Mickalene Thomas: All About Love @ the Hayward Gallery

Mickalene and Linder

A word of explanation. The Hayward Gallery is currently hosting two exhibitions, one of the radical British feminist artist Linder, one of the radical Black queer American feminist artist, Mickalene Thomas. When I got there I mistakenly thought they shared the same main gallery space, with Mickalene downstairs and Linder upstairs. This was my mistake. Although you buy a joint ticket to both of them, the two exhibitions are completely distinct and you enter them by different doors. The Mickalene is situated in the Hayward’s main gallery with its huge rooms, while you enter the Linder by a different entrance into a series of smaller, more intimate rooms along the ground floor. This is a review of the Mickalene Thomas show. I’ve written a separate review of the Linder show.

Mickalene Thomas: All About Love

‘The central place of my work, and my art, is from a loving space’

This is an outstanding exhibition, I heartily recommend it. Mickelene Thomas’s paintings, collages, photomontages, videos and installations start big and become huge, filling the cavernous spaces at the Hayward Gallery with bold colours, delirious patterns, glitter and glamour. And then there’s a soundtrack, a continual loop of chilled soul and jazz classics drifting through the gallery which makes the whole thing a lovely Saturday morning experience. And, for me personally, I got chatting to several of the (female) visitor assistants who answered my questions, drew my attention to all kinds of details, and significantly deepened my understanding and enjoyment of the show (see below).

Afro Goddess Looking Forward by Mickalene Thomas (2015) © Mickalene Thomas

A reproduction like this gives no sense of the scale of the original, which is nearly 3 yards wide and 2 yards high, completely filling a gallery wall, towering over you and, as you get closer, enfolding in its bright, warm, welcoming designs.

Theory or beauty, issues or love

Born in 1971, Thomas is a Black, queer woman and proud as hell of it. This is catnip to the world of straight white women curators who write lots of wall captions claiming that her work subverts all the usual stereotypes (gender, ethnicity, identity), questions social norms, interrogates the blah blah blah. Thomas is well aware of this, and freely draws on the tenets of Black feminist and queer theory. In fact the title of the exhibition derives from bell hooks’ 2000 book ‘All About Love: New Visions’. Thus every wall label sounds like this:

Thomas work challenges societal norms and provides a powerful counter-narrative to mainstream depictions of beauty and identity…

It may well do all of that, and you can certainly immerse yourself in a critical theory-level response to her art – but what that style of writing doesn’t convey is how beautiful her work is. It’s big and bold and stunning and full of LIFE, full of lovely details and full of LOVE. Don’t need no theory to understand that.

Mickalene Thomas biography

From her Wikipedia article:

Mickalene Thomas (born January 28, 1971) is a contemporary African-American visual artist best known as a painter of complex works using rhinestones, acrylic, and enamel. Thomas’s collage work is inspired from popular art histories and movements, including Impressionism, Cubism, Dada, the Harlem Renaissance, and selected works by the Afro-British painter Chris Ofili. Her work draws from Western art history, pop art, and visual culture to examine ideas around femininity, beauty, race, sexuality, and gender.

From the press release:

Thomas is a trailblazer of portraiture and collage, widely renowned for her large-scale paintings of Black women posed against boldly patterned backgrounds embellished with rhinestones. As an artist who fearlessly transcends creative boundaries, her artworks have also adorned album covers (Solange’s EP True, 2013) and emblazoned fashion runways (Dior, 2023).

Love, leisure, and joy

All true, but much nearer the point is the first sentence of the first big wall label:

Mickalene Thomas’s art is an exploration of love, leisure, and joy.

This is certainly the keynote for the works on the ground floor of this two-floor exhibition. They are big and bold and depict friends and lovers and family in a candid, open, vivid and delightful way. Here’s a portrait of her beloved mother, a former fashion model named Sandra Bush, fondly known as Mama Bush.

Mama Bush: (Your Love Keeps Lifting Me) Higher and Higher by Mickalene Thomas (2009) © Mickalene Thomas

Now clearly half a dozen things are going on in this piece so let’s try to unpick them one by one.

Family

Thomas’s paintings depict family, friends and (women) lovers.

‘My gaze is the gaze of a Black woman unapologetically loving other Black women.’

There are some installations based on her childhood home (see below). As you read about this in the wall labels, as you see the sweet furnishings of the family rooms, as your heart rate goes down to match the smooth jazz soundtrack. It all creates a sense of warmth and love.

Based on photos

Thomas’s creative process begins by photographing her muses in a variety of sets created in her Brooklyn studio. These photos then form the basis of paintings in oil, acrylic and enamel paint which are inlaid with lustrous multi-coloured rhinestones. Originally chosen by the artist as affordable substitutes for oil paints, these materials have since become her signature.

Fabrics

After I’d got over the size, and the bold design and colour, and the use of shiny rhinestones, I began to notice the role of fabric and fabric-style patterning in the works. The figures are almost secondary to the dazzling collage of fabrics of starkly clashing colours and designs.

Installation view of Mickalene Thomas ‘All About Love’. ‘Din avec la main dans le miroir et jupe rouge’ (2023). Photo by Mark Blower. Courtesy the artist and the Hayward Gallery

The overall effect is dramatic but each of the works repays going up close to enjoy the detail of each of these fabrics.

Detail from ‘Naughty Girls Need Love Too’ (2009) by Mickalene Thomas in ‘All About Love’ at the Hayward Gallery

As mentioned above, the wall labels overflow with references to queer Black theory, and yet the exhibition can, sort of, be considered an adventure among fabrics. My wife knits, sews, crochets and is fascinated by fabrics and yarns and so, quite oblivious to all the critical theory, spent ages looking very closely at all these fabric designs.

Collage

According to the Tate website:

Collage describes both the technique and the resulting work of art in which pieces of paper, photographs, fabric and other ephemera are arranged and stuck down onto a supporting surface.

Quite clearly, then, the pictures are massive examples of collage in which the photos of friends and family form just the base layer over which she drapes patterned fabrics, cuts and rearranges imagery using the papier collé technique, and studs them with patterns of glittering rhinestones.

‘Collage is how I create form and composition. It’s a way to edit, disrupt, and dismantle – creating a space that is complex, by deconstructing the depth of the field of illusion.’

The wall labels reference a number of influences and even I could see the legacy of Henri Matisse’s cutouts in the more seaweed-shaped designs. But there are plenty of other influences including the Black woman artist Faith Ringgold, whose work we recently saw at the Serpentine Gallery.

The male gaze

‘My gaze is the gaze of a Black woman unapologetically loving other Black women.’

Before we move on to the other rooms, let’s address an issue which cropped up in the opening rooms with their enormous portraits, not least because it is mentioned ten or more times in the wall labels, our old friend The Male Gaze.

This concept crops up in more or less every exhibition about or which includes women artists. It is a standard accompaniment to any women’s art which includes depictions of female figures.

The male gaze was first articulated by British feminist film theorist Laura Mulvey in her 1975 essay, ‘Visual Pleasure and Narrative Cinema’, so it’s 50 years old this year. According to the Wikipedia page:

The male gaze is the act of depicting women and the world in the visual arts and in literature from a masculine, heterosexual perspective that presents and represents women as sexual objects for the pleasure of the heterosexual male viewer… thus reinforcing a patriarchal visual narrative.

With the explosion of feminist and critical theory over the past 50 years, the male gaze is now detected in every medium whenever women are portrayed, in not just classical painting, but advertising, films and TV, social media, all forms of literature, you name it.

I get it and I agree with it. What I don’t understand so readily is how all these paintings of scantily-clad young women, generally exposing their breasts, can be said to subvert the male gaze. Surely – without wanting to – they cater to it.

Portrait of Marie by Mickalene Thomas (2015) © Mickalene Thomas

Now one of the reasons I enjoyed my trip so much was because I got into conversations with several of the (female) visitor assistants, who were extremely knowledgeable and very perceptive. I benefited a lot from their insights.

One of these visitor assistants was giving periodic tours of the exhibition. When she’d finished, genuinely puzzled, I asked her how lots of images of scantily-clad, attractive young women with their boobs out was meant to subvert the male gaze. Speaking as a heterosexual male, they seem to me to encourage the male gaze by playing up to every expectation of women as a) beautiful b) lounging on sofas and beds c) half dressed. The visitor assistant made the following three points:

1. Thomas starts a lot of her works with photographs then paints and assembles collages of materials over them. The relevance of this is that her sitters only pose for a few hours i.e. not for days and days on end. I.e. the relationship between artist is less hierarchical, less dominating and demanding.

2. This lack of a male-female power imbalance extends to collaboration. After discussing a backdrop and a pose and what to wear, the subjects then help decide which poses and shots are best, which ones they feel most comfortable with. So, again, less of a male master and woman servant relationship, more a collaboration of equals, and of women equals.

