On the Significance of Pauli Murray (Part I)

published on Monday, November 16, 2009 by admin

By Dr. Willie James Jennings
Associate Professor of Theology and
Black Church Studies
Duke Divinity School

In honor of Pauli Murray’s birthday this week (November 20), we are sharing the following reflections as well as local (Durham) information on activities honoring the occasion. Happy Birthday, Pauli!

At the beginning of a seminary career, one of the best people to be introduced to is Anna Pauline “Pauli” Murray.

Born November 20, 1910 and died July 1, 1985, Pauli Murray was one of the most important Christian intellectuals of the last century. Poet, writer, activist, lawyer, and the first African American woman ordained an Episcopal Priest, Murray bequeathed to us a eloquent and powerful testimony of a Christian pilgrimage through some of the most troubled times in American history. If you have never read her novelistic account of her family in Proud Shoes: The Story of an American Family or her autobiography, Pauli Murray: The Autobiography of a Black Activist, Feminist, Lawyer, Priest and Poet you owe it to yourself to read these crucial texts.[i]

The Episcopal Church USA is considering elevating Murray to the status of saint and while these deliberations are going on, we thought that it would be a good thing to reflect on Pauli Murray’s life over the next several months. The basic contours of her story are as follows: Born in Baltimore, Maryland to William Murray and Agnes Fitzgerald Murray. Her father was a school principal and her mother a nurse. After their untimely deaths, Pauli moved to Durham, North Carolina. Her father suffered from mental illness due to the effects of typhoid fever and was killed by a guard at the Crownsville State Hospital. In Durham, she was raised by her grandparents Robert and Cornelia Fitzgerald, and her aunts Pauline and Sallie. Pauli graduated from Hillside High school, Hunter College in New York, and Howard University Law School. She later received her JD from Yale Law School.

A number of “firsts” mark her life. She was the first African American attorney to work for the law firm she worked for in New York, the first African American woman to receive the Yale J.D., the first African American to serve as deputy attorney general for the state of California and most notably for theological educational concerns, she was the first African American woman ordained an Episcopal priest. This was after she had attended and graduated from General Theological Seminary in New York. In between, during, and after these events, Pauli Murray, was a professor, poet, writer, civil rights and women’s rights activist, founding member of NOW, astute public critic and intellectual, and always a deeply committed Christian.

One of the most important gifts a student can give herself as she moves through seminary or any kind of educational experience are models of people whose life paths illumines embodied wisdom. Pauli Murray is just such a person. We can learn so much from every aspect of her life, her struggles and victories, her frustrations and joys, her fears and her hopes. I would like to briefly consider an incident she recounts from her childhood in Durham. Murray’s brilliant text, Proud Shoes, examines the complex legacy of mixed race existence in America.

The very first chapter of that fine book introduces us to her grandmother Cornelia Fitzgerald who proudly proclaims that she is was “a white man’s child. A fine white man at that. A southern aristocrat. If you want to know what I am, I’m an octoroon. I don’t have to mix in with good-for-nothing niggers if I don’t want to. I don’t like trashy folks whether they’re black, white, blue or yaller. If you mix with the dogs you’ll be bitten by the fleas.” (Proud Shoes, 16)

In this incident, the grandmother then goes on to hurl several racial invectives at her troublesome black neighbors who goat her on. One particular woman, Lucy Bergins, angers Cornelia so much that this elderly woman attempts to climb a fence to get at her. This is when the young Pauli intervenes, trying to keep her grandmother from beating the woman with a mattock.

Granma! Granma! I screamed. “Come down quick. I got something important to tell you.” “Lemme go, child!” Grandmother was doing her best to kick free and hold her balance. Her leg jerked backward like a cow’s hind leg at milking time. She dangled while I held on. “Granma, I tell you it’s important.” Grandmother tried to pull her leg up once more, then gave up and let it fall back, sending me tumbling to the ground. “What on earth do you want Baby?” she asked. However angry Grandmother was about other things she was never harsh with me… “Bend down, so’s I can tell you in your ear.” I didn’t want Lucy or the neighbors to hear me. Grandmother reluctantly climbed off the fence and bent down.

“Granma,” I whispered, “I know it ain’t Sunday but I got the big Bible on the front porch, the one Miss Mary Smith gave you. Come down to the house right now quick, and I’ll read to you in the Psalms. I’ll even try to read a little about ‘Zekiel in the valley of the dry bones and Dan’l in the lion’s den.” I had touched on Grandmother’s two favorite Bible selections. And she treasured that ragged old Bible Miss Mary Smith of Chapel Hill had given her more than any other article in the house. She said she got it when she was a little girl and was confirmed at the Chapel of the Cross. It was over one hundred years old.

