The sources given to us this week served as an introduction to the history of America and its deep-rooted connections to slavery. Paired with the very real anecdotes of those affected by slavery and the events often found in US History books, both the 1619 Podcast, "The Fight For a True Democracy" and the Times article "Reconsidering the Past, One Statue at a Time" are haunting. Nikole Hannah-Jones' recollection of her father's blatant patriotism in the face of what the American flag stands for addresses not only her shame towards the flag, but to her altered opinion. The same can be seen in Eddie Glaude's passionate discussion of James Baldwin's ideals. America, to both Hannah-Jones' father and James Baldwin, belongs not just to the white supremacists that claim conservative ideals, but to those affected by America's grittier traumas. They lead the audience to understand that the narrative of slavery, although improved upon by the years, is wrong and does little to attach the listeners of its story to its impact in the real world. The podcasts especially work towards the idea of an 'echo' or 'lingering feelings', which can be seen most prominently in Fountain Hugh's recordings and the heavy words of Baldwin. We experience history (The Declaration of Independence and Lincoln's emancipation) without the colored lens of children's history, but through the eyes of those on the less 'presentable side' of the story. The victory of the Civil War, the supposed end of slavery, is tainted with the story of the Great Emancipator and his inability to believe that black-Americans were fit for the society 'of the whites'. And further underneath is the exhaustion of Fountain Hugh; an exhaustion that gives away to a longing have his story remembered.

In the articles, the problem is given voice through images that serve to reinforce the stories of anguish and betrayal. In the Times article, "Reconsidering the Past, One Statue at a Time" and in 99% Invisible's, "The Return of Oñate's Foot", there are strong feelings of sorrow and betrayal. Sorrow towards the crimes against their people and betrayal towards the lifetime of misinformation. There is a pungency in realizing that the history entrusted to them in their childhood is incorrect or purposefully incomplete. The sharpness of their emotions leads to the images of a decapitated Christopher Columbus. Although the destruction of the statues does little or fails to "save a life", the actions strike metaphors of the incompleteness of history; an ode to the importance of symbols and their meanings to humans.

We rarely see the 'justifications' to slavery or prejudices against black-Americans (1619 Podcast and Throughline) nor the impact of slavery on the nation's economy. There are little politics involved in the raw emotion of the narrative; it is purposefully excluded in order to prevent the detachment that often comes with hearing politics. We are not recreating the political era or arguing the impact or benefits of it on history as a whole, we are experiencing intimately the lives of people affected by that history. And as a result, the sources are highly successful in forcing the audience to revisit and rethink the subjects addressed. Both the podcasts and the articles aim to create a lasting, meaningful connection with the audience rather than to plainly educate. The sources emotions are so obviously charged we are unable to turn away despite the almost unbearable natures of the accounts. 

I find it interesting that, while there is a political tone in regards to displaying Oñate's statue, the focus is primarily on misinformation of the history of Oñate himself. Conchita states that she felt as if there was an importance in knowing the truth of her history. To her, there is an obvious disconnect or lack of power that comes with not being able to participate in conversations regarding her history; a wrongdoing. As the podcast delves into Oñate's crimes against Acoma and its people, the audience is also met with a sense of betrayal. We are given information that Oñate is a conquistador held in high regard, only to have that image wrenched away from us with the truth. And although we are unable to feel the same potent anger that those of Acoma have towards the misinformation, we are able to feel a slight sense of betrayal. It gives emotional context towards the public art project Nora Naranjo-Morse takes on and a clearer light as to why she feels uncomfortable with creating Oñate's pedestal. 

The parallels between the sense of betrayal and correcting the common ideas around history are interesting. There seems to be a shared sense of anguish that comes with incorrect histories and the ignorance surrounding it. It makes the "trauma" the slaves on the White Lion (1619) were born within applicable to all and gives us a sense of equality derived from the very nature of human beings.

Hi Jonas! I'm a first year at UCI and I too feel as if I developed my writing during high school. However, I was in the AP program instead of the IB program! I completely understand not feeling as if you're doing 'up to par' when it comes to writing and meeting standards. It is actually one of my fears coming into this class because I've never taken a writing course in college prior. I enjoy peer reviewing as well because it truly does help you see the things you missed in your writing and identify your own strengths. I hope we both receive the feedback that is necessary for us to become better writers!

I enjoyed your analysis of this week's sources, especially as you included the trauma and emotions that lingered within Fountain Hugh's retelling. There is a certain power in anecdotes, especially ones filled with both anguish and hope. With the podcast's focus on stories and the "problematic past", it serves as a device to force the audience to change their narratives. Like Hannah-Jones' changing opinion of the American flag, we must view the history we know with a different perspective.