3. She went on to make the rather more obvious point how so much Western art of the beautiful-woman-half-dressed-on-a-divan type was commissioned by rich men to adorn their walls. Many examples of rich men commissioning titillating images of scantily-clad young women to decorate their homes, or even assemble semi-pornographic collections of them in private rooms, where they could be enjoyed (i.e. leched over) by other creepy men. In all of this the woman model had no control whatsoever but was paid a pittance to be converted into a sex object.

Now I understood all these points, and they deepened my understanding of the concept of the male gaze and how women artists depicting the female body operate in a different atmosphere with different aims, and of Thomas’s anti-male gaze ethic. But the assistant didn’t really address my core point which is… they’re still images of half-naked women. To paraphrase Taylor Swift, ‘Male gazers will malely gaze’ and how, in practical terms, are you gong to stop them?

But maybe I’m misunderstanding. Maybe this isn’t about changing society as a whole (stopping men malely gazing) and a much more limited term, an art world term, restricted to describing certain works by certain women artists.

Women at rest

Another apparent contradiction intrigued me. At several points the commentary deprecated the old male art tradition of showing women lying around on beds or divans, thus creating a sexualised boudoir atmosphere for easily aroused male viewers. There are so many paintings like this in the western tradition that it is a genre unto itself, the Odalisque.

The odalisque not only presents women as sexual objects but plays to the gender stereotype which associates The Male with Activity and The Female with Passivity. Active men doing things, bursting with agency. Utterly passive women lying around half-dressed like pets or sex objects, existing solely to please their male owners.

And that’s bad. OK. I get it. The contradiction comes in as you realise that so many of Thomas’s huge paintings show women, er, lying around on beds or divans, half undressed. Why is it sexism and misogyny when painted by men but the exact same subject, with the exact same visual result, is not only ‘reclaimed’ from the male gaze, but is actively liberating, when painted by a woman? Here’s how the curators put it:

Thomas’ celebratory and glamorous portraits put Black women front and centre. Their poses are restful, but filled with power, meeting our gaze and staring right back with regal force.

Or:

These works centre on repose, rest and leisure which, in Thomas’s handling, are shown to be radical acts.

You can see what the curators are trying to do here – to get round the contradiction by rewriting the terms, by changing the vocabulary, by asserting that these works by a woman artists are different from a male depiction of the same subject. But it does it fit the reality of what you actually see? Here’s one of the most notorious odalisques in western art, Olympia by Édouard Manet (1863).

Olympia by Édouard Manet (1863)

Is Olympia not ‘meeting our gaze and staring right back’? Whether or not with ‘regal force’ is for the viewer to decide, but the ‘meeting our gaze and staring right back’ is an undeniable fact. So the ‘meeting our gaze and staring right back’ does not distinguish Thomas’s works from the male work she is meant to be ‘subverting’. The real difference lies elsewhere.

Is it in a certain spirit of defiance in the expressions of (some of) the women sitters? Something in their pose and their expressions is markedy, definably different from the passive acquiescent expressions of the classic odalisque? Maybe I’m missing something obvious and you can help me. Anyway, I only dwell on it at such length because 1) this type of pose is the core subject matter of all the works on the ground floor, and 2) the make gaze and how Thomas undermines and subverts it is mentioned in more or less every wall label i.e. it’s a central feature of the curators’ commentary.

A Moment’s Pleasure #2 by Mickalene Thomas (2008) © Mickalene Thomas

Living rooms

Moving on, if you know the Hayward, you know that you then walk up a gently sloping ramp to the second main downstairs space. Here there are a few more massive rhinestone paintings, including her reworking of The Sleep, a painting by French artist Gustave Courbet, given the Thomas treatment. (Later on we meet a big bright reworking of Le Déjeuner sur l’herbe by Eduard Manet. What with the visual references to Matisse’s cutouts, we are learning that Thomas has a fondness for modern nineteenth century French art.)

But more dramatically, here you find a couple of big installations. These are mock-ups or reconstructions of family living rooms Thomas remembers from her childhood. They are designed to transport visitors back to domestic settings of the artist’s 1970s and 1980s childhood. On the left is a room from the late 1970s during Thomas’s early childhood in New Jersey, a homage to her late grandmother.

Installation view of ‘I was born to do great things’, room 1, by Mickalene Thomas (2014) Photo by the author

Of these she says:

‘I created domestic settings primarily for fellow Black women – my muses – to spend time and have new experiences in familiar surroundings, perhaps resembling their mother’s or grandmother’s living rooms.’

Inside the installation are two artworks from early in Thomas’s career. The green one at the back is ‘Portrait of Mickalena’, a painted self-portrait in which Thomas performs her childhood alter ego, Quanikah. On the wall on the left is a photographic triptych of her mother from 2003, in which Sandra Bush poses in the style of actor Pam Grier, star of 1970s Blaxploitation cinema

One of the visitor assistants I spoke to was mixed race and she said the rooms triggered warm memories of her childhood. They feel sweet and comfortable and at least part of this is because is this is the source of the mellow soul and jazz music which permeates the ground floor, emanating from a genuine old-school record player and hi fi unit, with ageing record covers by The Supremes and such like, leaning against it at the bottom left.

This hi fi unit is in the second room which recreates a room from Thomas’s teenage years in the 1980s, a completely different vibe from the previous one, this is all shagpile grey carpet and Art Deco lampshades.

Installation view of ‘I was born to do great things’, room 2, by Mickalene Thomas (2014) Photo by the author

As to the curators’ commentary:

‘The living room is where we see black imagination made visual’, writes poet Elizabeth Alexander in The Black Interior. She suggests that the home holds a sacred significance for African Americans who have grappled with the impermanence of place perpetrated by enslavement, segregation and gentrification.

Remember what I was saying about the importance of fabrics, of Thomas collaging together wildly varying and disparate fabrics and patterns? When you look more closely you realise every piece of furniture in room 1 is made of crazy collages of fabrics, patched together, sometimes with very overt stitching. Is this something to do with relative poverty, with having to make do and mend? Or a purely aesthetic statement, in fact it’s a style statement. The visitor assistant I was chatting to made the point that none of the fabrics really ‘go’ with each other and yet, at the same time, because everything is made out of crazy patching, it all, somehow, does go. It makes a Gestalt.

Installation view of ‘I was born to do great things’, room 1, by Mickalene Thomas (2014) Photo by the author

Off to one side of the room is another installation, smaller, dinky, filled with bedroom bric-a-brac, reminding me of my teenage daughter’s bedroom. Takes as a whole the shape is reminiscent of a shrine and it is, in fact, titled Shrine. I’m guessing it is a shrine to her teenage self.

Installation view of Shrine by Mickalene Thomas (2024) Photo by the author

It’s packed with interesting and charming details. There’s a fridge magnet-style motto which reads: ‘I’m not opinionated, I’m just always right.’ Books by Black and queer authors. And I noticed, underneath a classic photo of Black activist Angela Davies, a picture frame which holds a list of names.

Detail of Shrine by Mickalene Thomas (2024) Photo by the author

Recognise the names?

  • Frida Kahlo, the Mexican painter and feminist icon
  • Kara Walker, the contemporary Black political and feminist artist
  • Georgia O’Keefe, woman painter of big bold flowers and scenes of the desert south-western USA

And she’s added her name to the list. Her lineage. Her heroines and herself.

Music

By far the majority of exhibitions I go to are staged in empty, church-like silence, a deadening white-walled sterility as antiseptic as an operating theatre which intimidates visitors into whispering or intimidated silence. The dozen or so sexy, soul music tracks, smooth jazz and soul classics, which play on a loop went a long way to taking the frozen edge off the gallery space and making it a nice place to be.

It made me feel warm and fuzzy about her art, about the rooms she grew up in, about her mum and friends and lovers, it made the whole thing feel warm and welcoming. It made a significant different. Here’s the track list:

Upstairs

Upstairs there are five more rooms, some big, some enormous, more installations, and a wider range of her works, including straight (no pun intended) photography, video installations, and more overtly political works.

The water lilies room

The biggest room features her largest collage to date, an absolutely massive work covering one huge wall (on the left here), in which are embedded ten or more smaller collage pictures. This towers over a lot of plastic rubber plants arranged in a grid pattern on a huge rectangular mirror.

Installation view of La Maison de Monet by Mickalene Thomas at the Hayward Gallery. Photo by the author

I think this is titled ‘La Maison de Monet’ and dates from 2022. In 2011, Thomas took part in a summer residency at Claude Monet’s house and studio located at Giverny, in northern France. Giverny provided Thomas with the opportunity to reflect on Monet’s iconic depictions of gardens and the vibrant domestic spaces that he designed as places of inspiration and leisure. The grid of plastic pot plants represents the famous water lilies in Monet’s garden pond, the lily pond he painted so many times at the end of his life.

