, except for the postal system and the first experience they had with an intrusive government was Confederate authorities enforcing the conscription and impressment laws?  Is that what you saw?

A. (Victoria Bynum): I would say that in general that was true, once they settled in Jones County, that they had a lot of local autonomy. Some writers suggest there was no real government in Jones County before the war, but that just isn’t true. But it is fair to say that they had very limited contact with state government at the top, or federal government. However, I would still point out that their frontier petitions do show quite an interest in the Federal government and  its power. They have a long history of protest of corrupt local government, and I suspect that during the Civil War they developed a similar relationship with the Federal government, because they saw the Confederacy as another example of corrupt local government. That tradition goes all the way back to the Regulators.

Q. (David Woodbury): You include a photograph of the Leaf River in your book, “site of Deserter’s Den — the Knight Company’s Civil War hideout.” Were you able to pinpoint the actual location, and what is there today  (presumably private property)?

The Leaf River, intersection of Covington and Jones Co., MS, site of Deserters’ Den. Photo by Victoria Bynum

A. (Victoria Bynum): It is private property today. I took the photo myself and I was taken there by one of those local old-timers. Not very far from that river — the site of that river in the photograph — is the cemetery of Newton Knight’s grandfather. That land is now in the hands of a private company, and we had to be escorted into the cemetery by someone who had a key… But all of those lands used to be owned by the core members of the deserter band.

Q. (Stevan F. Meserve): On the subject of “intrusive” government, how much intrusion did Jones County see during the war from officials on either side? The territory between Hattiesburg and Meridian was pretty much no man’s land, wasn’t it?

A. (Victoria Bynum): I think it was pretty much considered no-man’s land between those areas. The Confederacy managed to have a Home Guard unit down in Jones County, headed by a local Confederate officer, and that was Amos McLemore, reputed to have been murdered by Newt Knight and his men. By April of 1864, when more and more reports were reaching Confederate officials elsewhere that Jones County was under the control of deserters, and they had murdered some of the tax agents, then they sent the two expeditions I mentioned earlier… Col. Maury, in March (1864), subdued the deserters a bit but they came back just as strong, so then they sent Col. Robert Lowry in April. Now that really did splinter the band. He executed ten of them, and that’s when a number of them fled to New Orleans and joined the Union army. About 40 — they weren’t all members of the band — about 40 Jones County men joined the Union Army in New Orleans… And then about 15 men were captured and forced back into the Confederate army. That left about 20 more whom they never caught, including Newt Knight, still out in the swamps.

Q. (Teresa N. Blaurock): You describe the prominent role of women in the book. Using “polecat musk and red pepper” to throw off the scent of the men from the dogs was rather emphatic. How did that come to be known as the thing to use?

A. (Victoria Bynum): Well, according to Ethel Knight, who wrote the best known book (The Echo of the Black Horn, 1951), the white women learned it from Rachel, the slave. I don’t know where she got her information from.

Q. (Azby): In your opinion, at what point did the Civil War become “inevitable”?  question?

A. (Victoria Bynum): I would suppose that once Lincoln called for troops from the South, and even many who opposed secession turned the other way — when the image of invasion became a vivid one, the firing on Fort Sumter and the call for troops, one could say that’s when it began to appear inevitable. Or you could look at it more broadly, and simply say that when the Northern states put in their constitutions gradual emancipation while the South simultaneously began designs for expanding slavery into the Southwest, some would say that’s when war became inevitable. But I’m not real big on “inevitability.”

Q. (David Woodbury): When did you first hear of the legend about Jones County in the Civil War? And what first drew you to this as a subject of scholarly research?

A. (Victoria Bynum): I first learned about Jones County around 1976 when I was an undergraduate in college. I saw it in a footnote in the Randall and Donald — the old Civil War text [Randall, James G., and David H. Donald. The Civil War and Reconstruction]. I did not hear about it from within my own family, even though my father was born in Jones County. What drew me to it as a subject of scholarship was writing my first book, Unruly Women. I have two chapters on the Civil War there, and one of those chapters centers on a county very similar to Jones County in many ways, and that’s Montgomery County, North Carolina. …But I just became fascinated with the topic of Southern Unionism, and the way that entire families were involved in resisting the Confederacy. It was both the class element in it, and the participation of women and free blacks in North Carolina that made me then want to look at Jones County. So, it was only as I developed as a historian myself that I decided I would like to do a study of Jones County.

