As humans, our history is marked by wounds of the past. We fight one another. We exploit one another. We kill one another. Our history is shaped by human injury; so, it makes sense that in a retelling of this history we would perpetuate injury. Injury begets injury. History-telling always runs the risk of aggrandizing someone’s story at the expense of another’s. That is the tension that exists between history and injury. This tension can even find its home in tangible spaces. Today, that tension found a home at the sites of many U.S. monuments. One of these homes is in Brandenburg, KY.
“On April 29, 2016, Louisville announced the removal of the Confederate monument, but attorneys stopped the city by filing a temporary injunction to stop demolition, and a lawsuit.”
– “New Monument History” Plaque in front of “Our Confederate Dead” statue in Brandenburg, KY.
“Our Confederate Dead” monument, which once stood in Louisville next to the Ohio River, is now situated about 45 miles south of the river in Brandenburg. The plaque, quoted above, stands in complement to two others. The one mentioned has a heading that reads, “New Monument History,” which tells the story of the new placement of the old monument. The second contributes a haunting echo of history by commemorating a quote from Basil Duke, a Confederate General Officer, on the folly of forgetting history. And the third, a plaque titled “Southern Causes for the Civil War,” offers a 248-word proof of the South’s motivation for entering the Civil War. In the shadow of that monument, all three plaques—not yet 5 years rusted—make clear that we are still fighting remnants of a war that ended 151 years ago. As the third plaque alludes, the Civil War was a war of sentiment.
I still remember my first time hearing the history of the Civil War explained to me by someone not from the South. It was like being told of a new war, one that was completely different from the Civil War that I had learned about. Having grown up in Florida, under the careful tutelage of southern evangelical curricula, my understanding of the Civil War was that it was a war of rights and not of slavery. Slavery was a footnote to the overall question: Who gets to enforce the rights of a man—God himself or man’s governing body? In fact, when reading the “Southern causes for the Civil War” plaque, it was like being reintroduced to an old memory. The plaque reads,
“Northern abolition movements with a goal to end slavery threatened to undermine the entire southern economy and culture free from northern interference, the south under pressure from the aristocratic plantation owners, seceded from the United States and formed the Confederate States of America.”
According to the South, the North has painted over (or overwritten) the true economic and political issues behind the war with a manipulative picture of an evil slave state. The sentiment of the South is that they and their confederate kin are misunderstood, and the story of their fight is unfairly eclipsed by a history of slavery. Granted, it is quite hard to fit all that on one plaque, but this sentiment cannot be overlooked. Here is a history marked by injury. However, this injury is multi-faceted. What is not portrayed on this small plaque, is the exploitive reality of a South built on the backs of slaves. This an obtuse and glaring omission, which explains the contention of the very existence of the monument. For understandable reasons, the African American communities in the South want this monument torn down. Which brings us to our question: Should monuments like “Our Confederate Dead” stay or go?
Ghosts of the Past
Before we venture into the ethics of monuments, perhaps it is best to first ask: What are monuments? Why do we build them? What is their significance?
The monuments in our parks that we tend to overlook are not unassuming artifacts. Monuments capture history that we believe merit our remembrance in a significant, permanent way. Presumably, we create monuments to share memories with the generations that follow us. Built in stone, iron, or some other precious element that we believe can stand the test of time, we erect our monuments with the intent to provide a witness to history, but not just any history: our history, our nation’s history, our land’s history. Or at least, that is what we could hope for in our monuments. Through monuments, we attempt to speak beyond the grave. In a way, our statues surround us like ghosts begging to tell us a story.
We fashion our monuments with respectable facades, all so that we can bring resolve to the actions of our ancestors and expound their sentiments in hopes that they will still be relevant in the future. That is what I hear in the whispers of Southern Confederate statues, a plea to remember them in a perspective that regards their own inclinations and their own sentiments. I hear a cry of a people who never had the chance to publicly mourn the loss of their dead. The fallen confederate soldier wants to be remembered as having died a death that had purpose. This is indicative of a South that argues that it fought a war righteously regardless of its accused sins.