On the opposite wall are two more standard-sized works. These are noticeably different from the earlier works in two respects: although they still use jagged-edged collage the elements are mostly plain colour washes instead of intricately decorated fabrics. And no rhinestones. The one on the right reminded me of a record cover from the 1980s, though I can’t remember which one. Can anyone remind me?

Installation view of Mickalene Thomas: All About Love at the Hayward Gallery. Photo by the author

A note on laminated flooring

It was only after I’d strolled around the room and looked at the massive wall collage a few times that I began to appreciate the importance of wood in it. On the left you can see photos of a number of wooden shelving units such as you might find at Habitat, while on the bottom right are black and white photos of what looks like laminated wood flooring. Hold that thought…

The wrestling room

Beyond the water lily room is the wrestling room. Here are half a dozen rhinestone and jagged collage-style images of two Black women in various wrestling poses. To quote the curators:

Thomas created her series of Wrestlers to explore multiple sides of herself. All the figures depicted in the paintings are representations of Thomas, featuring the artist Kalup Linzy as her twin. The paintings reveal only one face – the artist’s. The artist considers the series a form of self-portraiture, embodying internal conflicts between our multiple selves within society.

The figures, locked in an embrace, blur the boundaries between erotic pleasure and pain, struggle and affection, dominance and submission, all expressions of desire. The tiger and zebra print leotards worn by the wrestlers can be seen as a critique of the stereotypical and exploitative portrayals of Black women’s strength and sensuality.

Well, as I’ve said in my comments about the male gaze, does dressing Black women in jungle animal leotards (tiger and zebra) ‘critique’ stereotypes about Black women… or subtly confirm them? You, the viewer, decide.

Installation view of the wresting room at Mickalene Thomas: All About Love at the Hayward Gallery. Photo by the author

I chatted with the visitor assistant about the bean bags. On the two times I visited the room nobody was sitting on them. Remember I mentioned the wooden shelf units and laminated flooring in the previous room? Well look at the walls here! The stripped varnished pine walls make it feel a bit like a shop, quite a clinical vibe.

Also, you only want to throw yourself on a bean bag if there’s something you really want to spend some time looking at and, I hate to say it, but these were probably the weakest set of works in the show.

But the visitor assistant, as so often, pointed out something I hadn’t noticed, which was the colour red. The bean bags are dark red because all the wrestling images who the two figures wrestling on a dark red blanket. Aha! More like interior decorating than art, the bean bags are visually tied in to the surrounding paintings.

Lastly, most visitors to most of the exhibitions I go to are old. Lots of grey-haired old men and women. I imagine no-one was using the bean bags because pretty much every visitor would struggle to get back to their feet. They’re appropriate to a younger crowd at a younger show and with something to really look at. (I vividly remember the beanbags in a projection room at the Victoria and Albert Museum show about So You Say You Want A Revolution, where you plumped down in a bag to watch excerpts from the rock movie, Woodstock.)

‘Me as Muse’

Round the corner from the lily pond room is a smaller installation, visually tied to it by the present of another clump of rubber plants and titled ‘Me as Muse’. It’s a multimedia video installation meaning there’s a bench and you sit on this and face

Installation view of ‘Me as Muse’ (2016) at Mickalene Thomas: All About Love at the Hayward Gallery. Photo by the author

Now what I noticed first about this was the way the bench was made of Thomas’s characteristic patched fabrics. I really liked the bench, vivid and colourful. The wall is covered by a massive montage of mostly black-and-white photos of woods and forest, which are complimented, I suppose, by the rubber plants.

But obviously the centre of attention is the 12 TV monitors. What appears on these screens is a little complicated. The core image is a self portrait of Thomas lying naked on a divan, the classic odalisque pose which prompted all those questions about the male gaze and the history of art and so on, on the ground floor.

What happens then is that different monitors cut to other images, not all at the same time but so that fragments of images are juxtaposed against each other. These other images include two classic odalisque paintings from western art, one by Jean-Auguste-Dominique Ingres, a more modernist one by Amedeo Modigliani. I think the point is to contrast the representation of Black or ‘exotic’ women in classical male art, with the body of a real Black woman (Thomas herself).

This process goes a step further when the monitors show us a photographic image of Sarah Baartman (1789 to 1815), a Khoikhoi woman from southwestern Africa who was displayed in colonial exhibitions across Europe in the 19th century. This obviously deepens things from just being an art history issue to showing its relationship to the wider world and to historic issues of colonialism, dehumanisation and so on.

So far, so very like an A-level exercise in gender and racial politics. Intercut with all this are clips from a BBC interview with Eartha Kitt in which the famous singer (apparently) speaks candidly about the abuse, suffering and racism she experienced throughout her life. This would have been more powerful if I could have heard anything she said. Maybe there were headphones or a QR code to use on my phone or something, but none of the other visitors who were in this area at the same time as me were listening to anything. Then again maybe the images of a Black woman talking but muted and silenced, were – in a presumably unintentional way – more powerful than hearing her words.

And it’s a collage, isn’t it, just in a different format (video instead of picture). Like the paintings, and the furniture, its basic idea is cutting up and juxtaposing elements from strikingly different sources.

This view shows the geographical relationship between the lily pond room and the TV room (in this photo you can see the Modigliani odalisque on the TV screens), and also shows how the rubber plants – and now I look closely, I can see how the use of black and white stripes and squares – bind the two pieces together. In fact it was only when reviewing my own photos that I realised that immediately behind the monitors are photos of… water lilies in a pond! Surely, they must be shots of Monet’s lily pond. In which case the two installations are really tied together.

Installation view of the upstairs rooms at Mickalene Thomas: All About Love at the Hayward Gallery. Photo by the author

Eartha Kitt sings Angelitos Negros

Eartha Kitt crops up in another work, another multiple screen installation just along the corridor. It consists of four much bigger screens, each one divided into three sub-screens. On them we see face shots of several Black women all singing the same song. The singing feels notably non-professional i.e. like you or me singing in the shower, and it sounds like several voices singing together at once though not in any kind of professional unity or harmony.

Installation view of Angelitos Negros by Mickelene Thomas at the Hayward Gallery. Photo by the author

It’s only when you read the wall caption that you realise one of the screens is showing Black singer and actress Eartha Kitt performing her 1953 song Angelitos Negros. In this the singer implores artists to paint Black angels in their religious paintings. ‘You paint all our churches, and fill them with beautiful angels,’ the song laments, ‘but you never do remember, to paint us a Black angel.’ As far as I can tell, in that original video Kitt starts crying so the tone of the music is obviously tearful, if not tragic.

So the other faces and voices are all of Thomas herself singing along. So that explains why there’s a kind of core track which sounds good (Eartha) accompanied by an impassioned by amateur rendition (Mickalene).

What I assume to be several takes of her doing this are cut and pasted into the different channels shown by the monitors, which continually change angle and distance. So it’s yet another example of Thomas’s use of collage, reusing, repurposing, juxtaposing original source material into new combinations.

In a way more striking than the piece itself is the fact that in front of it is something like the living room installations downstairs, a collection of armchairs place on a big carpet, with side tables piled with classics of Black and queer literature.

Installation view of Angelitos Negros by Mickelene Thomas at the Hayward Gallery. Photo by the author

Note 1) the way all the furniture is made of patchwork fabric, like the bench in the other TV room, like the furniture in the two living room installations, echoing the intense use of fabric patterns in her rhinestone paintings. 2) Note the use of fake wood laminated tiles, such as you see in flooring shops, visually linking this to the images of cheap wooden furnishing and flooring in the previous installations. And 3) our old friends, the pot plants, also linking this with the other upper gallery installations. It’s not only paintings that can have recurring motifs, but installations too.

The sly way all these displays are tied together by these motifs is enjoyable to decipher and savour. Clever. Very clever, and fun. In the manner of all good art, you feel all these linkages are saying something, something important and meaningful, but can’t work out what. But that’s fine. Art isn’t a scientific thesis. Hints and echoes and implications are what it’s good at. Very clever. Echoes and re-echoes.

Incidentally, the paintings on the wall in the background of this photo are a departure from everything we’ve seen so far. They’re portraits of people right enough, but painted on big mirrors. In fact here on the upper floor there’s a much greater variety of works, a greater range of paintings plus a corridor of simple (i.e. uncollaged) colour photographs, nicely staged and shot.

A note on James Baldwin

The Black American author James Baldwin (1924 to 1987) is frequently encountered in the art world. Why? Because he’s Black, queer and a writer. I’m not being sarcastic or snarky when I say he ticks all the boxes. We live in a liberal culture which is concerned to tick all the boxes – literally in the case of many organisations’ legally binding commitments to diversity and inclusion. In a thoroughly feminist culture like the art world most straight white men are frowned on and excluded. In a backlash against thousands of years of white heteronormative domination, there is currently a wave of exhibitions by Black artists, and an ever-growing number of exhibitions by queer artists.