Q. (David Woodbury): Would you talk a little bit about the so-called “white Negro” community in Jones County after the war, the trial of Davis Knight in the 1940s, and why this is such an important part of the story of “The Free State of Jones.”

A. (Victoria Bynum): I think it’s incredibly important because it reveals how 20th century race relations and segregation buried the story of the Free State of Jones beneath all these stereotypes about race-mixing, and then combined with the Myth of the Lost Cause, which presented Unionists as treasonous. The story had just become so distorted. And so I began and ended the book with the trial to basically look at why race was such a volatile part of the story, and then to move from there to look at the story of a class-based uprising of white men that is an important story in its own right, and would not have been buried so deeply if it had not been for the obsession with Newton Knight’s interracial relationship with Rachel. And so I was determined to tell both stories, and particularly to try to bring back the stories of all these other members of Knight’s band who had just sort of been lost from the picture. Thanks everyone. The questions were good ones, I enjoyed them.

The Long Shadow of the Civil War (University of North Carolina Press, 2010)

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Note from moderator Vikki Bynum: With David Woodbury’s permission, I have posted here his interview with author Leonard Todd as a followup to “A Beautiful Craft; A Wonderful Book: Dave the Potter and Carolina Clay.” This Q & A was originally published on November 02, 2009, on David’s blog, Of Battlefields and Bibliophiles

A sidenote to Leonard’s sensitive discussion of the life of Dave, a slave within his ancestors’ household, is his mention of his ancestral name of Landrum. The Landrums of Jones County, Mississippi, were originally from South Carolina. Many of them were Unionists during the Civil War. Leonard tells me that his great-great-great granduncle, Dr. Abner Landrum, was one of the foremost Unionists in the South Carolina upstate.

My thanks to David Woodbury for his generous lending of this and the previous post on Carolina Clay!

Dave the Slave
a Q&A with author Leonard Todd

At left. Leonard Todd with some of Dave’s pottery. Photo by Brook Facey.

Faithful readers with better than average recall and few distractions in their lives will remember a blog entry from a month ago when I first became enthralled with Leonard Todd’s book, Carolina Clay: The Life and Legend of the Slave Potter Dave. Since that time, I took time to read it cover-to-cover, and corresponded with the gracious Mr. Todd about his uniquely American story.

I sent him six questions, and received six answers, presented here unedited.

OBAB: Thanks very much for taking the time to respond to some questions about your book. First let me say that I enjoyed reading it very much. It’s a powerful and poignant journey of discovery, and fascinating in the way your effort to piece together the life of this illusive historic figure is simultaneously a fleshing out of your own family history and roots. Could you begin by relating a little bit about the experience of first learning about Dave’s pottery in The New York Times, and of the dawning realization that you had familial ties to the potter?

Leonard Todd: I can remember the exact date on which I first learned of Dave. I was in New York City, where I had lived for almost thirty years. I opened The New York Times on January 30, 2000, to find an article announcing an exhibition of his work. I read that, while in bondage, Dave had created pots of great size, utility, and beauty—many bearing original poems that he had inscribed on them while their clay was damp. The article indicated that he had lived in South Carolina, which increased my interest because I had been born and raised there—in Greenville—before moving north.

Information at the end of the piece, however, took my breath away: Dave had been owned for much of his life by pottery manufacturers named John Landrum and Lewis Miles. Their names matched those of ancestors of mine, who had lived in a small, central South Carolina town called Edgefield, not far from the Georgia border. I saw that Dave also had lived in Edgefield. With sudden understanding, I realized that my family had owned Dave!

That moment of discovery was like finding a door flung wide to the past: Through it, I could glimpse a complex world of clay and kilns and pottery workers—that I had known nothing of. I was pleased to find that I was linked to Dave, one of the south’s great artisans, yet dismayed that slavery was the mechanism that connected us. Like many white southerners of my generation, I had grown up with a vague sense that my ancestors had been slaveholders. It seemed so long ago, however, that I regarded it as almost unreal. Now, I couldn’t do that anymore.

OBAB: On the surface, this is an account of a skilled slave—exceptional in that he could read and write—whose utilitarian workmanship has transcended to the realm of valuable museum pieces. But the story is so much more than that with your personal connection to the artist. Like the author Edward Ball in Slaves in the Family, you were compelled to face potentially uncomfortable truths about family history. Quite frankly, it would have been easy to concentrate on the pottery and present this as the story of a well cared for servant of kindly masters, and left it at that (an apologist alternative still commonplace today). I thought you treated “the elephant in the room” honestly, and without flinching. Did you struggle with that at all, or do you feel far enough removed to be dispassionate in recounting simple history? Was there any resistance on the part of present-day family members along the lines of letting sleeping dogs lie?

