A Surprising Concurrence of Events

October 25, 2020October 25, 2020 ~ If You Want My Opinion ~ Leave a comment

Perci Diaconis and Frederick Mosteller are two mathematicians who published a study in 1989 exploring the science behind coincidence, which they defined as “a surprising concurrence of events, perceived as meaningfully related, with no apparent causal connection.” They observed how coincidences “can alter the course of our lives; where we work and at what, whom we live with, and other basic features of daily existence . . . .” Lately, I have been contemplating the surprising concurrence of events that has led me to where I am now in 2020, at the age of 60, and approaching what I hope will be the final third of my life.

I have happily admitted on many occasions that I am the luckiest man I have ever met. Usually, I am referring to the good fortune of being married to my amazing wife, whom I adore and cherish. I also know that a series of key events and decisions over the last 55 years has determined the path I have taken in my career, and I couldn’t have predicted at an early age how rewarding this journey would be. Of course, there are plenty of people who have had similar experiences and have advanced so much further in their professions than I ever will. I also know that the success I have enjoyed is not completely due to my knowledge, talent, and skills – not by a long shot. Again, I am a lucky guy.

I can almost see my vocational journey as a hiking trail, with switchbacks and long winding stretches, ups and downs, a few chance encounters, forks in the path, even a few rocky sections, all of which have led me to this place. How much is serendipity and how much is deliberate, I can’t say with any certainty. Perhaps the trailhead took the form of a set of The World Book encyclopedia our family purchased in the early 1960s, when I was a young child. I can’t remember how old I was when I started thumbing through the pages to look at the photographs and illustrations, but it was definitely before I started school. The World Book gave me an early appreciation for books and reading, for independent learning, and even for order – the set was arranged alphabetically, as were the articles within each bound volume.

The first marker on the trail was likely my assignment as a library assistant in elementary school. I have no recollection why either my teacher or our school librarian selected me for this responsibility, but I vividly remember removing cards from the pockets of books checked out by my classmates, using a stamp to imprint the due date on the card and the slip in the book, and filing the card in an oblong wooden box (likely with the librarian’s help). At an early age, I was granted opportunities to fall in love with books and reading, which I did. Like many adolescent boys of my generation, I became an enthusiastic fan of science fiction books by writers who defined the genre for the 20^th century, such as Isaac Asimov, Robert A. Heinlein, and Clifford D. Simak.

My love of libraries mirrored my love for reading at an early age, and I visited them as often as I could. I must have had a natural appreciation for language, and the classes in high school where I performed best were in English. I was fortunate to have three outstanding English teachers from 7^th through 12^th grade. I attended a small high school, and I had each of these teachers for two years. They made grammar interesting for me, and they helped me appreciate the power of the written word. Under their instruction, I discovered the difference between writing that only entertains and that which enlightens, enriches, and provokes the reader.

I also had a true fascination for the natural sciences, probably nurtured by hours of emersion in The World Book. When I started at the local community college, I had big dreams of someday working in the field of medical technology. I knew hardly anything about it. I thought working in a hospital would equate to lots of money and prestige, but I knew I wasn’t ambitious enough to slug through medical school to become a doctor. Turns out I wasn’t even ambitious enough to pass college chemistry – it looked too much like algebra, which to this day baffles me.

With encouragement from advisors and after a careful look at the curriculum requirements, I decided an Associate’s Degree in Journalism would be my best hope of staying in school. This switchback in the trail also prompted me to start writing for the college newspaper, and one of my assignments was to report on a lecture being presented by a woman who had recently edited a collection of letters by a Georgia author. I was painfully immature and had virtually no appreciation for academic scholarship. My first draft of the article reflected my stupidity and shallowness, which my journalism professor was quick to point out to me. I had no idea what an important contribution the visiting scholar, Sally Fitzgerald, had made to the world of American literature nor how her work would impact my own world in the years ahead.

After graduating from the community college, my trail took me on an uphill stretch to a state college located about 45 minutes from my hometown. By then I had decided that a degree in English was a logical choice, although I was clueless about how I was going to find a career after graduating. I can’t imagine how concerned my parents must have been. However, I was becoming more serious about academics and was confident that I was a good writer – foolish boy. A few seasoned students in the English department had warned me about one professor, a woman with a reputation for pounding the ignorance right out of you. I signed up for one of her classes my second term there, having at least enough self-awareness that I needed discipline and a challenge. The first paper she returned to me looked as if she had slit an artery and bled out on the page. Clearly, I wasn’t such a gifted writer after all.