Baldwin’s writings often address his challenges with identity. When he came of age in the 1940s a man was meant to be white and manly, Clark Gable or John Wayne. Being Black exposed him to the massive race discrimination in 1940s USA, but being queer made him doubly an outsider, especially in his own Black community which was just as homophobic as the white world, if not more so.

After facing years of everyday racism and homophobia, despite the support of other Black writers who spotted his talent, Baldwin in the end fled America, travelling to France in 1948 where he lived for the rest of his life.

It’s not just that Baldwin ticks the boxes, he’s not just an empty figurehead. It’s that he wrote so eloquently about the challenges and complexities of juggling his multiple identities: American, man, Black, gay.

So it is no surprise that in our times, when progressive politics, art and literature are more than ever before concerned with questions of gender and identity, Baldwin is not just a symbol of these issues, but his often very eloquent expressions of them find themselves being quoted again and again, in texts, in documentaries and in countless exhibitions.

When I visited the contentious Masculinities exhibition at the Barbican, supposedly a comprehensive survey of art from around the world about masculinity, no surprise that the massive quotation written in big letters on the wall right at the start of the exhibition was by Baldwin. Not a British writer, a white writer or a straight writer. To define masculinity, to set the keynote in their huge exhibition about masculinity, the curators chose the writing of a gay Black American man.

Not long ago I was at the Photographer’s Gallery in Soho and discovered quotes from Baldwin being used in their exhibition of queer photos. And here in the Mickalene show, Baldwin is 1) referenced in the wall captions, specifically the one for the Money installation which aligned Baldwin’s flight to France with Mickalene’s stay there 60 years later. 2) In the Shrine and here in this Earth Kitt installation, when there are little piles of books to make the place look more homely, you can bet your house they’ll include works by Baldwin and guess what? They do. 3) And photos of him appear in Thomas’s series celebrating Black politics, ‘Resist’. He’s everywhere.

I’m not mocking. I’m pointing out that particular periods or eras in history are defined by their economic and technological substructure, and the cultures they produce are marked by particular anxieties and means of expression. So that in an era saturated in issues to do with race and gender, it’s almost inevitable that Baldwin’s eloquent descriptions of the interplay of these issues – not that commercially successful in his own time (the 1950s, 60, 70s) – have come into their own. This goes some way to explaining why his words or image keep cropping up in so many exhibitions I visit.

Sorry for this long digression.

The Black Lives Matter room

The last room I arrived at, the room beyond the Eartha Kitt room, is a cul-de-sac, a comparatively small space and the most ‘political’ room. It contains just three works and these are completely unlike the homespun, family-oriented, bright and joyful vibe of the rhinestone works. They all address the dire state of race relations in contemporary America. They’re examples of a series of works gathered under the collective title ‘Resist’, being:

  • Resist #12: Power to the People
  • Resist #6: Say Their Names
  • Resist #7: Guernica detail

Rather than rewrite them, I’ll quote the curators’ own words:

While Thomas’s art is fundamentally and radically political, this recent series of paintings is explicitly so, centring on Civil Rights activism from the 1960s to the present.

The central painting serves as a memorial to Black men and women who have lost their lives at the hands of U.S. law enforcement or while in custody, urging the viewer to remember the names of countless victims.

The two flanking paintings explore the central role of Black women within civil rights activism from the 1960s onwards. Thomas finds echoes of the past in the present, layering archival images from the Civil Rights era with images from recent protests and uprisings related to Black Lives Matter and other social justice movements.

Here’s that central work, the ‘memorial to Black men and women who have lost their lives at the hands of U.S. law enforcement or while in custody’.

Installation view of ‘Say Their Names (Resist #6)’ (2021) by Mickalene Thomas in Mickalene Thomas: All About Love’ at the Hayward Gallery. Photo by the author

If you pull back from the specific names and focus on the dark grey outlines you can see that they echo or in fact repeat the shapes of the animals in Pablo Picasso’s famous painting, Guernica. As in her copies, pastiches of and homages to classic paintings by Ingres, Manet and Modigliani, you can see 1) her fundamental principle of collage at work, cutting and pasting and incorporating materials from other sources into her own art; and 2) in these particular instances, taking classic works from the canon and rewriting them for her own, modern purposes, to address contemporary social and political issues.

This is a very powerful room and you only have to start thinking about the long, dire history of race relations in America, about American slavery, the civil war, the Jim Crow era, the miserable segregation and racism Afro-Americans suffered for most of the twentieth century, the long battles of the Civil Rights Movement, the assassination of Martin Luther King, through various race riots of the 1960, ’70s’, ’80s and up to the present day with its ongoing litany of Black people killed by white cops and the vast numbers of Black men imprisoned in America’s incarceration complex, to feel yourself completely overwhelmed by the scale and horror of this terrible history and these ongoing horrible realities.

All of which has an undermining effect on the smooth jazz vibe of the ground floor, with its atmosphere of proud women and domestic happiness. This small room casts a long shadow over everything which came before it… But then, we are grown-ups and have to deal with the fact that the world is a troubled, complex and riven place. There’s really very little I can do to influence the community policies of most American police forces. But all the more reason to value the love, leisure and joy which she described at the very start of the show and which those first big collages convey so wonderfully.

Take-home

It’s big, colourful, inspiring, inventive, dark and troubling, all at the same time, all in one big complex feast. Go and see it.


Related links

Related reviews

A Nation Without Borders: The United States and Its World in an Age of Civil Wars, 1830 to 1910 by Steven Hahn (2016)

My thinking about the concept of borderlands has been influenced by a growing body of literature interested in exploring the liminal spaces in which social relations, cultures and claims to sovereign authority make contact, struggle, and reshape one another. (p.525)

Executive summary

This is a long, turgid and demanding book, an academic history in the worst sense. Plenty of times I nearly gave up reading it in disgust. If you want to find out what happened in America between about 1820 and 1865, read James McPherson’s outstanding volume, Battle Cry of Freedom. For the period from 1865 to 1910 I currently can’t recommend an alternative, they must be out there in their hundreds, but this certainly isn’t it.

Two types of history

There are probably countless ‘types’ of history book but, for the purposes of this review, they can be narrowed down to two types. One type provides a more or less detailed chronology of events laid out in sequence, with portraits of key players and plenty of backup information such as quotes from relevant documents – government paperwork, constitutions, manifestos, speeches, newspaper articles, diaries, letters – alongside photos, maps, graphics and diagrams explaining social or economic trends, and so on. You are bombarded with information, from which you can pick the main threads and choose the details which most inspire you.

The other type is what you could call meta-history, a type of history book which assumes that the reader is already familiar with the period under discussion – the people, dates and events – and proceeds to ask questions, propose new theories and put forward new interpretations of it.

Since this kind of book assumes that you are already familiar with the key events, people and places of the era, it won’t bother with biographical sketches, maps or photos – you know all that already – but will focus solely on laying out new ideas and interpretations.

A Nation Without Borders: The United States and Its World in an Age of Civil Wars, 1830 to 1910 by Steven Hahn is very much the second type of history. If you want to find out what happened in America between 1830 and 1910, with maps, pictures, diagrams etc – this is not the book for you. There are no maps at all. There are no pictures. There are no diagrams. Sure there’s still a lot of information, but what there mostly is, is lots of ‘reinterpretations’.

Reinterpretations

In the first paragraph of the introduction Hahn declares his intention to tell ‘a familiar story in an unfamiliar way’, and the front and back of his book are plastered with quotes from high-end journalists and fellow academics confirming that this is indeed what he has achieved – praising his achievement in ‘reconceptualising’ and ‘rethinking’ this crucial period in American history.

