Interesting Women by Andrea Lee (reading books for 7 year olds .TXT) 📕

Built and air-conditioned with the rent of dark-skinned tenants who cultivated the acres of tobacco that have belonged to Noah and Pershing’s families for two hundred years. They were cousins, Noah and Pershing, and they had married both for love and because marrying cousins was what one did among their people at that time. A nigger is just as bad as white trash, she said, turning off the engine. But, honey, there were still plenty of boys you could have chosen from our own kind.

(You stayed two weeks, my cousin says, jealously.)

I was researching folkways, I tell him, keeping a straight face. I was hoping to find a mother lode of West African animism, pithy backwoods expressions, seventeenth-century English thieves’ cant, poetic upwellings from the cyclic drama of agriculture, as played out on the Southeastern tidal plain. I wanted to be ravished by the dying tradition of the peasant South, like Jean Toomer.

(My cousin can’t resist the reference. Fecund Southern night, a pregnant Negress, he declaims, in the orotund voice of a Baptist preacher.)

What I really did during my visit was laze around and let Aunt Noah spoil me. Every morning scrambled eggs, grits, country ham, and hot biscuits with homemade peach preserves. She was up for hours before me, working in her garden. A fructiferous Eden of giant pea vines, prodigious tomato plants, squash blossoms like Victrola horns. She wore a green sun hat that made her look like an elderly infant, blissfully happy. Breakfast over and the house tidy, we would set out on visits where she displayed me in the only way she knew how, as an ornamental young sprig on the family tree. I fell into the gratifying role of the cherished newly-wed niece, passed around admiringly like a mail-order collectible doll. Dressing in her frilly pink guest room, I put on charming outfits: long skirts, flowery blouses. I looked like a poster girl for Southern Living. Everyone we visited was enchanted. My husband, who telephoned me every night, began to seem very far away: a small white boy’s voice sounding forlornly out of Manhattan.

The people we called on all seemed to be distant relatives of Aunt Noah’s and mine, and more than once I nearly fell asleep in a stuffy front room listening to two old voices tracing the spiderweb of connections. I’d decided to write about quilts, and that gave us an excuse to go chasing around Ball County peering at old masterpieces dragged out of mothballs, and new ones stitched out of lurid polyester. Everybody had quilts, and everybody had some variation of the same four family names. Hopper, Osborne, Amiel, Mills. There was Gertie Osborne, a little freckled woman with the diction of a Victorian schoolmistress, who contributed the “Rambling Reader” column to the Ball County Chronicle. The tobacco magnate and head deacon P. H. Mills, tall and rich and silent in his white linen suits. Mary Amiel, who lived up the road from Aunt Noah and wrote poetry privately printed in a volume entitled The Flaming Depths. Aunt Noah’s brother-in-law Hopper Mills, who rode a decrepit motorbike over to check up on her every day at dawn.

I practiced pistol-shooting in the woods and went to the tobacco auction and rode the rope-drawn ferry down at Crenshaw Crossing. And I attended the Mount Moriah Baptist church, where years before I had passed Sunday mornings in starched dresses and cotton gloves. The big church stood unchanged under the pines: an air-conditioned Williamsburg copy in brick as vauntingly prosperous as Aunt Noah’s ranch house.

After the service, they were all together outside the church, chatting in the pine shade: the fabled White Negroes of Ball County. An enterprising Ebony magazine journalist had described them that way once, back in 1955. They were a group who defied conventional logic: Southern landowners of African descent who had pale skins and generations of free ancestors. Republicans to a man. People who’d fought to desegregate Greensboro and had marched on Washington yet still expected their poorer, blacker tenants to address them as Miss Nora or Mr. Fred. Most of them were over seventy: their sons and daughters had escaped years ago to Washington or Atlanta or Los Angeles or New York. To them I was the symbol of all those runaway children, and they loved me to pieces.

(But then you went and called them black. In print, which to people raised on the Bible and the McGuffey Readers is as definitive as a set of stone tablets. And you did it not in some academic journal but in a magazine that people buy on newsstands all over the country. To them it was the worst thing they could have read about themselves—)

I didn’t—

(Except perhaps being called white.)

I didn’t mean—

(It was the most presumptuous thing you could have done. They’re old. They’ve survived, defining themselves in a certain way. We children and grandchildren can call ourselves Afro-American or African-American or black or whatever the week’s fashion happens to be.)

You—

(And of course you knew this. We all grew up knowing it. You’re a very smart woman, and the question is why you allowed yourself to be so careless. So breezy and destructive. Maybe to make sure you couldn’t go back there.)

I say: That’s enough. Stop it.

And my cousin, for a minute, does stop. I never noticed before how much he looks like Uncle Pershing. The same mountainous brow and reprobative eyes of a biblical patriarch that look out of framed photographs in Aunt Noah’s living room. A memory reawakens of being similarly thundered at, in the course of that childhood summer, when I lied about borrowing Uncle Pershing’s pocketknife.

We sit staring at each other across this little cluttered table in Greenwich Village. I am letting him tell me off as I would never allow my brother or my husband—especially my husband. But the buried link between my cousin and me makes the fact that I actually sit and take it inevitable. As I do, it occurs to me that fifty years