Meeting this professor was one of those life-changing chance encounters. I was not aware when I first arrived at this institution that its most famous graduate was Flannery O’Connor. I also did not know that the library was the steward of her most valuable personal and professional archive. My fellow English majors had informed me that the demanding professor was also the O’Connor scholar on campus and that she taught a course concentrating on the author’s work. She was the editor of the Flannery O’Connor Bulletin, a journal published by the college and the longest running scholarly publication devoted to a female writer in the country. Perhaps as an act of academic penance and atonement, I signed up for the O’Connor course for the summer session, which meant covering the author’s two novels, two collections of short stories, a volume of essays, and the letters edited by Sally Fitzgerald (the scholar I encountered just two years earlier), all in four weeks.

I had no memory of reading O’Connor in high school and didn’t know what to expect. In this class, I quickly realized her fiction was dark, perhaps even demented to my naïve way of thinking. The Catholicism was lost on this Southern Baptist lad, at least in the beginning, but I immediately recognized the backwoods Protestants that populated her stories. They could have been my relatives. The stories were violent and filled with strange and twisted characters – no happy endings, no riding off into the sunset. People sometimes came to gruesome ends. And yet, it was laugh-out-loud funny to me. The best part of all? It was literature. I was unequivocally hooked. This course truly stretched me, and I was proud to get a B when it was over. I requested to change advisors, wanting to be under this professor’s guidance for the remainder of my undergraduate tenure. I could not have known at that time the central role she and her O’Connor course were to play in my professional journey.

I took history courses as electives in the humanities for my major, enough to earn a minor in the field. Knowing I really didn’t want to teach high school English, I decided to stay on at the college and work toward an M.A. in history. I was a much more serious student now, and my grade point average reflected it. On-campus jobs opened up for me too, like working at a small education museum and archive. This college gave M.A. students an option to earn their degrees by either writing a thesis or by taking additional course work. Maybe I wanted to prove to myself, my professors, and my parents who had sacrificed so much to send me to school that I could write something worthy of a graduate degree, even from a small state college. So, I climbed that steep slope by writing about the desegregation of the county school system where my college was located, using a collection of oral history interviews I conducted with local educators, both white and black.

My graduate school adviser and the supervisor of my thesis was a member of the local public library board. Upon my graduation, he was kind enough to get my foot in the door with the library’s director, who was planning to hire a cataloger. After working a year at the public library, the director encouraged me and another employee to apply for library school at Emory University. It was a two-hour drive from where we lived, but our boss was generous and supportive enough to allow us to work four days a week and commute to Atlanta two days a week over the next two years to earn what the university called a Master of Librarianship. I will always be grateful to her for this opportunity, which launched my professional career. I eventually became the assistant director of the library, and after 12 years I was appointed the director when my boss left the position. I have written another post about some of the more memorable and bizarre experiences during my time working at the public library.

I stayed connected with the O’Connor scholar on campus and worked with her on several projects, the most ambitious being the Flannery O’Connor symposium in 1994. This four-day conference featured celebrated scholars, writers, visual artists, and performers, including Joyce Carol Oates, Lee Smith, Jill McCorkle, Louise Erdrich, Barry Moser, Polly Holliday, Leo Kottke, and once again, Sally Fitzgerald. People from the community who knew me at all were aware that Flannery O’Connor was my favorite writer, including the lawyer for the literary estate of the author, whose wife also happened to work with me as our children’s librarian. In a blog post from 2015, I wrote about another life-altering event – the day this lawyer walked into my office with a proposal for me to work for the executors of the estate to establish the Flannery O’Connor-Andalusia Foundation. I accepted the offer. This fork in the path allowed me to use my English and history degrees, my library training, and my administrative experience to help preserve and promote the legacy of a great American writer — what a privilege.

My mentor at the state college eventually retired, but she joined the board of directors of the O’Connor foundation, along with the man who followed her in the position. Both people have influenced and enhanced my life in ways I could never express, and I am forever in their debt. One of the grant-funded projects I initiated as the director of the foundation was a book publication, co-edited by the new O’Connor scholar. At Home with Flannery O’Connor is a collection of oral histories of people who knew the author during the time she lived at her family’s farm home, the headquarters for the foundation that we also operated as a historic house museum. Fortunately, I was familiar with oral history as a research tool from my master’s thesis work.

Flannery O’Connor lived at Andalusia for 13 years, which is exactly how long I remained there as the foundation’s director. In 2017, the property was transferred to O’Connor’s alma mater; however, by that time I had moved on to another job because my wife took a vice-president position at a small private college in northeast Georgia. Earlier that year, the president of this college had accepted a gift of property just north of the campus owned by a foundation of relatives and close friends of another Georgia writer named Lillian Smith. The organization was operating the Lillian E. Smith Center as an artist retreat and a literary landmark while also sponsoring programs for students and community members. The college president wanted to continue these activities and expand the center as an educational facility for his students, faculty, and staff. He had no one to manage the center, and I was as close to a perfect fit for the job as he was going to find.