  • ‘a forthright challenge to old stereotypes’
  • ‘subtle and original conceptualisation’
  • ‘not a typical chronological survey of American history’
  • ‘conceptually challenging’
  • ‘breathtakingly original’
  • ‘a bold reinterpretation of the American nineteenth century’
  • ‘an ambitious rethinking of our history’

What this means in practice is spelled out in the introduction, where Hahn announces that:

  • Traditional history teaches that the United States started as a nation and turned into an empire. Hahn seeks to prove the reverse: to show that the United States inherited an imperial mindset from imperial Britain, with a weak centre only loosely ruling a far-flung collection of autonomous states, and was only slowly struggling to become ‘a nation’, until the War of the Rebellion. The war gave the ruling Republican Party unprecedented power to pass a welter of centralising legislation which for the first time made America a ‘nation’. In this respect it was comparable to Italy and Germany which only became unified nations at much the same time (the 1860s) and also as a result of wars.
  • Traditional history teaches that America was divided into a slave-free North and a slave-based South. Hahn insists that slavery was ubiquitous across the nation, with some of the fiercest anti-Black violence taking place in New York, and that the principle struggle wasn’t between North and South but between the North-East and the Mississippi Valley for control of the new country and, possibly, of the entire hemisphere. A recurring thread of the first half is the way that southern slavers seriously envisaged conquering all of Mexico and Central America and the available Caribbean islands to create a vast slave-owning empire in which the ‘slave-free’ north-east would be reduced to a geographic stump.
  • Traditional history teaches that America is an exception to the rest of world history, a shining light on a hill. Recent decades have overthrown that view to show just how deeply involved America was with trade, exploration and slavery back and forth across the Atlantic (this is also the thrust of Alan Taylor’s brilliant account of early America, American Colonies). However, Hahn wants to overthrow not only American exceptionalism but even this newer, Atlantic, theory – he wants to shift the focus towards the Pacific, claiming that many key decisions of the period don’t make sense unless you realise that politicians of both free and slave states were looking for decisive control of the vast Californian coast in order to push on into Pacific trade with Asia.
  • Traditional history teaches that there was a civil war in American from 1861 to 1865. Hahn prefers to call this epic conflict ‘the War of the Rebellion’ – partly because the war was indeed prompted by the rebellion of the slave states, but also in order to place it among a whole host of other ‘rebellions’ of the period e.g. the Seminole War of the 1840s, the refusal of the Mormons to accept federal power in their state of Utah, the wish of some Texans to remain an independent state, the attempts by southern filibusters (the Yankee name for buccaneering adventurers) to invade Cuba and Nicaragua in defiance of federal law, numerous native American uprisings, and countless small rebellions by Black slaves against their masters. Instead of being the era of One Big War, Hahn is trying to rethink the mid-nineteenth century as the era of almost constant ‘rebellions’, large and small, by southerners, by native Americans, by newly organising workers everywhere, by the Mormons, by women – against the federal government.
  • Traditional history teaches that capitalism spread across America from its East coast, which was deeply interconnected with the global capitalist economy pioneered by Britain. Hahn seeks to show that there were all kinds of regional resistances to this transformation – the South was committed to a slave economy which limited the growth of markets and industrialisation; the whole mid-West of the country was occupied by native Americans who had completely different values and means of production and exchange from the Europeans; much of newly-settled West preferred small local market economies, virtually barter economies, to the cash-based capitalism of the East.
  • Probably the biggest single idea in the book is that the Republican triumph in the War of the Rebellion went hand in hand with the triumph of a centralised capitalist nation-state. But the latter part of the book goes on to insist that, even after its apparent triumph, capitalism continued to face a welter of opposition from numerous sources, from the disobedience of the defeated South, from western cowboy economies, through to resistance from highly urbanised Socialist and trade union movements – ‘the United States had the most violent labour history of any society in the industrialising world’ in the 1880s and 1890s.

Put this succinctly, these are certainly interesting and stimulating ideas. If only they had been developed in an interesting and stimulating way in interesting and stimulating prose which included interesting and stimulating facts.

But too often the ‘ideas’ dominate at the expense of the evidence and the basic information. Too often Hahn argues the points in prose which is so muddy, and with snippets of information or quotes handled so unpersuasively, or in such an obviously selective, cherry-picking way, that the reader has the permanent sense of missing out on the actual history, while ploughing through the interpretation. Take the new terms he coins:

New Terms

Most people in the world refer to the conflict between the Union and the Confederacy between 1861 and 1865 as the American Civil War. Hahn’s attempt to ‘reconceptualise’ it and refer to it throughout as ‘the War of the Rebellion’ has a sort of appeal, especially if you can keep in mind the cohort of other rebellions he sees as surrounding it and feeding into it. But put the book down and start talking or writing to anyone else in the world and…they will be deeply puzzled. It will require quite a lot of explanation to convey why you’re using a different name from the rest of the world… and all the while you have the strong sense that it will never catch on…

To give another example: America saw rapid economic change in the 1830s and 1840s, as scattered farmsteads and distant agricultural regions began to be connected, first by canals and, in the 1840s, by railways. Raw materials and goods could be traded further than just the local market. Eastern investors became interested in money-making possibilities. Traditionally, this period has been referred to as ‘the market revolution‘. Characteristically, Hahn prefers to give it a different name, referring throughout to ‘market intensification‘.

He does this partly because – at this late date – there is, apparently, still widespread disagreement among historians about when the American industrial revolution began: was it the 1830s or 40s or 50s? Something was definitely changing about the scale of agricultural and semi-industrial production from the 1830s onwards – Hahn is suggesting a new term designed to more accurately convey the way existing structures of production and distribution didn’t fundamentally change, but became larger in scale and more linked up. More intensified.

It’s an interesting idea but it’s quite subtle and I felt a) it requires more evidence and information to really back it up than he provides, and b) I don’t, in the end, really care that much what it’s called: I’d just like to have understood it better.

Show or tell

You could also think of the two types of history book I referred to earlier as ones which show, and ones which tell. James M. McPherson’s brilliant account of the civil war shows. He gives you all the facts, and the people, and quotes extensively from a wide range of sources. There are numerous maps, especially of all the key civil war battles, there are photographs which give you a strong feel for the era, there are diagrams and above all there are really extensive quotations from letters, speeches, articles and so on, so that you can read about the issues in the words of the people who were debating and arguing them.

As a result, McPherson’s account is rich and varied and highly memorable. You remember the people and what they did and said and achieved. As you follow his intricate account of the war, complete with maps and detailed descriptions of each battle, you get a real sense of what was at stake and how contingent human affairs are.

Hahn tells

By contrast, Hahn tells you what happened, with no reference to maps, no graphs or photographs, with minimum quotations. For example, he doesn’t give a single account of a civil war battle, and certainly no maps of them. All the evidence is subsumed to the need to make his case and put forward his new revisionist theories.

But the risk of writing history in such a theory-heavy way is that your account might end up being more about yourself and your theories, than about the ‘history’ you’re meant to be discussing; that you spend ages asking academic type questions…

What was the character of American governance? On what axes did American politics turn? How far did slavery’s reach extend, and what was its relation to American economic and political growth? How did the intensifying conflict over slavery turn into civil warfare, and in what ways did civil warfare transform the country? How integral was political violence and conquest to American development? How were relations of class, race and gender constructed, and what did they contribute to the dynamics of change? When did American industrialisation commence, and how rapidly did it unfold? How should we view popular radicalism of the late nineteenth century and its relationship to Progressivism? At what point could the United States be regarded as an empire, and how was empire constituted? (p.2)

… in order to devote the rest of the book to answering them in a similarly abstract, academic kind of way.

To give an example of the triumph of theory over detail, Hahn is heavily into modern identity politics and goes out of his way to discuss the history of women and of people of colour using the latest up-to-date sociological jargon.

Thus Hahn tells us that the nineteenth century family was a ‘patriarchal institution’ ruled by the ‘patriarchal father’ or the ‘patriarchal husband’. He explains that 19th century American society was profoundly ‘gendered’ (a favourite word of his), a society in which people have defined themselves by ‘gender stereotypes’, where people carried out ‘gendered divisions of labour’, according to ‘gendered norms’ and ‘gender conventions’ and ‘gender exclusions’. The more aggressive leaders of the era, such as presidents Andrew Jackson and Theodor Roosevelt, are both accused of ‘masculinism’.

Similarly, Hahn loses no opportunity to tell us the big news that Southern slaveowners and their newspapers and politicians often expressed ‘racist ideas’ and ‘racist conventions’ and ‘racist stereotypes’ in ‘racist’ language.

The thing is – this is not really news. It is not that useful to be told that 19th century American society was sexist and racist. The use of the latest terminology can’t hide the fact that this is pretty obvious if not patronising stuff. Not only that, but it is deeply uninformative stuff.

Instead of giving specific, useful and memorable examples of the kind of behaviour he is deploring, there tend to be pages of the same, generalising, identity politics jargon.

Part of his attempt to overturn ‘received opinion’ is to attack the notion that slaves were the passive recipients of aid and help from well-meaning white abolitionists. Wherever he can, Hahn goes out of his way to show that it was the Blacks themselves who organised resistance to slave-hunters, set up communications networks, who were aware of the political implications of the outbreak of the War of the Rebellion, who organised themselves into groups to flee their southern masters and make for the Union front line then, later, after the war, continued the struggle for equality, organised themselves into networks and groups at local and regional level, and won significant political and administrative posts across the South, before, eventually, an anti-Black backlash set in during the 1870s.

In a similar spirit (that marginalised people weren’t passive victims but strong independent people with their own agency who have all-too-often been written out of the story but whose voices he is now going to bravely present) Hahn refers a number of times to women organising as much political activity as they were then allowed to do, taking on domestic and cultural responsibilities, organising a Women’s Convention in 1848, campaigning for women’s suffrage throughout the later part of the century, fighting for admission to teaching and the professions, and so on.