Leonard Todd: My ancestors were Dave’s owners throughout most of his life. When I began writing Carolina Clay, I was so uncomfortable with this fact that I bent over backwards to judge them harshly. Over the course of several drafts, however, I began to understand that my role was not to judge but simply to tell what happened. This would leave the reader free to come to his or her own conclusions.

By telling the story in a straightforward way, I hoped to reach a deeper understanding of both sides caught up in the slavery system. Only by seeing the slave owner and the slave in all their complexity—their strengths and their weaknesses—could I begin to penetrate the world that produced Dave.

My relatives were uniformly supportive of my project. Their only qualm was that I would not be able to find enough material about Dave in the historical record. And, indeed, mentions of him are sparse. As anyone who has tried to research the life of an individual slave can tell you, the institution of slavery so complicated the lives of those in bondage and at the same time so completely erased the record of what it had done that it is often impossible to discover what happened to them. I was able to put together clues about Dave and his fellow workers in the potteries of Edgefield by learning all I could about the men who owned those factories. In an odd way, I first had to know the slave owner before I could know the slave.

OBAB: I learned a lot about the history of pottery in this country from your book, all very interesting—in particular, the workings of groundhog kilns, the development of different glazes, and the mysterious adoption of some ancient Chinese techniques in antebellum America. You mentioned a new program at the Piedmont Technical College in Edgefield that planned to construct a groundhog kiln of the type Dave used. Your book’s been out for a year or more—how’s that kiln coming along? What a cool idea. At the very least they should get you to lead a class out to Pottersville (I know the location of the Stony Bluff kiln remains a secret—damn relic hunters!).

Leonard Todd: The ground was broken for the construction of the school’s outdoor kiln on July 12, 2009. This date fell on the 200th anniversary of Dr. Abner Landrum’s discovery of a bountiful supply of fine clay in Edgefield District, a discovery that led to a century of successful pottery making here. I was invited to be among the speakers at the ceremony. I took that opportunity to present a very special guest to the audience. She was Mrs. Thomasina Holmes Bouknight, who was the only person I had found who knew of a link to Dave in her life: He had made a large jar with an inscription on it for her mother, whose parents had been slaves in the area where Dave lived. She had recounted the fascinating history of the jar to me when I was writing my book (see page 205 of Carolina Clay). After I introduced her to the crowd, she rose and took a bow in response to the protracted applause. A few weeks later, she died. With her passing, the last known connection to Dave disappeared.

Though construction on the kiln is temporarily on hold, it will, when completed, be one of the major attractions of Edgefield. Its site is only a few steps from Main Street. Crowds will be able to gather for firings, as they did when Dave made his pots in the district.

OBAB: If tenderly cared for, do the surviving jugs and containers have a shelf life before they begin to crumble or disintegrate? Or will they effectively last forever, like stone?

Leonard Todd: I asked an expert to answer this one. He is master potter Gary Clontz, Coordinator of the Professional Pottery Program at Piedmont Technical College in Edgefield. He says, “Pots treated in a normal manner will last virtually forever. They will break, of course, if they are dropped, and they will crack if liquid is left in them to freeze. But there are pots in museums that are thousands of years old and still have their integrity.”

Dave touched on this question in one of his inscriptions. In June of 1854, his owner, Lewis Miles, apparently told him that the handle on the jug he had just made was not sturdy enough. To let posterity be the judge, Dave wrote, “Lm says this handle will crack” down the side of the jug at issue. More than 150 years later, the handle is still intact!

OBAB: Dave spent his entire adult life producing pottery. It’s exciting to think that there are still extant pieces, like bits of treasure, scattered across the regional landscape. You write of a number of examples, such as an inscribed “Dave” pot sitting in an old barn, or the one in the yard of Thomasina Holmes Bouknight that she remembers playing around as a little girl. I’m dying to know if you’ve learned of any new pieces coming to light since the publication of your book (“Hmm, that old pot says ‘Dave’ on it”). Are there any pieces on permanent display (in Charleston or elsewhere)? Do you personally own any of Dave’s pottery?