We stayed at our respective jobs with this college for five years. I am still amazed at how much of what I had learned during the previous 30 years prepared me for this position: from property management to programming, from cataloging to curating, from historic research to historic restoration and preservation. I was even able to resurrect some of my early work experience serving as the college archivist for the president and working with the dean of libraries. I have written posts about Lillian Smith and her encounter with Flannery O’Connor – so many surprising connections and convergences that have touched my life.

In 2018, other opportunities took us away from my home state to Missouri. Through a friend of a friend, I met the dean of libraries at a state college in southwest Missouri where we live now. I find myself once again in a place where I can tap into several decades of professional experience to work on meaningful and rewarding projects, and it all just fell in my lap. I am a special projects coordinator working for the dean. I arrange author visits, public readings, and lectures. I also help install exhibits in the library. I conduct interviews for the library’s growing oral history collection. I am moderating a virtual book club for the alumni of the institution. Contrary to popular opinion, librarians do not just sit around a read all day. I always dreamed of a job where I could get paid to read. How lucky am I that part of my responsibilities are to read for a book club? Even better, I am learning new skills involved with editing videos that the library publishes through its YouTube channel, including the oral history interviews.

My father had several common refrains that contribute to the good memories I have about him. For the most part, he was a man of unquestioning faith, instilled and confirmed by a long life of Southern Baptist doctrine. When he recognized a surprising concurrence of events, he rarely wrote it off as coincidence, especially if the events had serious implications. Instead, he would declare, “As far as I’m concerned, the Lord arranges these things.” With pseudo sophistication and agnostic arrogance, many times I just shook my head and said, “I guess so, Dad,” not really agreeing with his assessment of how the universe works. In retrospect, given how my career path has carried me through the years to such wonderful destinations, maybe I need to hold out the possibility that Dad was right.

The World Within: Lillian Smith’s Global Journey of Rediscovery

July 1, 2019July 1, 2019 ~ If You Want My Opinion ~ Leave a comment

(Based on a lecture presented at Reinhardt University on June 27, 2019)

Lillian Smith is certainly not the most recognizable writer from the South, and now the light from her star is practically imperceptible in a literary sky illuminated by the likes of Faulkner, O’Connor, and Welty. I have written about her life as a writer and civil rights advocate in a previous post. During her lifetime Lillian Smith was a highly acclaimed author, successful businesswoman, a creative educator, and one of the most effective champions of human rights of her generation. She is probably best known for her controversial psychological memoir, Killers of the Dream, a 1949 publication that is still in print and occasionally featured in anthologies of women’s studies, southern literature, and civil rights history. Today, Lillian Smith is generally regarded as a respectable novelist who was among a handful of white liberals fighting racial discrimination in the South during the 1940s, 50s, and early 60s. But it is a mistake to limit Smith’s interests, passions, concerns, and influence solely to these parameters. With brutal honesty she exposed and fought injustice everywhere she witnessed it, while maintaining her characteristic Southern manners and eloquence. I would argue that there is no writer from mid-20th-century America whose work is more germane to the crises we face in 2019 around the world than Lillian Smith.

Lillian Smith, 1963; photo by Joan Titus

Like most people of the South in the early 20th century, and even the nation at large, Lillian Smith grew up in a racially segregated society. She was well schooled in the paradox that characterized Christian teaching of her region and her time, including the Methodist denomination in which she was reared. Jesus loved all the children of the world, but white children were inherently superior to black children. White children played with white children and black children with their own kind. There were white churches and black churches, just as God had intended it to be. These were among the unquestionable manners that made the post-bellum South tolerable to its white citizens who insisted on perpetuating a caste system 25 years after Reconstruction had made their earth tremble. These “truths” were accepted by Lillian’s Smith’s parents, both of whom had descended from slave-owning families.

In her early twenties, Smith studied music intermittently at Peabody Conservatory in Baltimore, but she ultimately accepted the disappointing reality that her talent was insufficient for her dream of becoming a concert pianist. However, her training at Peabody prepared her for an opportunity that would change Lillian Smith’s perspective on almost everything and challenge all her preconceptions about her homeland. In 1922 at the age of 24, Lillian moved to China where she would remain for the next three years working as a piano teacher at Virginia School, a Methodist mission for girls from wealthy families in the city of Huchow. She was one of about a dozen westerners in a city of 250,000 in what was then a remote part of the country.

