You Can't Keep a Good Woman Down by Alice Walker
Advancing Luna--and Ida B. Wells
I MET LUNA the summer of 1965 in Atlanta where we both attended a political conference and rally. It was designed to give us the courage, as temporary civil rights workers, to penetrate the small hamlets farther south. I had taken a bus from Sarah Lawrence in New York and gone back to Georgia, my home state, to try my hand at registering voters. It had become obvious from the high spirits and sense of almost divine purpose exhibited by black people that a revolution was going on, and I did not intend to miss it. Especially not this summery, student-studded version of it. And I thought it would be fun to spend some time on my own in the South.
Luna was sitting on the back of a pickup truck, waiting for someone to take her from Faith Baptist, where the rally was held, to whatever gracious black Negro home awaited her. I remember because someone who assumed I would also be traveling by pickup introduced us. I remember her face when I said, "No, no more back of pickup trucks for me. I know Atlanta well enough, I'll walk." She assumed of course (I guess) that I did not wish to ride beside her because she was white, and I was not curious enough about what she might have thought to explain it to her. And yet I was struck by her passivity, her patience as she sat on the truck alone and ignored, because someone had told her to wait there quietly until it was time to go.
This look of passively waiting for something changed very little over the years I knew her. It was only four or five years in all that I did. It seems longer, perhaps because we met at such an optimistic time in our lives. John Kennedy and Malcolm X had already been assassinated, but King had not been and Bobby Kennedy had not been. Then too, the lethal, bizarre elimination by death of this militant or that, exiles, flights to Cuba, shoot-outs between former Movement friends sundered forever by lies planted by the FBI, the gunning down of Mrs. Martin Luther King, Sr., as she played the Lord's Prayer on the piano in her church (was her name Alberta?), were still in the happily unfathomable future.
We believed we could change America because we were young and bright and held ourselves responsible for changing it. We did not believe we would fail. That is what lent fervor (revivalist fervor, in fact; we would revive America!) to our songs, and lent sweetness to our friendships (in the beginning almost all interracial), and gave a wonderful fillip to our sex (which, too, in the beginning, was almost always interracial).
What first struck me about Luna when we later lived together was that she did not own a bra. This was curious to me, I suppose, because she also did not need one. Her chest was practically flat, her breasts like those of a child. Her face was round, and she suffered from acne. She carried with her always a tube of that "skin-colored" (if one's skin is pink or eggshell) medication designed to dry up pimples. At the oddest times--waiting for a light to change, listening to voter registration instructions, talking about her father's new girlfriend--she would apply the stuff, holding in her other hand a small brass mirror the size of her thumb, which she also carried for just this purpose.
We were assigned to work together in a small, rigidly segregated South Georgia town that the city fathers, incongruously and years ago, had named Freehold. Luna was slightly asthmatic and when overheated or nervous she breathed through her mouth. She wore her shoulder-length black hair with bangs to her eyebrows and the rest brushed behind her ears. Her eyes were brown and rather small. She was attractive, but just barely and with effort. Had she been the slightest bit overweight, for instance, she would have gone completely unnoticed, and would have faded into the background where, even in a revolution, fat people seem destined to go. I have a photograph of her sitting on the steps of a house in South Georgia. She is wearing tiny pearl earrings, a dark sleeveless shirt with Peter Pan collar, Bermuda shorts, and a pair of those East Indian sandals that seem to adhere to nothing but a big toe.
The summer of '65 was as hot as any other in that part of the South. There was an abundance of flies and mosquitoes. Everyone complained about the heat and the flies and the hard work, but Luna complained less than the rest of us. She walked ten miles a day with me up and down those straight Georgia highways, stopping at every house that looked black (one could always tell in 1965) and asking whether anyone needed help with learning how to vote. The simple mechanics: writing one's name, or making one's "X" in the proper column. And then, though we were required to walk, everywhere, we were empowered to offer prospective registrants a car in which they might safely ride down to the county courthouse. And later to the polling places. Luna, almost overcome by the heat, breathing through her mouth like a dog, her hair plastered with sweat to her head, kept looking straight ahead, and walking as if the walking itself was her reward.
