Mike Perry

“We’re all of us pretty much an assemblage of memories.”
― Cormac McCarthy, Stella Maris

“almost nothing in life is epic or tragic at the moment of its enactment. History in the making, at least on the personal level, is almost exclusively pathetic. People suffer and die in ignorance and delusion.”
― Charles Frazier, Thirteen Moons

“Outside of a dog, a book is man's best friend.  Inside of a dog, it's too dark to read.” ― groucho Marx (Quote discovered by Shane Etter)”
― Kim Megahee, The Time Twisters

“As the reach of the 1619 Project grew, so did the backlash. A small group of historians publicly attempted to discredit the project by challenging its historical interpretations and pointing to what they said were historical errors. They did not agree with our framing, which treated slavery and anti-Blackness as foundational to America. They did not like our assertion that Black Americans have served as this nation’s most ardent freedom fighters and have waged their battles mostly alone, or the idea that so much of modern American life has been shaped not by the majestic ideals of our founding but by its grave hypocrisy. And they especially did not like a paragraph I wrote about the motivations of the colonists who declared independence from Britain. “Conveniently left out of our founding mythology,” that paragraph began, “is the fact that one of the primary reasons the colonists decided to declare their independence from Britain was because they wanted to protect the institution of slavery.” Later, in response to other scholars who believed we hadn’t been specific enough and to clarify that this sentence had never been meant to imply that every single colonist shared this motivation, we changed the sentence to read “some of the colonists.” But that mattered little to some of our critics. The linking of slavery and the American Revolution directly challenged the cornerstone of national identity embedded in our public history, the narratives taught to us in elementary schools, museums and memorials, Hollywood movies, and in many scholarly works as well.16 The assertions about the role slavery played in the American Revolution shocked many of our readers. But these assertions came directly from academic historians who had been making this argument for decades. Plainly, the historical ideas and arguments in the 1619 Project were not new.17 We based them on the wealth of scholarship that has redefined the field of American history since at least the 1960s, including Benjamin Quarles’s landmark book The Negro in the American Revolution, first published in 1961; Eric Foner’s Reconstruction: America’s Unfinished Revolution, 1863–1877; Annette Gordon-Reed’s The Hemingses of Monticello: An American Family; and Alan Taylor’s The Internal Enemy: Slavery and War in Virginia, 1772–1832. What seemed to provoke so much ire was that we had breached the wall between academic history and popular understanding, and we had done so in The New York Times, the paper of record, in a major multimedia project led by a Black”
― Nikole Hannah-Jones, The 1619 Project: A New Origin Story