Well and good, and interesting, in outline – but the way Hahn tells these stories is highly generalised, draped in politically correct phraseology, rather than illuminated by specific stories or incidents which really bring them to life.

McPherson shows

By contrast, McPherson shows us all these forces in action. He devotes pages to giving the names and stories of specific women who helped transform the perception of women’s abilities. These include the passages he devotes to the role of nurses during the war, and as workers in key industries depleted of men because of the draft.

I was fascinated by his description of the way that, in the pre-war period, the movement of women from being cottage industry producers to the heads of nuclear households in which the male now went out to earn a wage, represented a big step up in power and autonomy for women. Interesting, because so counter-intuitive.

McPherson shows the important role of women in the 1840s in creating a new market for consumer goods, which made America a pioneer in all sorts of household conveniences for the next century or more.

McPherson devotes a passage to Harriet Beecher Stowe, author of the bestselling novel of the 19th century, Uncle Tom’s Cabin.

I was struck by McPherson’s account of how women, in the 1830s and 40s began their dominance of the teaching profession, which has never gone away (in 2017 77% of teachers in the USA were female). The conference to launch the women’s rights movement which Hahn gives one brief mention, McPherson devotes three pages to, with accounts of the women who organised it and the debates it held (pages 33 to 36).

Later on, McPherson has a section about medicine and nursing during the war where, in a nutshell, certain strong-willed women followed the example of Florence Nightingale and set up nursing homes and went into the field as nurses. These women nurses and organisers impressed the male medical establishment, the army and the politicians so much that it made many men revise their opinion of women’s toughness. Notable pioneers included Clara Barton and Mary-Anne Bickerdyke (p.483) and Elizabeth Blackwell who, in 1849, became the first American woman to earn an MD.

The same went for factories and agriculture, especially in the North, where women were called in to replace men drafted into the army, and permanently expanded cultural norms about what women were capable of. (pages 477 to 489)

All this is in the McPherson. You can see how it is all immediately more interesting, more enlightening, and more useful knowledge than any number of references to ‘gender stereotypes’, ‘gendered divisions of labour’, ‘gendered norms’, ‘gender conventions’ and ‘gender exclusions’.

And if you are a feminist or interested in what women did during this period, it is far more useful and empowering to be given specific names and events and stories, which you can then go and research further yourself, than bland generalisations. Being given the name and career of Mary-Anne Bickerdyke is more useful than being given another paragraph about ‘gender conventions’.

Other problems with the book

1. Poor style

Hahn’s prose style is awful. Pages go by full of anthropological and sociological jargon and utterly bereft of a single fact or name. Take this excerpt:

Although patrons expected favours and services from their office-holding clients, they had their own needs as well. Their power and prestige were enhanced by – often required – collections of followers who could offer loyalty, votes, skills, and readiness to intimidate foes, but all this came at the price of the rewards patrons had to make available: protection, work, credit, loans, assistance in times of trouble. (p.63)

Of what organised society is this not true? It could be describing power relations in ancient Rome, or Shogun Japan, or among the Aztecs.

Orotund

Hahn’s core style is orotund American academese which combines:

  • preferring pompous to simple words
  • clichés
  • identity politics jargon

Pompous locutions

Favourite words include ‘deem’ instead of ‘think’, and ‘avail’ instead of ‘take advantage of’ or just ‘use’. Hahn is particularly fond of ‘contested spaces’: America in the 19th century was thronged with ‘contested spaces’ and ‘contested narratives’ and ‘contested meanings’. All sorts of social forces ‘roil’ or are ‘roiled’. When he quotes speeches the speakers are always said to ‘intone’ the words. People never do something as a result of an event or development; he always say ‘thereby’ some great change took place.

Hahn has a habit of starting a sentence, then having second thoughts and inserting a long parenthesis before going on to finish the sentence – often combining two contradictory thoughts or ideas in one sentence, which forces you to stop and mentally disentangle them.

Cliché

Given his bang up-to-date usage of latest PC jargon, it is a surprise that Hahn combines this with a fondness for really crass clichés. For example, early on tells us that General Antonio Lopez de Santa Anna initially supported the setting up of a monarchy in Mexico, then:

in a veritable flash, he sided with the liberals and constitutionalists

‘In a veritable flash’. a) That’s not very impressive English and b) it’s rather poor as historical explanation. Instead of serious analysis of Santa Anna’s motives for this (apparently sudden) change of mind, he is treated like a character in a fairy story. Hahn’s sense of human psychology is often disappointingly shallow. On the same page we are told that:

Santa Anna was haughty, temperamental, and guided chiefly by personal ambitions for power and adulation.

A political leader guided by a personal ambition for power. Fancy that. On page 24:

Napoleon, in his audacity, planned to reverse the wheels of history.

On page 29, President Andrew Jackson (who served for two terms, 1829 to 1837, and I think is seen as a bogeyman by liberals because he aggressively opened up the West to expansion by the slave states and capitalists, though it’s difficult to tell from Hahn’s book) is quoted in order to demonstrate the amorality of his expansionist vision:

‘I assure you,’ he boasted to the secretary of war, his imperial hunger not yet satisfied, ‘Cuba will be ours in a day.’

‘His imperial hunger not yet satisfied’. He sounds like a character in a fairy tale. Instead of stopping to convincingly explain to the reader why Jackson was such a Bad Bad Wolf, Hahn writes sentences like this about him:

In 1828, in an election that empowered white settlers west of the Appalachians and especially in the South, Andrew Jackson won the presidency, and the bell of doom began to toll.

Ah, ‘the bell of doom’. That well-known tool of historical analysis. What is he talking about?

The spread of the abolitionist movement in the 1830s prompted pro-slavery counter-attacks on Black churches or schools:

as the fires of hatred were fanned to a searing heat. (p.61)

Ah, the fires of hatred. Half a dozen times ‘the writing is on the wall’ for this or that person or movement. Indians, or Blacks, or women, or strikers ‘throw themselves into the fight against’ the army or Southern racism or the patriarchy or capitalism. Oppositions ‘dig in their heels’ against governments.

Wrong usage

Not only does he use surprisingly banal clichés, but Hahn is continually verging in the edge of ‘malapropism’, defined as: ‘the mistaken use of a word in place of a similar-sounding one, often with an amusing effect’. Here is a paragraph of Hahn which seems to me to combine cliché with phrases where he’s using words with slightly the wrong meaning.

Nearly one quarter of Santa Anna’s troops fell at the Alamo… and the slaughters he authorised there and at Goliad touched a raw nerve of vengeance among those left to keep the Texas rebellion alive. Believing that he verged on total victory, Santa Anna planned a multi-pronged attack on Houston and divided his army to carry it out. But the winds of fortune (in this case a captured courier) enabled Houston to learn of Santa Anna’s moves… (p.41)

‘He verged on total victory’ – can a person verge on anything? I thought only nouns could ‘verge on’ something, like the example given in an online dictionary: ‘a country on the verge of destruction’. Maybe this is correct American usage, but it sounds to me like an example of malapropism, something which sounds almost correct but is somehow, subtly, comically, wrong.

Elsewhere I was brought up short when I read that:

The militant posture on the Oregon question helped the democrats and their candidate, James P. Polk from Tennessee… eke out a tight election. (p.122)

The dictionary definition of ‘eke out’ is ‘to make (a living) or support (existence) laboriously’. Can it be applied to narrowly winning an election?

As for ‘the winds of fortune’ in the Santa Anna paragraph, that is just an awful cliché, isn’t it? Surely any historian – any writer – who uses phrases like ‘the winds of fortune’ or ‘the wheels of history’ or ‘the bell of doom’ or ‘the fires of hatred’ to explain anything, can’t be taken completely seriously.

2. Glossing over key events

Whereas McPherson dedicates a section of his book to a particular event, explains what led up to it, explains who the people were, gives extensive quotes explaining what they thought or planned to do, and then gives thorough descriptions of what happened – Hahn more often than not asks a sociological or anthropological question and then answers his own question at great length, only incorporating the subset of facts, events, people or quotes which suit his argument.

With the result that the book gives a very strong feeling that is it skipping over and omitting whole chunks of history because they don’t suit his agenda.

To give an example, early on in the book there are a couple of fleeting references to ‘the Alamo’. They come in the context of his discussion of the independence of Texas. Texas was initially a vast state or department of Mexico: the Mexicans invited or allowed American settlers to settle bits of it. Eventually these settlers decided they wanted to declare it a white American state. They were strongly encouraged by slave plantation owners in the Deep South who hoped they could export slavery to Texas.

Now this aim was itself only part of the wider ‘imperial’ aims of Southern slave owners who, in the 1830s and 1840s, envisioned creating a vast slave empire which stretched through Texas to the whole of California in the West, which would reach out to conquer Cuba for America, and which also would take control of some, or all, of Central America.

