These images from James Allen's "Without Sanctuary: Photographs and Postcards of Lynching in America" are important documentations of America's history with violence -- a history that is often left out of the typical American narrative. These unsettling images depict exactly why it is important not to forget the cruelty that plagued this era. This period of violence is essential to the understanding of other American periods of violence, cruelty, and ostracism. An understanding of the overall progression of violence throughout history, informs our knowledge of where America actually stands on cruelty and terrorism today.
Virgil Jones, Robert Jones, Thomas Jones, and Joseph Riley were discontented sharecroppers in Logan County, Kentucky. When an argument broke out between their lodge brother, Rufus Browder, and the farmer for which he worked, James Cunningham, Browder killed Cunningham in an act of self-defense. After this event, authorities went after the three Jones men and Riley and had them arrested for "disturbing the peace." Browder, on the other hand, managed to flee to Louisville for his own protection. The real reason that the men were arrested was for having expressed outward approval of Browder's actions against his employer and for their public criticism of the white-run legal system in Logan County. These arrests were common during this time due to fears amongst whites that black lodgers were always scheming and planning rebellions. Once arrested, nearly one hundred men went to the county jail and demanded that the prisoners be handed over to them. The jailer complied with the crowd, and the men were lynched in a public display. A note is visibly seen pinned on one of the men. This note is said to have read, "Let this be a warning...to let white people alone or you will go the same way." One version of the image notes, "This image was taken at sunrise, Aug 1st by a young lady."
 |
| July 31, 1908, Russellville, Logan County, Kentucky. Pencil inscription on reverse: "Another view of nigeros that was lynched in Russelville K.Y." |
 |
| Lithographed postcard of the original image. Printed on the card: "taken from death" |
In the postcard that bears the lithographed image, the location is changed to the state of Georgia and the charge was changed to "assaulting a white woman." The reverse of the postcard someone wrote that these postcards were not openly for sale due to a law was passed forbidding these to be sent in the mail or to be sold anymore. Indeed, on May 27, 1908 an amendment to the U.S. Postal laws and Regulations was passed that forbade the mailing of "matter of a character tending to incite arson, murder or assassination."
The complete perversion of authority by Southern whites is made apparent by these images and their stories. The manipulation and then propagation of false stories was a common scare tactic used to incite further racial conflict and polarization. It is important to note that similar tactics have been used in other narratives of American violence to rally the masses against minority groups. The distribution of these images and the occurrence of public hangings were also messages to the the black community that compliance with the current social order is necessary, otherwise violence will follow.
The reproduction of the trope of the defenseless white female that is always at risk in the presence of black males was common. This appeal was reliant on women remaining in powerless positions within society, which is something that was beginning to evolve during this time. Interestingly, the photograph was taken by a woman. This suggests that the woman had the proper knowledge and skills to use the equipment and develop the photographs, which was not an easy task considering the technology of the early 20th century.
The attempt to contain these images to the Southern regions of the country is important to our understanding of why this period of violence is irreverently overlooked. Various political and economic factors were at stake if these images were to ever be proliferated and reported on in the North as well as abroad. At the same time, if a knowledge of these events did not exist in the South, the basis for Southern white power would fail to exist as well. However, important questions still remain. Why are these photographs and their stories still so hidden? What would happen if they became more well-known? What role does the government still play in silencing the promulgation of these narratives and images?
The reproduction of the trope of the defenseless white female that is always at risk in the presence of black males was common. This appeal was reliant on women remaining in powerless positions within society, which is something that was beginning to evolve during this time. Interestingly, the photograph was taken by a woman. This suggests that the woman had the proper knowledge and skills to use the equipment and develop the photographs, which was not an easy task considering the technology of the early 20th century.
The attempt to contain these images to the Southern regions of the country is important to our understanding of why this period of violence is irreverently overlooked. Various political and economic factors were at stake if these images were to ever be proliferated and reported on in the North as well as abroad. At the same time, if a knowledge of these events did not exist in the South, the basis for Southern white power would fail to exist as well. However, important questions still remain. Why are these photographs and their stories still so hidden? What would happen if they became more well-known? What role does the government still play in silencing the promulgation of these narratives and images?