It was the one book that Grandmother tried to read herself, peering through her glasses and spelling out the Psalms a word at a time. I had learned to read some of the Psalms by now and every Sunday evening I would read to Grandmother some of her favorite passages. She seemed so proud of having me read to her from the big Bible that I loved it as much as she did….I liked the sound of the words rolling off my tongue and I would let my voice rise and fall like a wailing wind just as I had heard Reverend Small chant the morning lesson at St. Titus on Sundays. Grandmother had utmost respect for the Holy Word.

She hesitated. “You sure got me where the hair is short, Baby,” she said. “Why would you want to read the Bible to me when I’m so vexed?” I could see she was weakening. “You said any time was a good time to read the Scripture, didn’t you? Please come on to the house…” Grandmother considered. The sweat was pouring down her face and her clothes were soaked with it. Her face was flushed and she was panting hard. I pulled her gently toward the house…Grandmother picked up the mattock and took a step toward home. “I’ve never been one to turn my back on the Word of God,” she said. (Proud Shoes, 20-22)

This is one story that offers us a glimpse of the complexity of Pauli’s life beginning with her grandmother. Here we are introduced to the legacy of mixed race existence and the color caste system endemic to it and the violence and self-hatred embedded inside it. But we are also introduced to the place of the scripture, the compelling place of scripture in the lives of African Americans. What stood between Pauli’s grandmother’s desire to inflict punishment through violence on this taunting neighbor was nothing less than her granddaughter invoking the scripture, scripture to be read, scripture to be remembered. Yet equally crucial for grasping Pauli’s rich life is the powerful joining in her grandmother’s love of the scripture and the sound of her young voice reading, speaking the word of God, just like the minister at St. Titus. Indeed it is precisely this rich soil of reading scripture aloud that holds the seeds that grow into voices heard strongly and callings heard clearly.

This was the case with Pauli Murray. It could be that if you reflect on your voice and your own sense of calling you might find a history marked by conflict, race, and the scriptures. Such things don’t point to bad beginnings, but important ones.

Pauli Murray, Proud Shoes: The Story of an American Family (Boston: Beacon Press, 1999). Pauli Murray: The Autobiography of a Black Activist, Feminist, Lawyer, Priest and Poet (Knoxville: University of Tennessee Press, 1989).

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Happy Birthday, Pauli!

published on Sunday, November 15, 2009 by admin

Dr. Joy J. Moore
Associate Dean for Black Church Studies and Church Relations
Duke Divinity School

As a key figure in our theological lineage, we invite you to join us in supporting and attending local Durham events that honor the legacy and accomplishments of Pauli Murray, sponsored by Duke University and the Pauli Murray Project. Happy Birthday, Pauli!!

Pauli Murray lecture with Dr. Beverly Guy-Sheftall
November 19, 2009 7:00 p.m.
Community, Family Life and Recreation Center at Lyon Park
1313 Halley Street at Kent Street

Dr. Guy-Sheftall is the founding director of the Women’s Research and Resource Center and the Anna Julia Cooper Professor of Women’s Studies at Spelman College. She is also the President of the National Women’s Studies Association.

Pauli Murray Birthday Party
November 22, 2009 3:00 p.m.
Community, Family Life and Recreation Center at Lyon Park
1313 Halley Street at Kent Street

Cake, celebration and poetry with local artists and members of Pauli Murray’s family! Come out and celebrate the life and story of an amazing lawyer, activist, priest and poet. Events are free and open to the public.

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Coltrane’s “My Favorite Things” and the Future of Theology: The Order of Disorder and the Politics of Confusion

published on Monday, November 9, 2009 by admin

By Dr. Brian Bantum, Divinity ’03
Assistant Professor of Theology
Seattle Pacific University

Houston Baker discussed the power of the Harlem Renaissance and black artistic expression as the “mastery of form and the deformation of mastery.“ By this phrase Baker refers to the power of black artists to master the forms of European artistic expression and then turn them inside out to re-express notions of human freedom that were denied by the very same European forms that sought to oppress and enslave them.

Listening to John Coltrane’s 1961 version of “My Favorite Things“ I could not help but be reminded of Baker’s analysis, but also being a theologian I began to imagine the possibilities for theological reflection.

The iconic “My Favorite Things“ of the Rogers and Hammerstein musical “The Sound of Music“ still reminds me of post-Christmas hot chocolate and the ideal of romping through the hills in familial bliss, leaving all of the nastiness of a Nazi regime far, far away.