I don't know if we accomplished much that summer. In retrospect, it seems not only minor, but irrelevant. A bunch of us, black and white, lived together. The black people who took us in were unfailingly hospitable and kind. I took them for granted in a way that now amazes me. I realize that at each and every house we visited I assumed hospitality, I assumed kindness. Luna was often startled by my "boldness." If we walked up to a secluded farmhouse and half a dozen dogs ran up barking around our heels and a large black man with a shotgun could be seen whistling to himself under a tree, she would become nervous. I, on the other hand, felt free to yell at this stranger's dogs, slap a couple of them on the nose, and call over to him about his hunting.
That month with Luna of approaching new black people every day taught me something about myself I had always suspected: I thought black people superior people. Not simply superior to white people, because even without thinking about it much, I assumed almost everyone was superior to them; but to everyone. Only white people, after all, would blow up a Sunday-school class and grin for television over their "victory," i.e., the death of four small black girls. Any atrocity, at any time, was expected from them. On the other hand, it never occurred to me that black people could treat Luna and me with anything but warmth and concern. Even their curiosity about the sudden influx into their midst of rather ignorant white and black Northerners was restrained and courteous. I was treated as a relative, Luna as a much welcomed guest.
Luna and I were taken in by a middle-aged couple and their young school-age daughter. The mother worked outside the house in a local canning factory, the father worked in the paper plant in nearby Augusta. Never did they speak of the danger they were in of losing their jobs over keeping us, and never did their small daughter show any fear that her house might be attacked by racists because we were there. Again, I did not expect this family to complain, no matter what happened to them because of us. Having understood the danger, they had assumed the risk. I did not think them particularly brave, merely typical.
I think Luna liked the smallness--only four rooms--of the house. It was in this house that she ridiculed her mother's lack of taste. Her yellow-and-mauve house in Cleveland, the eleven rooms, the heated garage, the new car every year, her father's inability to remain faithful to her mother, their divorce, the fight over the property, even more bitter than over the children. Her mother kept the house and the children. Her father kept the car and his new girlfriend, whom he wanted Luna to meet and "approve." I could hardly imagine anyone disliking her mother so much. Everything Luna hated in her she summed up in three words: "yellow and mauve."
I have a second photograph of Luna and a group of us being bullied by a Georgia state trooper. This member of Georgia's finest had followed us out into the deserted countryside to lecture us on how misplaced--in the South--was our energy, when "the Lord knew" the North (where he thought all of us lived, expressing disbelief that most of us were Georgians) was just as bad. (He had a point that I recognized even then, but it did not seem the point where we were.) Luna is looking up at him, her mouth slightly open as always, a somewhat dazed look on her face. I cannot detect fear on any of our faces, though we were all afraid. After all, 1965 was only a year after 1964 when three civil rights workers had been taken deep into a Mississippi forest by local officials and sadistically torture
At night we slept in the same bed. We talked about our schools, lovers, girlfriends we didn't understand or missed. She dreamed, she said, of going to Goa. I dreamed of going to Africa. My dream came true earlier than hers: an offer of a grant from an unsuspected source reached me one day as I was writing poems under a tree. I left Freehold, Georgia, in the middle of summer, without regrets, and flew from New York to London, to Cairo, to Kenya, and, finally, to Uganda, where I settled among black people with the same assumptions of welcome and kindness I had taken for granted in Georgia. I was taken on rides down the Nile as a matter of course, and accepted all invitations to dinner, where the best local dishes were superbly prepared in my honor. I became, in fact, a lost relative of the people, whose ancestors had foolishly strayed, long ago, to America.
I wrote to Luna at once.