In this context, some notable American cowboys and adventurers took control of the Alamo and, when a Mexican army surrounded it, insisted on holding out till it was finally taken and everyone killed. From a macro perspective it was just one of the numerous clashes between American rebels and Mexican army from the period.

The point of explaining all this is that I know that The Alamo is part of American frontier legend. I know there’s an expression: ‘Remember the Alamo!’ I know a big Hollywood movie was made about it starring John Wayne. I hoped that, by reading this book, I would discover just why it’s so important in American folk mythology, what happened, who Jim Boone and the other ‘heroes’ of the Alamo were, and so on. I’m perfectly prepared to have the whole Hollywood ‘myth’ of the Alamo debunked, and to learn all kinds of squalid or disillusioning things about it, but I wanted to know more.

Not in this book I didn’t. I didn’t even get the debunking option. Instead Hahn more or less ignores ‘the Alamo’ because his focus in that particular chapter is on ‘reconceptualising’ that part of American history in terms of his broad meta-theme – the imperial fantasies of the southern slave-owners.

To find out more about the Alamo, I had to look it up online. Just like I ended up googling ‘the Comancheria’, ‘the Indian Wars’, the ‘robber barons’ and ‘Reconstruction’.

The entire era from the 1870s to about 1900 in America is often referred to as ‘the Gilded Age’ (because really rich Americans began to ape the houses and lifestyles of aristocratic Europe) but Hahn uses this phrase only once, in passing, only at the very end of the book, and doesn’t explain it. So once again I had to go off to the internet to really learn about the period.

Reading the book for information is an intensely frustrating experience.

3. No maps

The history of the United States in the 19th century is the story of its relentless geographical expansion westwards across the continent, taking whatever territory it could by force, seizing Florida from Spain, seizing Texas and California from Mexico (in the 1846 Mexico War), doing its damnedest to conquer Canada but being held at bay by the British (in the war of 1812) – attempting to conquer islands in the Caribbean such as Cuba (in the 1850s), and stretching the long arm of its empire across the Pacific to seize little Hawaii in the 1870s, even creating a short-lived American regime in Nicaragua (in 1856 to 1857).

To understand any of this at all – to see what was at stake, where places were, the route of invasions, the site of battles and so on – you need maps, lots of maps, but – THIS BOOK HAS NO MAPS.

Whoever took the decision not to commission clear, relevant, modern maps deeply damaged the usefulness of this book. In just the first fifty pages, Hahn describes the extent of Commanche land, the shape of 1830s Mexico, discusses the status of East and West Florida, describes the debates about the precise territory included in the Louisiana Purchase of 1803, follows the march of Mexican General Santa Anna to locations in East Texas. WITH NO MAPS.

So, in order to understand any of these discussions, and any of the hundreds of discussions of geographical issues, places, conflicts packed throughout the book – you need to have an Atlas handy or, better still, read the book with a laptop or tablet next to you, so you can Google the maps of where he’s talking about.

In fact, on page 33 I discovered that the book does contain maps, but that they are poor-quality reproductions of contemporary nineteenth-century maps which are, for all intents and purposes, impossible to read. Take this example, ‘A Map of North America by Palairet’, which doesn’t even give you a date. The print is so tiny you can’t make out a single place name except ATLANTIC OCEAN.

Map of North America by J. Palairet

Map of North America by J. Palairet

I’m not often moved to get on a high horse about anything, but this is disgraceful. This volume is part of Penguin’s multi-volume history of the United States. It was published in 2016. It’s meant at some level to be a definitive history of the period. The decision not to commission a single clear modern map, and not to use any contemporary photographs, or diagrams or graphs, is inexcusable.

Here’s another example, Bacon’s Military Map of America from 1862, showing America’s ports and fortifications. Can you read any of the place names? No. Can you see any of the ports and fortifications? No. Is this map of any use whatsoever? No. It’s a token gesture, and almost an insulting one at that.

Bacon's Military Map of America, 1862

Bacon’s Military Map of America, 1862

Part two 1865 to 1910

I’ve read several accounts of the civil war but know next to nothing about the period which followed it. That’s why I bought this book and I certainly learned a lot, though all the time having to struggle through a) Hahn’s unfriendly prose style b) with the constant feeling that I wasn’t being told the full story of events but only what Hahn wanted to tell me in order to make his PC points with and c) without any maps, diagrams of photographs to refer to.

The key points of the period which I took away are:

  • The administrative centralisation begun during the War of the Rebellion continued at accelerating pace for the rest of the century and into the 20th century, though not without all kinds of opposition.
  • ‘Reconstruction’ is the name given to the period immediately following the War of the Rebellion, when the North tried to rebuild the South in its own image. Abraham Lincoln was shot on 15 April 1865. He was succeeded by vice-president Andrew Johnson who, unlike Lincoln and the Republican party which had dominated the Congress and Senate during the war, was a Democrat. For a fatal year Johnson was fantastically lenient to Southern soldiers and leaders, letting them return home with their weapons, and return to their former positions of power. Congress, however, realised that the Southerners were simply reinstituting their racist rule over the Blacks and so superseded Johnson, implementing a new, more military phase of Reconstruction, by sending the chief Northern generals to administer the South under what amounted to martial law. Thus there are two periods: Presidential Reconstruction 1865 to 1867, and Congressional Reconstruction 1867 to 1877.
  • Some of the colonels and generals who had risen to prominence in the War of the Rebellion were sent West to quell risings by native Indians, for example the Sioux Rebellion of 1862. There then followed about 20 years in which the U.S. government and army broke every agreement with the Indians, harried and pursued them, bribed and bullied them onto ever-shrinking ‘reservations’. Some administrators and military men openly stating that they aimed to ‘exterminate’ the Indians (General Sheridan called for a ‘campaign of annihilation, obliteration, and complete destruction’, p.379.) It is ironic that Americans in the 20th century were so quick to criticise the British Empire and its colonial grip over native peoples, given that America did its damnedest to exterminate its own native peoples.
  • Describing what happened in the South from 1865 to 1910 is long and complex. But basically, there was ten years or so of Reconstruction, when the Republican government freed the slaves, gave them the vote, and tried to encourage their integration into economic life. This period ended around 1876 as the Republican Party lost its radical edge and became increasingly associated with northern capitalism. More to the point, the U.S. Army was withdrawn and the southern, racist Democrat party took over. They quickly began passing a whole raft of laws which brought about institutionalised ‘Segregation’. For example, during Reconstruction the number of Black voters was huge, 80% or more of all adult Black men, with the result that an astonishing number of local officials, judges and even governors were Black. With the revival of the Democrats into the 1880s, all the southern states, starting with Mississippi in 1890, passed voter registration laws requiring voters to demonstrate specified levels of literacy, live in fixed abodes or even pay a small fee ($2) – with the result that voter levels fell to something like 5%! (pages 470 to 473).

This was one of the biggest things I learned from the book. Realising that it wasn’t slavery, or the Reconstruction period – it was this racist backlash during the 1870s and 1880s which instituted the Jim Crow legislation, the official segregation, the systemic impoverishment of Black people, which was to last until the Civil Rights movements of the 1960s.

This is quite mind-boggling, a massive stain right the way through American history. It made me rethink my attitude towards slavery: I’ve read numerous books about slavery, seen movies and TV series about slavery, stood in front of statues against slavery, visited exhibitions about slavery. But reading these pages made me realise that slavery isn’t at all the problem; that slavery is now so distant in time as to be almost irrelevant. It was this institutional racial Segregation, instituted across the Deep South of America, and whose ideology – if not its laws – spread to the North and West, infected all of American life – which is the real issue.

It was the deliberate trapping of Black people in the lowliest, poorest-paid jobs, and their systematic exclusion from voting and public life, the division of parks and public places, theatres and toilets and buses into Black areas and white areas – this is the thing to understand better because, as far as I can see, it continues to this day, albeit more subtly. #BlackLivesMatter.

In a way, then, the emphasis which is still given by schools and exhibitions to slavery is misleading. Slavery was abolished 180 years ago in the British Empire and 155 years ago in America. This book made me realise that understanding the philosophy and practice of Racial Segregation is much more important and much more relevant to our ongoing problems today.

Capitalism and its enemies

What feels like the lion’s share of the last 100 pages of the book is devoted to a description of the consolidation of capitalism in America, and its enemies. There are detailed passages describing the rise of the ‘corporation’, as a new legal and commercial entity, quite different from the companies and partnerships which had preceded it (pages 454 to 464). I didn’t understand the legal and commercial details and will need to study them elsewhere.

Hahn is at pains to describe the way successive federal administrations, although equivocal about the massive cartels and monopolies which came to prominence in the 1890s, nonetheless took them as almost natural agencies which the government could use and work through – as potential extensions of state power. By the 1890s everyone on left and right thought that these huge monopolies (of railways, gold, silver, copper, iron, steel) a) were here for good b) that the reach and effectiveness of these huge transcontinental corporations or agencies could be a model for modern government.

