by Jon Meacham
It began to seem that one would have to hold in the mind forever two ideas which seemed to be in opposition. The first idea was acceptance, the acceptance, totally without rancor, of life as it is, and men as they are: in the light of this idea, it goes without saying that injustice is a commonplace. But this did not mean that one could be complacent, for the second idea was of equal power: that one must never, in one’s own life, accept these injustices as commonplace but must fight them with all one’s strength. This fight begins, however, in the heart and it now had been laid to my charge to keep my own heart free of hatred and despair. This intimation made my heart heavy and, now that my father was irrecoverable, I wished that he had been beside me so that I could have searched his face for the answers which only the future would give me now.
A Pageant of Birds
The New Republic, October 25, 1943
EUDORA WELTY
One summer evening on a street in my town I saw two Negro women walking along carrying big colored paper wings in their hands and talking and laughing. They proceeded unquestioned, the way angels did in their day, possibly, although anywhere else but on such a street the angels might have been looked back at if they had taken their wings off and carried them along over their arms. I followed them to see where they were going, and, sure enough, it was to church.
They walked in at the Farish Street Baptist Church. It stands on a corner in the Negro business section, across the street from the Methodist Church, in a block with the clothing stores, the pool hall, the Booker-T movie house, the doctor’s office, the pawnshop with gold in the windows, the café with the fish-sign that says “If They Don’t Bite We Catch ’em Anyhow,” and the barbershop with the Cuban hair styles hand-drawn on the window. It is a solid, brick-veneered church, and has no hollering or chanting in the unknown tongue. I looked in at the door to see what might be going on.
The big frame room was empty of people but ready for something. The lights were shining. The ceiling was painted the color of heaven, bright blue, and with this to start on, decorators had gone ahead to make the place into a scene that could only be prepared to receive birds. Pinned all around the walls were drawings of birds—bluebirds, redbirds, quail, flamingos, wrens, lovebirds—some copied from pictures, and the redbird a familiar cover taken from a school tablet. There was greenery everywhere. Sprigs of snow-on-the-mountain—a bush which grows to the point of complete domination in gardens of the neighborhood this time of year—were tied in neat bunches, with single zinnias stuck in, at regular intervals around the room, on the pews and along the altar rail. Over in the corner the piano appeared to be a large mound of vines, with the keyboard bared rather startlingly, like a row of teeth from ambush. On the platform where the pulpit had been was a big easy chair, draped with a red and blue robe embroidered in fleur-de-lys. Above it, two American flags were crossed over a drawing of an eagle copied straight off the back of a dollar bill.
As soon as people began coming into the church, out walked Maude Thompson from the rear, bustling and starched in the obvious role of church leader. She came straight to welcome me. Yes indeed, she said, there was to be a Pageant of Birds at seven o’clock sharp. I was welcome and all my friends. As she talked on, I was pleased to learn that she had written the Pageant herself and had not got it from some Northern YWCA or missionary society, as might be feared. “I said to myself, ‘There have been pageants about everything else—why not about birds?’ ” she said. She told me proudly that each costume had been made by the bird who would wear it.
I brought a friend, and presently we were seated—unavoidably, because we were white—in the front row, with our feet turned sidewise by a large can of zinnias, but in the first of the excitement we were forgotten, and all proceeded as if we weren’t there.
Maude Thompson made an announcement to the audience that everybody had better be patient. “Friends, the reason we are late starting is that several of the birds have to work late and haven’t arrived yet. If there are any birds in the audience now, will they kindly get on back here?” Necks craned and eyes popped in delight when one girl in a dark-blue tissue-paper dress jumped up from a back pew and skittered out. Maude Thompson clapped her hands for order and told how a collection to be taken up would be used to pay for a piano—“not a new one, but a better one.” Her hand was raised solemnly: we were promised, if we were quiet and nice, the sight of even more birds than we saw represented on the walls. The audience fanned, patted feet dreamily, and waited.
The Pageant, decidedly worth waiting for, began with a sudden complete silence in the audience, as if by mass intuition. Every head turned at the same time and all eyes fastened upon the front door of the church.
Then came the entrance of the Eagle Bird. Her wings and tail were of gold and silver tin foil, and her dress was a black and purple kimono. She began a slow pace down the aisle with that truly majestic dignity which only a vast, firmly matured physique, wholly unselfconscious, can achieve. Her hypnotic majesty was almost prostrating to the audience as she moved, as slowly as possible, down the aisle and finally turned and stood beneath the eagle’s picture on the wall, in the exact center of the platform. A little Eaglet boy, with propriety her son, about two and a half feet tall, very black, entered from the Sunday School room and trotted around her with a sprightly tail over his knickers, flipping his hands dutifully from the wrist out. He wore bows on each shoulder. No smiles were exchanged—there was not a smile in the house. The Eagle then seated herself with a stifled groan in her chair, there was a strangled chord from the piano, where a Bird now sat, and with the little Eaglet to keep time by waving a flag jutting out from each wing, the congregation rose and sang “The Star-Spangled Banner.”
Then the procession of lesser Birds began, and the music—as the pianist watched in a broken piece of mirror hidden in the vines—went gradually into syncopation.