But I did not see her again for almost a year. I had graduated from college, moved into a borrowed apartment in Brooklyn Heights, and was being evicted after a month. Luna, living then in a tenement on East 9th Street, invited me to share her two-bedroom apartment. If I had seen the apartment before the day I moved in I might never have agreed to do so. Her building was between Avenues B and C and did not have a front door. Junkies, winos, and others often wandered in during the night (and occasionally during the day) to sleep underneath the stairs or to relieve themselves at the back of the first-floor hall.
Luna's apartment was on the third floor. Everything in it was painted white. The contrast between her three rooms and kitchen (with its red bathtub) and the grungy stairway was stunning. Her furniture consisted of two large brass beds inherited from a previous tenant and stripped of paint by Luna, and a long, high-backed church pew which she had managed somehow to bring up from the South. There was a simplicity about the small apartment that I liked. I also liked the notion of extreme contrast, and I do to this day. Outside our front window was the decaying neighborhood, as ugly and ill-lit as a battleground. (And allegedly as hostile, though somehow we were never threatened with bodily harm by the Hispanics who were our neighbors, and who seemed, more than anything, bewildered by the darkness and filth of their surroundings.) Inside was the church pew, as straight and spare as Abe Lincoln lying down, the white walls as spotless as a monastery's, and a small, unutterably pure patch of blue sky through the window of the back bedroom. (Luna did not believe in curtains, or couldn't afford them, and so we always undressed and bathed with the lights off and the rooms lit with candles, causing rather nun-shaped shadows to be cast on the walls by the long-sleeved high-necked nightgowns we both wore to bed.)
Over a period of weeks, our relationship, always marked by mutual respect, evolved into a warm and comfortable friendship which provided a stability and comfort we both needed at that time. I had taken a job at the Welfare Department during the day, and set up my typewriter permanently in the tiny living room for work after I got home. Luna worked in a kindergarten, and in the evenings taught herself Portuguese.
It was while we lived on East 9th Street that she told me she had been raped during her summer in the South. It is hard for me, even now, to relate my feeling of horror and incredulity. This was some time before Eldridge Cleaver wrote of being a rapist / revolutionary; of "practicing" on black women before moving on to white. It was also, unless I'm mistaken, before LeRoi Jones (as he was then known; now of course Imamu Baraka, which has an even more presumptuous meaning than "the King") wrote his advice to young black male insurrectionaries (women were not told what to do with their rebelliousness): "Rape the white girls. Rape their fathers." It was clear that he meant this literally and also as: to rape a white girl is to rape her father. It was the misogynous cruelty of this latter meaning that was habitually lost on black men (on men in general, actually), but nearly always perceived and rejected by women of whatever color.
"Details?" I asked.
She shrugged. Gave his name. A name recently in the news, though in very small print.
He was not a Movement star or anyone you would know. We had met once, briefly. I had not liked him because he was coarse and spoke of black women as "our" women. (In the early Movement, it was pleasant to think of black men wanting to own us as a group; later it became clear that owning us meant exactly that to them.) He was physically unattractive, I had thought, with something of the hoodlum about him: a swaggering, unnecessarily mobile walk, small eyes, rough skin, a mouthful of wandering or absent teeth. He was, ironically, among the first persons to shout the slogan everyone later attributed solely to Stokeley Carmichael--Black Power! Stokeley was chosen as the originator of this idea by the media, because he was physically beautiful and photogenic and articulate. Even the name--Freddie Pye--was diminutive, I thought, in an age of giants.
"What did you do?"
"Nothing that required making a noise."
"Why didn't you scream?" I felt I would have screamed my head off.
"You know why."
I did. I had seen a photograph of Emmett Till's body just after it was pulled from the river. I had seen photographs of white folks standing in a circle roasting something that had talked to them in their own language before they tore out its tongue. I knew why, all right.
"What was he trying to prove?"
"I don't know. Do you?"
"Maybe you filled him with unendurable lust," I said.
"I don't think so," she said.
Suddenly I was embarrassed. Then angry. Very, very angry. How dare she tell me this! I thought.