Leonard Todd: Word of several newly discovered Dave pots has come to me through my web site (www.leonardtodd.com). Because the world of pottery collecting enjoys its secrets, I am usually sworn to silence when the news arrives. I think I can safely say, however, that there will be some interesting auctions in the months to come!

I do not own any Dave pieces, but I take great pleasure in visiting the excellent examples on public display. The art museum in my hometown of Greenville, South Carolina, has recently purchased a magnificent jar inscribed with a poem that speaks of stars and bears (pronounced “bars” by Dave.) The Charleston Museum owns the two largest jars he ever made, turned on the same day in 1859. Two museums in Columbia, (the South Carolina State Museum and the McKissick Museum) own Dave pots, as do two museums in Atlanta (the High Museum of Art and the Atlanta History Center.) Other repositories of Dave’s work are the Augusta Museum of History, the Madison-Morgan Cultural Center in Madison, Georgia, the Mint Museums in Charlotte, the Museum of Early Southern Decorative Arts in Winston-Salem, the Museum of Fine Arts, Boston, the Museum of Fine Arts, Houston, the Philadelphia Museum of Art, the Washington Historical Museum in Washington, Georgia, and the Smithsonian Institution.

OBAB: I’m intrigued by the fact that—in the course of this exploration—you actually relocated with your wife from Manhattan to live in Edgefield, the center of the story. Has living there—amongst your own distant relatives, and certainly some descendants of Dave as well — helped you gain a better understanding of Dave’s life experience, or some other insight into the day and age in which he and your ancestors lived? Have you uncovered any more information on Dave from local sources since the publication of Carolina Clay (you mention the emergence of an African American historical society, and a surge in the writing of local histories, with the tantalizing prospect of new connections)?

Leonard Todd: Edgefield is one of those rare spots that the poet W. S. Merwin calls “an unguarded part of the past.” Once a powerful place—ten governors have come from here — it virtually echoes with historical incident. By walking on the very sites where Dave and my ancestors lived and worked, I often begin to get a sense of what their lives were like. Some of the buildings and homes and landscape are unchanged since Dave’s day.

Though I have located descendants of many of the players in Dave’s story, I have not yet found members of his own family. I have traced what I believe is one branch of that family up through the 1930 census (see page 226 of Carolina Clay.) The 1940 census will be released to the public in a very few years. I have great hope that it will bring Dave’s descendants closer to us.

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Note from moderator, Vikki Bynum: The following post was written by David Woodbury and originally published on September 21, 2009, on David’s fascinating blog, Of Battlefields and Bibliophiles. I asked David’s permission to repost it on Renegade South because author Leonard Todd’s subject, Dave, an enslaved potter who lived in Edgefield County, South Carolina, and the culture of pottery-making, dovetails with an important theme of this blog: the personal lives of “ordinary” Southern people of the nineteenth-century.  Pottery is a particularly relevant craft; many of the Unionist families (such as the Lathams) who lived in the heart of North Carolina’s “Quaker Belt,” were potters.

 This post will be followed by a second one, also borrowed from Battlefields and Bibliophiles. There, you’ll be treated to David Woodbury’s Q & A with the author of Carolina Clay.

 

 


An artist, and slave
Dave, a slave, was born in 1801 and as a teenager was put to work in a pottery near Edgefield, South Carolina, making stoneware vessels such as jugs and pitchers. Learning to read and write along the way, Dave signed his work, and inscribed it with bits of verse. For over seventy years he created beautiful pieces that are now sought by and exhibited by museums.
Now, a descendant of one of Dave’s owners, has written what looks to be an intriguing and moving chronicle attempting to piece together the story of Dave’s life. I can’t get enough of these kinds of explorations and personal discovery, and have ordered a copy of Carolina Clay this evening. I’ll report back once I’ve delved in.
Author Leonard Todd is connected to Dave by way of his mother’s father’s mother’s father, a principal owner of Dave at one time. There is a nicely-constructed website promoting the book and the story here, chock full of information on Dave, his pottery, his poems, and the author’s personal discovery of a family history comprised of “a long and complex intertwining in which members of my family purchased blacks, whipped them, slept with them, sold them away from one another, tried to prevent them from voting, and perhaps sometimes loved them deeply. Certain of these blacks supported my forebears with their labor, bore their children, murdered them in anger, killed themselves in protest against them, and perhaps sometimes loved them deeply.”
That passage alone suggests the author wrote an unflinching account of what he learned, enough reassurance for me to order the book sight-unseen, without fear of enduring an apologist rendering of family legend.

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