While working at Virginia School, Smith reported to a female principal who was liberal in her philosophy and had a deep appreciation for China’s rich culture and resources. Lillian immersed herself in that culture, learning from her students, their families, and from the people of Huchow. She read extensively during this time, exploring Chinese poetry and philosophy. She wandered through Buddhist temples and began to contemplate faith traditions other than Christianity. She also became familiar with the history and current events of India and South Africa. “Suddenly, the whole earth opened to me,” she wrote, “and I saw us as one people, as human beings, all aching for freedom, all longing for knowledge and understanding, all reaching toward the light of truth, all wanting to love and be loved.”

The 1920s were a turbulent time in China. The hopes and aspirations that inspired the Revolution of 1911 and the overthrow of the last imperial dynasty had been crushed shortly after the establishment of the Republic of China. The provisional government became a puppet of strong military leaders and ultimately disintegrated. By the time Smith arrived in 1922, the tenuous government was under a military regime. Ruthless provincial warlords were in command of much of the region, spreading terror as they mounted revolutions and counterrevolutions, exploiting rich and poor alike. Smith learned about the country’s turmoil from people who were intimately involved in the transitions of power. She met the sister-in-law of the President of the provisional government, a woman named Soong Mei-ling, but we are more familiar with the name she adopted after she was married: Madame Chiang Kai-Shek, First Lady of the Republic of China.

It was in this environment that Lillian Smith began to see injustice and affronts to human dignity with fresh eyes. She was horrified by the effects of war on the Chinese people, specifically the lowest class of unskilled laborers, the coolies. She witnessed them being treated no better than slaves by soldiers who came through Huchow. She also recognized that some of the worst indignities were at the hands of Christians, even the people she worked with, who seemed to tolerate blatant abuse. In a letter to her father dated February 23, 1925, Lillian wrote, “All of it makes one wonder how Christians can sit by and say: ‘Of course war is wrong – but’. There is no ‘but’ to it.”

In her letters, essays, and articles, Lillian Smith would return over and over to these painful memories of China. She also had some wonderful memories of the country. During the early 1930s, she worked on a novel about China under the title, And the Waters Flow On, where she was exploring the connection between racism and sexual attitudes in a Chinese setting. Tragically, the manuscript for this novel was later lost in a fire at her home in Clayton. Like other southern writers, Lillian Smith made the connection between sexual attitudes and racism, but she did so with unusual fervor and explicitness. These connections were likely formed in her mind during the China years.

Her experiences in the Far East changed her at a deep level, which as it turns out, was not an unusual phenomenon for Smith’s generation of white southern liberals. Morton Sosna speaks to this pattern in his 1977 book, In Search of the Silent South: Southern Liberals and the Race Issue, published by Columbia University Press. Sosna writes, “An important influence upon Southern liberals was their experiences outside the South. Even when they returned home, they found that residence elsewhere had added new dimensions to their views about the South’s racial situation.” For Lillian Smith, the parallels between the discrimination on opposites sides of the globe were crystal clear. Sosna continues, “Lillian Smith was shocked by white foreigners, including the missionaries, who established enclaves in China that excluded Chinese. She drew an immediate connection between what was occurring in China and life in her own native South.”

Many years after her return to the states, Lillian Smith continued to express her deep concerns publicly about social injustice, in her native South and elsewhere. She made references to the evils of white supremacy and imperialism in China but also in Russia, Burma, Java, and on the continents of Africa and South America. She stressed that people from around the globe were searching for a democracy that works, one they could trust. In a time where Americans believed their most valuable export was democracy, Lillian Smith said they had to prove they really believed in it by using a language the whole world understands: the democratic act.

She witnessed on the world stage in real time the tragic results of systematic race-based hatred. “It is just possible that the white man is no longer the center of the universe,” she wrote. “It is just possible that even German Nazis, British imperialists, and white southerners will have to accept a fact that has been old news to the rest of the world for a long, long time.” Lillian Smith recognized that the South, by passing and enforcing Jim Crow laws, was trying to buy its future with a figurative currency that no longer existed: Confederate money. She expanded that metaphor when she wrote, “The new world will be found only when the people dream about it. . . . And when we find it, we must buy it. Not with old Confederate bills of race slavery and prejudice and frustration; no. Not with the imperialistic British pound of arrogant exploitation; nor with blocked marks of madness and hate; nor with violence and death. But with the democracy of the human spirit, with intelligence, with creative understanding, with love, with life itself.”