The Birds would enter from the front door of the church, portentously, like members of a bridal party, proceed in absolute and easily distinguishable character down the aisle, cross over, and take their places in a growing circle around the audience. All came in with an assurance that sprang from complete absorption in their roles—erect in their bright wings and tails and crests, flapping their elbows, dipping their knees, hopping and turning and preening to the music. It was like a dance only inasmuch as birds might dance under the circumstances. They would, on reaching the platform, bow low, first to the Eagle Bird, who gave them back a stern look, and then to the audience, and take their positions—never ceasing to fly in place and twitter now and then, never showing recognition or saying one human word to anyone, even each other. There were many more Birds of some varieties than of others; I understood that “you could be what you want to.” Maude Thompson, standing in a white uniform beside the piano, made a little evocation of each variety, checking down a list.
“The next group of Birds to fly will be the Bluebirds,” she said, and in they flew, three big ones and one little one, in clashing shades of blue crepe paper. They were all very pleased and serious with their movements. The oldest wore shell-rimmed glasses. There were Redbirds, four of them; two Robin Redbreasts with diamond-shaped gold speckles on their breasts; five “Pink-birds”; two Peacocks who simultaneously spread their tails at a point halfway down the aisle; Goldfinches with black tips on their tails, who waltzed slowly and somehow appropriately; Canary birds, announced as “the beautiful Canaries, for pleasure as well as profit,” who whistled vivaciously as they twirled, and a small Canary who had a yellow ostrich plume for a crest. There was only one “beautiful Blackbird, alone but not lonesome,” with red caps on her wings; there was a head-wagging Purple Finch, who wore gold earrings. There was the Parrot-bird, who was a man and caused shouts—everyone’s instant favorite; he had a yellow breast, one green trouser-leg, one red; he was in his shirt sleeves because it was hot, and he had red, green, blue and yellow wings. The lady Parrot (his wife) followed after in immutable seriousness—she had noticed parrots well,
and she never got out of character: she ruffled her shoulder feathers, she was cross, she pecked at her wings, she moved her head rapidly from side to side and made obscure sounds, not quite words; she was so good she almost called up a parrot. There was loud appreciation of the Parrots—I thought they would have to go back and come in again. The “Red-headed Peckerwood” was a little boy alone. The “poor little Mourning Dove” was called but proved absent. “And last but not least, the white Dove of Peace!” cried Maude Thompson. There came two Doves, very sanctimonious indeed, with long sleeves, nurse’s shoes and white cotton gloves. They flew with restraint, almost sadly.
When they had all come inside out of the night, the Birds filled a complete circle around the congregation. They performed a finale. They sang, lifting up their wings and swaying from side to side to the mounting music, bending and rolling their hips, all singing. And yet in their own and in everybody’s eyes they were still birds. They were certainly birds to me.
“And I want TWO wings
To veil my face
And I want TWO wings
To fly away,
And I want TWO wings
To veil my face,
And the world can’t do me no harm.”
That was their song, and they circled the church with it, singing and clapping with their wings, and flew away by the back door, where the ragamuffins of the alley cried “Oooh!” and jumped aside to let them pass.
I wanted them to have a picture of the group to keep and offered to take it. Maude Thompson said, “Several of the Birds could meet you in front of the church door tomorrow afternoon at four.”
There turned out to be a number of rendezvous; but not all the Birds showed up, and I almost failed to get the Eagle, who has some very confining job. The Birds who could make it were finally photographed, however, Maude Thompson supervising the poses. I did not dare interfere. She instructed them to hold up their necks, and reproached the Dove of Peace for smiling. “You ever see a bird smile?”
Since our first meeting I have chanced on Maude Thompson several times. Every time I would be getting on a train, I would see her in the station; she would be putting on a coffin, usually, or receiving one, in a church capacity. She would always tell me how the Pageant was doing. They were on the point of taking it to Forrest or Mount Olive or some other town. Also, the Birds have now made themselves faces and beaks.
“This is going to be one of those things going to grow,” said Maude Thompson.
I Know Why the Caged Bird Sings
Harper’s Magazine, February 1970
MAYA ANGELOU
“What you looking at me for?
I didn’t come to stay . . .”
I hadn’t so much forgot as I couldn’t bring myself to remember. Other things were more important.
“What you looking at me for?
I didn’t come to stay . . .”
Whether I could remember the rest of the poem or not was immaterial. The truth of the statement was like a wadded-up handkerchief, sopping wet in my fists, and the sooner they accepted it the quicker I could let my hands open and the air would cool my palms.
“What you looking at me for . . .?”
The children’s section of the Colored Methodist Episcopal Church of Stamps, Arkansas, was wiggling and giggling over my well-known forgetfulness.
The dress I wore was lavender taffeta, and each time I breathed it rustled, and now that I was sucking in air to breathe out shame it sounded like crepe paper on the back of hearses.