But in Coltrane’s rendition only 2 years later, the familial bliss remains within the horror. Coltrane’s “favorite things“ takes place not upon the placid hills of a neutral borderland, but within the torment of a violent America, and his own tortured soul.

The refrain recalling one’s favorite things are not uttered in secure possibility. In this time everything the black man or woman wants or desires is punctuated by their refusal. They are thirsty, but there is a fountain they cannot drink from. They want a house, but there is always a house they can never have, they want to teach, to be a doctor, to travel… all of these possibilities are always punctuated by a declarative NO.

In the gaps of these refusals they still find joy, they still find one another. In this respect to speak of your favorite things is to confess both the joys, the small things that bring meaning to your life and comfort you in moments of fear or despair, but these things can never be spoken of in a tidy way. They are always bound to the death, the refusal, the dehumanization of the modern world upon dark bodies.

Coltrane moves within the piece at one moment stripping down the melody to its barest elements and then flows into addition, to filling out the melody in ways that one could not have thought possible. Both moments deepen and widen the significance of the melody. But here additions and the reductions account for the paradox of one’s desires in Coltrane’s time. Desires here were always met with refusals, hope with death, an ebb and flow of finding enough in the scarcity and making something out of nothing, and yet in this paradox of wanting what one could not have: they yet had, they desired, they found joy.

The stripping down and the reductions do not distort the song, they do not render the song irrational but in fact point to the paradox of our own lives as having what we ought not to want, and bending towards that which is not meant for us, while still refusing that which is intended for us.

Coltrane deepens our understanding of our condition by laying bare our desires and the refusal of these desires. Within the churchly space we do not meet God with our own order, but with being laid bare and being shown who we are. This encounter throws us into the dynamic range of God’s song where we must lament our own failures, confess our own misshapen desires. We must cry out for we are refused and oppressed and yet in the midst of this we also sing that sweet melody of hope, that refrain of God’s promise that never grows quiet in the wailing of our brothers and sisters or their quiet meditations.

In the dynamic movement of this song we find order, we find God. Order is our being misshapen, “de-ranged” and re-arranged. Sometimes it is not us but our neighbor who is confronted with their own powerlessness and must cry out. sometimes it is our neighbor who bears a quiet certainty that witnesses to God’s faithfulness. Perhaps the question is not how do we order these two seemingly disparate moments, but rather what is it that prevents us from binding these realities (and the people who so often exhibit them) from finding a home in the same space? Thus it is not a question of ordering music or art, or thoughts, but becoming undone by a new social arrangement.

It is this amalgamation of despair and possibility that I find so compelling within Coltrane’s rendition. And while the song seemed rooted within a European ideal (or an American idealization of Europe), Coltrane’s rendition speaks to its deepest possibility, mastering the form of its quiet longings but also wrapping those longings within the deep pain of the present. In this way, it spoke dramatically to its contemporary moment in a way that Hammerstein probably could not have imagined himself.

Is it possible for theologians to re-imagine themselves and their work within Coltrane’s re-imagination of “My Favorite Things?“ So many concerned for justice and mercy have found Christianity or at least its doctrine as the central culprit. But is it possible for us to utter this tune anew, to master the form so that we might deform the mastery? Is it necessary that we leave the central claims concerning our God? That the child in the manger was God? That the resurrection was not a symbol, but a real moment of liberation for now and a time to come? Is it possible to think of theological liberation apart from these claims? This is the possibility of theological reflection. Theology done “classically“ is a theology that idealizes a past imaging a possibility for a future in a neutral land. But perhaps theology (and our Christian lives) might be able to imagine the claims of the Christian tradition anew, mastering its forms in order to unleash it for new work in a broken world whose masters have mistaken themselves for gods.

Can our theology utter dissonant tones and shrieking of righteous anger and yet still remind us of “our favorite thing“ even when “when the bee stings, when the dogs bark…”

I hope this is the case. For my darker brothers and sisters who have and are having questions concerning the possibility of theology, of the claims of the church that have stretched so long... Coltrane can speak to us about the possibilities of these claims. We can sing this song and in a way that can remind creation of its calling in the midst of its unfaithfulness.

To those who so vehemently “defend“ the faith, who uphold orthodoxy in the face of its attackers... is it possible that in our stripping down of the melody we have sung it truer? Perhaps the improvisational runs and dissonant chords of we, your darker brothers and sisters have spoken to a truth not visible within the neat logic of Western philosophy.

I do not know the answer to these questions, but I do believe Coltrane has something to teach us on the way.

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