In his article, “Lillian Smith, Racial Segregation, Civil Rights and American Democracy,” published in the Moravian Journal of Literature and Film in the Fall of 2011, Constante Gonzalez Groba notes that Lillian Smith adopted Gandhi’s view of the negative effect of segregation on the oppressed and the oppressors, a premise that she would return to many times during the struggle for civil rights in the South. According to Groba, Lillian Smith “was one of the first to see the transnational dimensions of the cultural and racial practices of her region, and one of the first to characterize the white dominance of the South as a colonial relationship.”

The outbreak of World War II and the unavoidable involvement of the United States in the global conflict was of great concern to Lillian Smith as it was to most people of her generation. She was not as repulsed by the physical part of war as she was the more permanent effects it had on minds and emotions. To her way of thinking, war was an extreme example of human segregation. She was convinced that the threat from abroad made it even more important for the races in America to understand each other. In a letter to Eleanor Roosevelt from April 7, 1942, Smith wrote, “There is something heartbreakingly valiant about the young of the Negro race, so eager to prove to white America their willingness to die for a country which has given them only the scraps from the white folks’ democracy. There is resentment also; a quiet, strong resentment, running like a deep stream through their minds and hearts; something I think few white Americans are aware of, or want to face.”

Following the war, Lillian Smith made two trips to India. During the summer of 1946, she traveled as a member of Britain’s Famine Commission, an initiative to gain American support for India’s famine victims. Her second trip to the subcontinent in 1954-55 was much more substantive – a six-month visit with financial support from the U.S. State Department to gather material for a book comparing India and China. She had the opportunity to meet Prime Minister Nehru, Indira Gandhi, and a number of other dignitaries, artists, and writers. The book project never materialized, but it is clear from her correspondence after returning from this second trip that Smith had immersed herself in the culture of India, especially the arts.

Given her work in advancing the cause of civil rights, it would be natural to assume that activism was Smith’s greatest passion, but that’s not the case. She expressed on numerous occasions how she disliked struggling against injustice, even racial discrimination. The idea of fighting for a “cause” was rather unappealing to her. She was much more interested in literature, poetry, painting, and music. Her humanitarian efforts were not as much a passion as they were a deep, moral obligation. In a letter to Richard Wright from June 12, 1944, she wrote, “I am not in the least interested in political movements or in being any kind of a reformer or political leader. Hence, I find myself avoiding – too much, I suppose – organizations. I simply want to say what I believe and say it my own way. I have an idea that you feel much the same about this. Because you do, I believe we together might be able to work out some suggestions for other writers that might encourage them to do more creative thinking and writing about our cultural problems, and yet leave them free of any ideological ties.”

By the late 1950s, Smith’s views about democracy and colonialism were reflecting over 35 years of reading and writing about world events and the shifting international political landscape. In the introduction to the 2nd edition of Killers of the Dream from 1961, she observed that Asian and African colonists thirsted for independence but not necessarily Democracy as the U.S. assumed. They wanted equality and would “trample the earth to get it.” They wanted their human rights and their recognition by the United Nations. What they hated and feared more than death were the symbols of oppression: segregation, apartheid, and colonialism. Smith urged Americans to listen to the desires of these young nations, whose leaders she feared may be driven to overcome their hurt dignity with racial supremacy, just as white Southerners embraced White Supremacy during Restoration in mutual hostility toward people of color. “African and Asian nationalists may harness the hatred of tribal hostilities” she said, “and turn it into hatred of whites who continue so stubbornly to think of themselves as superior.”

Lillian Smith boldly spoke out against the injustices of her day, even those occurring in other countries. The most obvious abuse and that which was closest to home for her as a southerner was racial discrimination. She combined her talents as a creative writer and her keen sense of observation to publish persuasive books and articles about the growing civil rights movement in the mid-twentieth century. Her fiction reflected her sensitivity to prejudice and injustice. Her travels abroad filled Lillian Smith with wonder and excitement, but she also let the experiences mold her conscience as well as her consciousness. She had a more inward view of the words of her contemporary, T. S. Eliot, who in his “Four Quartets” reminded us that after our explorations are over, we arrive back where we started and know the place for the first time. Lillian Smith’s version goes like this: “I soon realized that no journey carries one far unless, as it extends into the world around us, it goes an equal distance into the world within.”