I think it is difficult for the South to dismantle its monuments because she has not yet grappled with her loss, both the loss of her dead and the loss of her conviction. Herein lies the problem; The South remains in limbo. She has not nursed her wounds. She continues to replay them over and over again like a trauma not processed. To nurse wounds would be to recognize them, and she has not quite reached that level of awareness because the world moved on after simply indicting her of her sins and leaving her destitute. While the work force she had was obtained by exploitive means, once the South lost the war, she had not a penny to her name and no means in which to gain it back. The South had nothing left but injury and history. So, she built monuments, erected legends, created myths to make it bearable to move forward in a new world.
This is history marked by a wound that was never dealt with, and now the buried grief resurfaces as generations pass and questions begin to be asked. There are other parts of the South’s history, not just the Confederacy’s, that have not been dealt with. Drowned out by the pleas of the dead proud confederate, is the forgotten cry of disenfranchised black slaves.
There must be a better way to build monuments that honors all of our histories and allows all of us to grieve the loss and the injury perpetuated on our kin.
Rest in Peace
In Washington DC, there is a memorial dedicated to the Veterans of the Vietnam War, which is arguably one of the most controversial wars of our modern day. The erection of a Vietnam Memorial caused a public outcry, and to add to the controversy, the architect chosen to design the memorial was an Asian-American.[1] Maya Lin, who was at that time 21-years old and unknown, created a stir in DC as she designed a memorial to look like what many could only describe as a wound in the earth.[2] Lin was attentive to everything from the material (black granite with a polished finish), to the way the names were displayed (chronologically by the deaths of the veterans and not alphabetically), to the way the memorial stood (sunk below the ground). She did all this so that we as a country could be attentive to the wound of that war. On the 35th anniversary of the memorial, then acting President Obama said this of the memorial:
The Vietnam Veterans Memorial has changed the way we think about monuments, but also about how we think about sacrifice, and patriotism, and ourselves. Maya’s pieces have changed the landscape of our country and influenced the dialogue of our society, never more profoundly than with her tribute to the Americans who fell in Vietnam by cutting a wound into the Earth to create a sacred place of healing in our Nation’s capital.
I am a daughter of immigrants. This land I grew up in does not know my family line. My family’s history in the United States is young. When I look up at most monuments in this country, I have no ancestral blood tied to it. There are, however, some monuments that do hold more weight to me as an Asian-American. The Vietnam Memorial is one such monument. A monument dedicated to a country’s fallen for a war of interference in a land nearer to mine echoes the sentiment of the third plaque from the statue of “Our Confederate Dead. The difference is that Lin’s monument, with all its raw ugliness, brings into greater focus the pain of warring sentiments and the human loss we create by our sins against one another. She allows the dead to truly rest by making us, the living, contend with the past. To her, monuments are more analogous to scars, in that they should be reminders of a past injury that have healed but forever marks us.
I believe that what Maya Lin’s monument provides for us is a better way forward. Her monument is a reminder that wounds can only heal if allowed to be exposed to air and sunlight. Moreover, it is strong proof that it is important to allow all parties of conflict and injury to have their say in the way we portray history. Imagine what the monuments in the South could look like if we had both Confederate descendants and African American kindred in open dialogue and empathetic construction. I think, if we employed both collaborative imagination and gracious sympathy more often and more earnestly, the monuments in our country could look much different.
It is time to restore our US monuments in a way that honors all parties. A collaborative restoration. Perhaps it is audacious, but I believe that in our world there is enough physical space for all of our dead to rest in peace, but only if the living are willing to fight for it.
“The absence of a narrative in which people of color are recognized for the contribution to society is dangerous because it leaves unquestioned the dominance of white people of the planet today, thus tacitly endorsing the notion of white superiority. People of color receive no credit for being an essential, although coerced, part of the development of the modern world.” ”
About Jelyn Leyva
A Second-generation Filipina born in Tampa, FL, Jelyn Leyva graduated Moody Bible Institute in Chicago on May 2017 with a Bachelor’s degree in Women in Ministry and an Interdisciplinary in Theology. She is currently in Los Angeles, CA pursuing an MDiv at Fuller Theological Seminary with her emphasis in Christian Ethics. Having lived in various places in the US, Jelyn’s interest lie in the complex history and multi-ethnic life of the Protestant Church in the US. Her hope is to serve this church and its many colors with the consideration of traditional and contemporary theological scholarship.