Who knows what the black woman thinks of rape? Who has asked her? Who cares? Who has even properly acknowledged that she and not the white woman in this story is the most likely victim of rape? Whenever interracial rape is mentioned, a black woman's first thought is to protect the lives of her brothers, her father, her sons, her lover. A history of lynching has bred this reflex in her. I feel it as strongly as anyone. While writing a fictional account of such a rape in a novel, I read Ida B. Wells's autobiography three times, as a means of praying to her spirit to forgive me.
My prayer, as I turned the pages, went like this: "Please forgive me. I am a writer." (This self-revealing statement alone often seems to me sufficient reason to require perpetual forgiveness; since the writer is guilty not only of always wanting to know--like Eve--but also of trying--again like Eve--to find out.) "I cannot write contrary to what life reveals to me. I wish to malign no one. But I must struggle to understand at least my own tangled emotions about interracial rape. I know, Ida B. Wells, you spent your whole life protecting, and trying to protect, black men accused of raping white women, who were lynched by white mobs, or threatened with it. You know, better than I ever will, what it means for a whole people to live under the terror of lynching. Under the slander that their men, where white women are concerned, are creatures of uncontrollable sexual lust. You made it so clear that the black men accused of rape in the past were innocent victims of white criminals that I grew up believing black men literally did not rape white women. At all. Ever. Now it would appear that some of them, the very twisted, the terribly ill, do. What would you have me write about them?"
Her answer was: "Write nothing. Nothing at all. It will be used against black men and therefore against all of us. Eldridge Cleaver and LeRoi Jones don't know who they're dealing with. But you remember. You are dealing with people who brought their children to witness the murder of black human beings, falsely accused of rape. People who handed out, as trophies, black fingers and toes. Deny! Deny! Deny!"
And yet, I have pursued it: "Some black men themselves do not seem to know what the meaning of raping someone is. Some have admitted rape in order to denounce it, but others have accepted rape as a part of rebellion, of 'paying whitey back.' They have gloried in it."
"They know nothing of America," she says. "And neither, apparently, do you. No matter what you think you know, no matter what you feel about it, say n
Which, to my mind, is virtually useless advice to give to a writer.
Freddie Pye was the kind of man I would not have looked at then, not even once. (Throughout that year I was more or less into exotica: white ethnics who knew languages were a peculiar weakness; a half-white hippie singer; also a large Chinese mathematician who was a marvelous dancer and who taught me to waltz.) There was no question of belief.
But, in retrospect, there was a momentary suspension of belief, a kind of hope that perhaps it had not really happened; that Luna had made up the rape, "as white women have been wont to do." I soon realized this was unlikely. I was the only person she had told.
She looked at me as if to say: "I'm glad that part of my life is over." We continued our usual routine. We saw every interminable, foreign, depressing, and poorly illuminated film ever made. We learned to eat brown rice and yogurt and to tolerate kasha and odd-tasting teas. My half-black hippie singer friend (now a well-known reggae singer who says he is from "de I-lands" and not Sheepshead Bay) was "into" tea and kasha and Chinese vegetables.
And yet the rape, the knowledge of the rape, out in the open, admitted, pondered over, was now between us. (And I began to think that perhaps--whether Luna had been raped or not--it had always been so; that her power over my life was exactly the power her word on rape had over the lives of black men, over all black men, whether they were guilty or not, and therefore over my whole people.)
Before she told me about the rape, I think we had assumed a lifelong friendship. The kind of friendship one dreams of having with a person one has known in adversity; under heat and mosquitoes and immaturity and the threat of death. We would each travel, we would write to each other from the three edges of the world.
We would continue to have an "international list" of lovers whose amorous talents or lack of talents we would continue (giggling into our dotage) to compare. Our friendship would survive everything, be truer than everything, endure even our respective marriages, children, husbands--assuming we did, out of desperation and boredom someday, marry, which did not seem a probability, exactly, but more in the area of an amusing idea.