Lillian Smith: One Writer’s Brave Journey

June 20, 2017 ~ If You Want My Opinion ~ 2 Comments

Lillian Smith was a highly-acclaimed writer, successful business woman, a creative educator, an early civil rights advocate, and one of the most effective champions of social justice in the 20^th century. She is probably best known for her controversial psychological memoir, Killers of the Dream, a 1949 publication that is still in print and occasionally excerpted in anthologies of women’s studies, southern literature, and civil rights history. Her best-selling first novel, Strange Fruit, was published in 1944 and told the story of an inter-racial love affair in a rural Georgia town shortly after World War I. Although she lived most of her life in Georgia, Smith was born in 1897 about 90 miles east of Tallahassee in the small town of Jasper, in Hamilton County, Florida. She was the seventh of the nine children of Calvin Warren Smith and Anne Simpson Smith. The town of Jasper was founded in the 1830s, but it really didn’t begin to grow until shortly before Lillian was born with a rich trade in turpentine, tobacco, cotton, and pine lumber. Calvin Smith was one of the entrepreneurs in the area who capitalized on that trade with his business ventures in lumber and naval stores.

Lillian Smith spent all her childhood and the better part of her teenage years in this town. On many occasions throughout her life, she introduced herself with a story from her childhood years in Jasper, a story she later titled “Trembling Earth.” She said the land in North Florida is strange. She described it as “a thin little island that is hung on to the Okefenokee Swamp and hung on to the Georgia Islands and hung on to Alabama.” It felt like the ground was floating. Much later, as a seasoned writer, Lillian Smith used this image to describe the human experience: “I wonder if the whole, everything that happens to a human being is just like trembling earth? Is it all floating on something that we’ll never know, something unknown and mysterious?”

There’s little doubt that her years in Jasper shaped Lillian’s worldview for the rest of her life. As she put it, “No one could read my books without finding these early signs of my childhood,” which included telling stories to her friends, like Marjorie White. For a story to become vividly real, it needs a listener, and Marjorie played that role very well. As Lillian put it, “Her heart was lonely for what my heart was lonely for.” Near the end of her life, Lillian confided in a friend that when her family moved from Jasper when she was 17, the whole town was all frozen for her – she could go back in her mind and see all of it, and in a sense, she never left it.

When his Florida businesses failed in 1915, Calvin Smith moved the family to the small town of Clayton, in northeast Georgia, where he had recently acquired property on Old Screamer Mountain in his wife’s name and where the Smiths soon opened a summer camp for girls. During the 1915-16 academic year, Lillian Smith attended a small college thirty miles south of Clayton in Demorest, Georgia, called Piedmont College. Many years later, Smith wrote about her short tenure at the institution and expressed her gratitude for the fine instructors she had, some of whom were trained at prestigious universities such as Harvard, Oberlin, Smith, and Cornell. Although she was offered a scholarship to continue at Piedmont for the next year, family obligations prevented her from returning.

In her early twenties, Smith studied music at Peabody Conservatory in Baltimore, and in her mid-twenties she served as the head of the music department in a Methodist mission school for girls in China. She witnessed terrible cruelty and repeated examples of discrimination and injustice. In her letters, essays, and articles, Lillian Smith would return over and over to these painful memories of China. With the demands of the growing summer camp operated by her family, Lillian Smith was obligated to leave China and return to Georgia in 1925 to help with the operation. She had different ideas from her father on how the camp should be structured, and with her parents’ blessing, she soon became the owner and director of the family-run business: Laurel Falls Camp for Girls. Moving far beyond the traditional hallmarks of summer camps, such as swimming, horseback riding, archery, arts, and crafts, Lillian Smith created a female community at Laurel Falls that challenged Southern conventions of gender, sexuality, religion, and race.

Through writing, drama, music, visual arts, and in-depth discussions, she instilled within her campers the importance of independent thinking, compassion, and confidence. Very few camp directors in the South were as bold as Lillian Smith in confronting the issues of segregation and racial inequality. Laurel Falls Camp continued through the late 1940s and developed quite a reputation. Lillian Smith did not manage the camp alone. A woman named Paula Snelling came to work for the Smith family for the summer of 1921 as an athletic director for the camp. The two women formed a close friendship after Smith returned home and took over the camp, an intimate and loving relationship that developed and grew into a life-long partnership.

Lillian Smith (right) and Paula Snelling

Lillian Smith was diagnosed with breast cancer in the spring of 1953. Later that year, her third book, titled The Journey, was published. The book expresses the author’s hope for humanity and her belief in our infinite possibilities. The final paragraph of the book begins with this sentence that exemplifies this optimistic vision: “To believe in something not yet proved and to underwrite it with our lives: it is the only way we can leave the future open.” Smith would go on to publish several more books, fiction and nonfiction, and numerous articles and essays on social justice and racial equality, all of which were written from her home on Screamer Mountain. She died on September 28, 1966 and was buried there. Paula Snelling suffered a stroke in 1979 that left her partially paralyzed. She died in 1985.