Behind all this is the Rise of the Nation-State, the grand theme Hahn has been tracing since the 1830s. But although the various aspects of its rise is the central development, Hahn’s focus is much more about the multitude of forces which resisted the rise of the state, criticised, questioned, critiqued it, from both left and right.

So these last hundred pages devote a lot of time to the confusing multitude of opposition parties which rose up against the, by now, time-honoured duopoly of Republicans and Democrats.

We learn about greenbackism, anti-monopolism, the Populist party, the Progressive Party, the rise of mass trade unions, the Knights of Labour and the first socialist parties – and then descend into the jungle of disagreements and bickering among working class parties – socialist, syndicalist, anarchist, gradualist, evolutionary, revolutionary.

There is a lot about the strikes – kicked off by the Great Railroad Strike of 1877 – which blighted American industry in the 1880s and 1890s and came as a revelation to me.

A softer, liberal version of resistance to monopoly capitalism came to be termed the Progressive movement, the idea that progressive politicians should use the levers of the state to combat alcoholism, illiteracy, corruption, infectious disease, prostitution, greed and labour exploitation (p.454). This movement laid the basis of what would later become the American welfare state (such as it is).

Some tried to bring the opposing blocs together. Liberal capitalists formed the National Civic Federation (NCF) in 1900, which brought together chosen representatives of big business and organized labour, as well as consumer advocates, in an attempt to resolve labour disputes and champion moderate reform.

The final pages describe how the whole American imperial mindset was then exported, just at the turn of the century, to Cuba and the Philippines, which America won off Spain as a result of victory in the following Spain’s defeat in the 1898 Spanish–American War, along with Guam and Puerto Rico, and also to Hawaii which, after decades of slowly taking over, America completely annexed in 1898.

Hahn shows how the same military leaders who had crushed the Indians were now sent to impose ‘civilisation’ on the Cubans and Filipinos, and with much the same mindset.

By now we are very familiar with American racist and segregationist thinking and so are not surprised when Hahn quotes racist comments by soldiers and administrators, or the speeches of politicians back in Washington, who thought people from inferior races i.e. the multicultural populations of Cuba, the Philippines and so on – simply weren’t capable of governing themselves and needed the steady hand and civilising influence of the white man.

By the end of this book, I really hated America.


Old for us, new to the Yanks

I can’t get over the fact that so much of this seems to be new to the book’s reviewers. Back when I was a kid in school in the 1970s, I’m sure we all knew about American slavery. I remember the stir caused by the TV series Roots when it came out in 1977, nearly 50 years ago. All of us knew about the American Civil War, and maybe even had confederate flags or union caps among the various cowboy and Indian and army costumes we wore when we were ten. When I was a student, a friend of mine bought me Bury My Heart At Wounded Knee, the classic 1970 account of how America betrayed, bullied, and massacred its native peoples, because it was a book all right-minded Labour voting educated Liberals ought to know.

I’m sure all educated people knew about this history and these issues decades ago. The people around me in the Labour Party of the 1970s, the party of Tony Benn and Michael Foot, were very well aware of America’s history of imperialism, its origins in brutal slavery which it didn’t abolish until the 1860s, how it exterminated its native peoples, reached out to seize islands in the Pacific, in the Caribbean, and to dominate the nations to Central America, before going on to its long history of supporting military dictators, torture and assassination (in my youth these included the Shah of Iran, General Pinochet in Chile, General Franco in Spain, the military Junta in Greece, Ferdinand Marcos in the Philippines and so on.)

In the 1980s I hung around the communist bookshop in Brixton which was absolutely plastered with posters about American racism and the legacy of slavery, Martin Luther King, Malcolm X, protests against American imperialism and American multinational corporations and the CIA. Entrenched anti-Americanism was an absolutely basic, entry-level element of left-wing political awareness when I was a student.

Yet somehow, in these books by Hahn and Alan Taylor, a lot of these things – the brutality of southern slavery, the genocide of the Indians – are presented as if they are new and seismic discoveries.

think what is happening here is that American academic history writing has finally caught up with how the rest of the world has seen America for generations – a hypocritical bully bragging about ‘liberty’ while keeping the descendants of the slaves locked up in drug-riddled ghettos, the last native Americans stuck in alcohol-soaked reservations, and propping up dictatorships around the world.

I think part of what’s going on in books like Taylor’s and Hahn’s is that, since the end of the Cold War, American academia has finally become free to portray the brutal realities of American history for what they were – and that, for American readers and students, a lot of this comes as a massive, horrifying shock. But to educated, and especially left-of-centre people in the rest of the world – big yawn.

So if so much of the content has been so well known for so long, what was it that impressed the reviewers? I think it’s the unrelenting consistency with which he does two things:

One is the thorough-going application of a politically correct, identity-politics attitude which says right from the start that he is going to ignore a number of ‘famous’ events or movements or names (goodbye ‘civil war’, hello ‘war of rebellion’), in order to give more prominence to the role of native Americans, women and, especially, to Blacks, than they have received in ‘previous’ histories.

But as I’ve commented above, very often Hahn’s widespread use of politically correct terminology like ‘patriarchy’ and ‘gender stereotypes’ and ‘racism’ and ‘masculinism’ in the passages where he does this, tends (paradoxically) to obscure a lot of these voices, to bury them beneath a shiny sociological jargon which removes specificity – names, places, events and even words – from many of the groups he’s supposedly championing. In this simple respect, I’ve found much older accounts to be far more enlightening.

In fact, it is possible to argue that Hahn and all the other politically correct historians who nowadays use terms like ‘patriarchy’ and ‘gender’ and ‘people of colour’ do so because these terms in fact fend off real acceptance of the blood and horror of those times. These sterile, clinical and detached terms in a way help to drain accounts of the period of their emotion and outrage. You could argue that the language of identity politics, the jargon of sociology and anthropology which recurs throughout the book, despite his explicit intention to bring uncomfortable facts and ignored voices into the light – in fact, through its sheer repetitiveness and its unspecific generalisation – works to neutralise and blunt the impact of a lot of what he’s describing.

For example, Hahn gives facts and figures and sociological explanations for the rise of slave fugitives following the passage of the Fugitive Slave Law of 1850. But McPherson, writing thirty one years ago, and without using any jargon, tells the specific story of the slave woman who escaped with her children to the North, but was tracked down. As the slave-hunters, with their dogs and guns, beat on the door of the cabin where she was hiding, this woman cut the throats of her small children so they wouldn’t be taken back into slavery, and then tried to cut her own.

You can see which approach leaves you most stunned, horrified and angry at the unspeakable horror of slavery, and it isn’t Hahn’s.

This is because the second thing going on in the book is what really garnered the praise, and that is Hahn’s high-level, intellectual and often bloodless ‘rethinking’ and ‘reconceptualising’ of the era in the terms I outlined at the start of the review.

He is interested in suggesting to highly educated readers already familiar with most elements of the period some new ways of thinking about it. Throughout, he downplays the voices of the white politicians who (I’m guessing) dominated earlier narratives, he really downplays the War of the Rebellion (maybe because there are already tens of thousands of other accounts of it), and instead plays up the notion that the increasingly centralised American state faced a whole slew of rebellions from multiples sources, devoting his time to describing and theorising this riot of rebellions.

And so he ignores what I’m assuming is the old-fashioned type of history which celebrated the rise of American freedom and capitalism and wealth and included lots of dazzling images from the ‘Gilded Age’, and he focuses instead on the wide range of oppositions which the state (and rich monopolists) faced from women, Indians, Blacks, alternative political parties, the trade unions, socialists and so on.

But I find it difficult to believe that all previous histories of this period utterly failed to mention the movement for women’s suffrage, that there aren’t hundreds of books about the Indians, and thousands about Segregation, that nobody noticed the epidemic of strikes in the 1890s, or that numerous commentators at the time (and ever since) haven’t criticised America’s interventions in Cuba and Hawaii and the Philippines as being as blatantly imperialistic as the European Empires her politicians liked to piously denounce.

Maybe some of Hahn’s high-level reconceptualising is new and interesting, but to the average educated reader the actual events of this era remain unchanged and the main feature of Hahn’s book is that he doesn’t tell them as fully or as imaginatively as other versions do.

In a word

Don’t read this book unless you are already master enough of the history of the period to appreciate Hahn’s reconceptualising of it. If you want vivid detail, maps, extensive quotes and a deep understanding of the period from 1820 to 1865, read Battle Cry of Freedom: The Civil War Era by James M. McPherson: so gripping, so packed with information and ideas, that I had to write five separate blog posts about it.

For the period after the Civil War I have still to find a satisfactory history. Reading this book suggests I may have to track down separate books devoted to specific areas such as the Indian Wars, the Gilded Age with its labour militancy underside, segregation and its long-term consequences, and the imperial conquests at the end of the century.


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