As I’d watched Momma put ruffles on the hem and cute little tucks around the waist, I knew that once I put it on I’d look like a movie star. (It was silk and that made up for the awful color.) I was going to look like one of the sweet little white girls who were everybody’s dream of what was right with the world. Hanging softly over the black Singer sewing machine, it looked like magic, and when people saw me wearing it they were going to run up to me and say, “Marguerite [sometimes it was “dear Marguerite”], forgive us, please, we didn’t know who you were,” and I would answer generously, “No, you couldn’t have known. Of course I forgive you.”
Just thinking about it made me go around with angel’s dust sprinkled over my face for days. But Easter’s early morning sun had shown the dress to be a plain ugly cut-down from a white woman’s once-was-purple throwaway. It was old-lady-long too, but it didn’t hide my skinny legs, which had been greased with Blue Seal Vaseline and powdered with the Arkansas red clay. The age-faded color made my skin look dirty like mud, and everyone in church was looking at my skinny legs.
Wouldn’t they be surprised when one day I woke out of my black ugly dream, and my real hair, which was long and blond, would take the place of the kinky mass that Momma wouldn’t let me straighten? My light-blue eyes were going to hypnotize them, after all the things they said about “my daddy must of been a Chinaman” (I thought they meant made out of china, like a cup) because my eyes were so small and squinty. Then they would understand why I had never picked up a Southern accent, or spoken the common slang, and why I had to be forced to eat pigs’ tails and snouts. Because I was really white and because a cruel fairy stepmother, who was understandably jealous of my beauty, had turned me into a too-big Negro girl, with nappy black hair, broad feet, and a space between her teeth that would hold a number-two pencil.
“What you looking . . .” The minister’s wife leaned toward me, her long yellow face full of sorry. She whispered, “I just come to tell you, it’s Easter Day.” I repeated, jamming the words together, “Ijustcometotellyouit’sEasterDay,” as low as possible. The giggles hung in the air like melting clouds that were waiting to rain on me. I held up two fingers, close to my chest, which meant that I had to go to the toilet, and tiptoed toward the rear of the church. Dimly, somewhere over my head, I heard ladies saying, “Lord bless the child” and, “Praise God.” My head was up and my eyes were open, but I didn’t see anything. Halfway down the aisle, the church exploded with, “Were you there when they crucified my Lord?” and I tripped over a foot stuck out from the children’s pew. I stumbled and started to say something, or maybe to scream, but a green persimmon, or it could have been a lemon, caught me between the legs and squeezed. I tasted the sour on my tongue and felt it in the back of my mouth. Then before I reached the door, the sting was burning down my legs and into my Sunday socks. I tried to hold, to squeeze it back, to keep it from speeding, but when I reached the church porch I knew I’d have to let it go, or it would probably run right back up to my head and my poor head would burst like a dropped watermelon, and all the brains and spit and tongue and eyes would roll all over the place. So I ran down into the yard and let it go. I ran, peeing and crying, not toward the toilet out back but to our house. I’d get a whipping for it, to be sure, and the nasty children would have something new to tease me about. I laughed anyway, partially for the sweet release; still, the greater joy came not from being liberated from the silly church but from the knowledge that I wouldn’t die from a busted head.
If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat. It is an unnecessary insult.
I
My brother Bailey and I had come to the musty little town of Stamps when I was three and he four. We had arrived wearing tags on our wrists which instructed—“To Whom It May Concern”—that we were Marguerite and Bailey Johnson, Jr., from Long Beach, California, en route to Stamps, Arkansas, c/o Mrs. Annie Henderson.
Our parents had decided to put an end to their calamitous marriage, and Father shipped us home to his mother. A porter had been charged with our welfare—he got off the train the next day in Arizona—and our tickets were pinned to my brother’s inside coat pocket.
I don’t remember much of the trip, but after we reached the segregated Southern part of the journey, things must have looked up. Negro passengers, who always traveled with loaded lunch boxes, felt sorry for “the poor little motherless darlings” and plied u
s with cold fried chicken and potato salad. Years later I discovered that the United States had been crossed thousands of times by frightened Black children traveling alone to their newly affluent parents in Northern cities, or back to grandmothers in Southern towns when the urban North reneged on its economic promises.
The town reacted to us as its inhabitants had reacted to all things new before our coming. It regarded us awhile without curiosity but with caution, and after we were seen to be harmless (and children) it closed in around us, as a real mother embraces a stranger’s child. Warmly, but not too familiarly.
We lived with our grandmother and uncle in the rear of the Store (it was always spoken of with a capital s), which she had owned some twenty-five years. Early in the century, Momma (we soon stopped calling her Grandmother) sold lunches to the sawmen in the lumberyard (east Stamps) and the seedmen at the cotton gin (west Stamps). Her crisp meat pies and cool lemonade, when joined to her miraculous ability to be in two places at the same time, assured her business success. From having a mobile lunch counter, she set up a stand between the two points of fiscal interest and supplied the workers’ needs for a few years. Then she had the Store built in the heart of the Negro area. Over the years it became the lay center of activities in town. On Saturdays, barbers sat their customers in the shade on the porch of the Store, and troubadours on their ceaseless crawlings through the South leaned across its benches and sang their sad songs of The Brazos while they played juice harps and cigar-box guitars.