Art and Social Change

March 21, 2017 ~ If You Want My Opinion ~ Leave a comment

Do artists have a social responsibility? That was the question posed for discussion to participants in lunch breakout sessions at the recent Symposium on Arts and Social Change sponsored by the Lillian E. Smith Center of Piedmont College, a small private liberal arts college in Demorest, Georgia. The Symposium, titled “Between Dream and Reality,” focused on public art as an inspiration for social change and was held at the college’s second campus in Athens, a town dominated by the presence of the University of Georgia. Each breakout session had no more than a dozen people, so the conversations were manageable but lively.

The Symposium featured keynote speaker Jen Delos Reyes, Associate Director of the School of Art and Art History at the University of Illinois Chicago. Reyes is a creative laborer, educator, writer, and radical community arts organizer. Her practice is as much about working with institutions as it is about creating and supporting sustainable artist-led culture. She is the director and founder of Open Engagement, an international annual conference on socially-engaged art that has been active since 2007 and hosted conferences in two countries at locations including the Queens Museum in New York. In her early-morning presentation, she highlighted three artists who are also community activists, people who have used creative approaches to address serious challenges in their neighborhoods with projects such as restoring row houses to safe, habitable homes that had become drug-infested death traps.

Other featured speakers at the Symposium included Ellen Elmes, a retired college art instructor who has painted twenty-five plus murals in several different states that celebrate community. Another presenter was Hope Hilton, an Athens-based artist, educator, designer, and writer who works with communities and students of all ages to inspire and facilitate a sense of place, history, and agency. Broderick Flanigan is a freelance artist in Athens who is a community activist and the founder of Flanigan’s Portrait Studios. The event was moderated by Barbara Brown Taylor, the Butman Professor of Religion at Piedmont College and author of thirteen books, including the New York Times bestsellers Learning to Walk in the Dark and An Altar in the World. All of the presenters at this Symposium are devoting significant time and energy in their capacity as artists to promote, encourage, and facilitate positive social change.

Symposium logo

Throughout her career as a writer and humanitarian, Lillian Smith examined how the arts engage people around issues of social injustice, segregation, and isolation. Art was her passion, and she held a deep conviction that the artist has a responsibility to engage her audience in the conflicts and struggles of her generation, an opinion not necessarily shared by the students of The New Criticism movement, the literary theory that dominated the mid-20^th century. Smith emerged in the 1940s at the forefront of the Southern debate on segregation, where she was at least a decade ahead of other white liberals and stood virtually alone in calling for an immediate end to segregation laws and practices.

During the tumultuous years of the mid-20th century, when lynching, convict labor, and Jim Crow laws were still casting dark shadows across the South and African-Americans all over the country were pleading for justice and equality, there were plenty of elected officials and prominent leaders who were endorsing a patient, moderate approach in addressing the crisis. Lillian Smith was not one of them. In a speech prepared for the Institute on Non-Violence and Social Change on the first anniversary of the Montgomery bus boycott in 1956, Lillian Smith wrote these words: “You have done many good things, down here in Montgomery. But one of the best, one of the most valuable, has been the fact that you have dramatized, for all America to see, that in times of ordeal, in times of crisis, only the extremist can meet the challenge. The question in crisis or ordeal is not: Are you going to be an extremist? The question is: What kind of extremist are you going to be?”

In a powerful essay titled “The Creative Process” written in 1962, James Baldwin made the following observation:

There are, forever, swamps to be drained, cities to be created, mines to be exploited, children to be fed. None of these things can be done alone. But the conquest of the physical world is not man’s only duty. He is also enjoined to conquer the great wilderness of himself. The precise role of the artist, then, is to illuminate that darkness, blaze roads through that vast forest, so that we will not, in all our doing, lose sight of its purpose, which is, after all, to make the world a more human dwelling place.

There can be little doubt that, through her novels and nonfiction works, Lillian Smith was indeed trying “to make the world a more human dwelling place.” Does art exist in a vacuum? Should the artist seek to be completely separated from society, unattached and oblivious to the pressing social issues of the day? The answers to those questions can be debated over and over again with no real resolution. What is clear, however, is that art has the mysterious power to transform minds and emotions, to spark imagination, to inspire collaboration, and to motivate people to act. Once the work is done and that power is unleashed, the artist has very little control over the ultimate impact of what she has created. Perhaps recognizing that indisputable truth is where the responsibility of the artist begins.

“To find the point where hypothesis and fact meet; the delicate equilibrium between dream and reality; the place where fantasy and earthly things are metamorphosed into a work of art . . . this is what man’s journey is about, I think.” –Lillian Smith, The Journey

A Passing Literary Glance

January 4, 2016January 4, 2016 ~ If You Want My Opinion ~ 1 Comment

The Georgia Writers’ Association held its 1955 annual meeting in Atlanta in early December. On this occasion the Association honored Lillian Smith (social justice advocate and author of the controversial works Strange Fruit, Killers of the Dream, and The Journey) as the winner of the Georgia Writers’ Award for the best book of nonfiction with the most literary value written by a Georgian in 1954. She felt the award was overdue but was proud at any rate that the Association exhibited the courage to recognize her importance as an artist. Smith was terribly amused by the annual meeting – a sentiment I can almost imagine would have been shared by another Georgia writer named Flannery O’Connor who was also in attendance.

Lillian Smith was not invited to speak at the award ceremony; however, after meeting her and talking with her, the organizers decided to ask her to give an impromptu speech the next day, which she did. Afterwards, an elderly woman in the audience came up to compliment the writer on how sweet and well-bred she was, exclaiming that Lillian Smith must have had the best intentions in the world, regardless of what she may have written in her books. On the previous day, Flannery O’Connor delivered a luncheon address to this convention titled “Some Problems of the Southern Writer.” Lillian Smith was at the luncheon, and this is what she had to say about O’Connor’s presentation:

Flannery’s talk was one of the funniest things I ever listened to. Do you know – I don’t believe she had the vaguest notion how she shocked the crowd. She told em off; told Georgia off; told the South off; told would-be writers off. . . . The stuffed shirts and the would-be writers (the place was full of them) began listening smilingly because they had heard she was “literary” and “talented” and nothing she wrote threatened anybody, certainly not on the conscious levels of their life. But after about two paragraphs they realized that a nice little snake was sinking her fangs deep into their complacency and they began to look at each other and shake their coiffured heads and whisper, “Well . . . .what do you know . . .”
(all quotations from How Am I To Be Heard: Letters of Lillian Smith, edited by Margaret Rose Gladney; The University of North Carolina Press, Chapel Hill, 1993)

Smith mentioned O’Connor’s presentation in a letter to her editor at Viking Press, Denver Lindley, who also served as an editor for Flannery O’Connor. There was a tone of bitterness, if not irritation, when Smith wrote that “these young writers can now say things out loud without any realization, actually, of how one or two of us down in the South opened the way for them.”

As far as I know, this was the only time that Lillian Smith and Flannery O’Connor were in the same room together, although they lived only 150 miles apart. O’Connor confided to her friend Cecil Dawkins that, although she considered Lillian Smith to be a nice person, O’Connor was not impressed with Smith’s writing. In a letter dated December 2, 1955, to Lon and Fanny Cheney, Flannery O’Connor stated that, at the Association meeting, Lillian Smith invited her for a visit to her home, but O’Connor declined. In her essay titled “Flannery O’Connor and Lillian Smith: A Missed Opportunity,” published in the 2007 issue of the Flannery O’Connor Review, Virginia Wray observes that O’Connor’s brief remarks about her fellow Georgia writer in this letter carry with them a tone of sarcastic dismissal. I know those who have studied O’Connor’s life are shocked by this revelation! It’s no secret that O’Connor reserved some of her most acidic comments for other writers, especially those close to home. O’Connor’s comments about Smith were rather tame by comparison.

Lillian Smith would go on to publish several more books, fiction and nonfiction, and numerous articles and essays on social justice and racial equality. The last book published before her death came out in 1964, the year that Flannery O’Connor died; however, she continued to contribute to periodicals and newspapers until her own death on September 28, 1966. One of the pieces Lillian Smith wrote for publication the year before she died was a book review for the Chicago Tribune. The title of the review was “With a Wry Smile Hovering Over All.” As fate would have it, Lillian Smith would get the proverbial last word in this evaluation of Flannery O’Connor’s second collection of short stories, Everything That Rises Must Converge. It is worth noting that Smith and O’Connor had both developed an admiration for Teilhard de Chardin, although Smith claimed that, in the title story of the collection, O’Connor had twisted the Jesuit priest’s “profound and poetic vision into something small enough for her to smile at wryly.” With regard to the other stories in the collection, Smith perceived that the author’s point of view lacked compassion and empathy, which should make us all wonder if she read O’Connor’s first collection of short stories. Still, Lillian Smith considered O’Connor to be a highly gifted writer and described the title story as a masterpiece, where every line counts, every word. No fan of O’Connor’s work could disagree with that assessment.