by Caroline Fraser for The New York Review
In 1941 Walker Evans, a photographer, and James Agee, a journalist for Time and Fortune magazines, published Let Us Now Praise Famous Men, their idiosyncratic Depression-era volume of photographs and reporting about a 1936 trip to Alabama’s so-called Black Belt, a region that was, as Booker T. Washington had pronounced, “distinguished by the colour of the soil.” The book would eventually become one of the most famous nonfiction accounts of poverty in American history, comparable in influence to Steinbeck’s Grapes of Wrath. In it, Agee yearned to forswear words entirely in favor of the essential stuff of life:
If I could do it, I’d do no writing at all here. It would be photographs; the rest would be fragments of cloth, bits of cotton, lumps of earth…phials of odors, plates of food and of excrement…. A piece of the body torn out by the roots might be more to the point.
The book was devoted almost entirely to the lives of white sharecropping families. Evans’s unsparing images closely scrutinized every hollow stubbled cheek and watering eye, lingering on the slack, filthy folds of feed-sack dresses, half-naked children, and a woman’s bare bandaged foot. Agee, too, left nothing out, noticing a woman’s “manure-stained feet and legs,” saying the odors were “hard to get used to…hard to bear.” He rifled a family’s bureau drawers when they weren’t home, and his traumatized prose probed the calamitous housing, room by room: the broken windows stuffed with rags, the verminous bedding, the “privies” outfitted with “farmer’s toilet paper”—newspaper, pages from catalogs, or “corncobs, twigs, or leaves.”
Yet for all that scrutiny, a whole part of the region’s population went unobserved in Famous Men. Then as now, those rural counties of Alabama were also inhabited by Black farmers or sharecroppers who made up more than half of the people who lived there. Of dozens of photos in Famous Men, only a single one shows them: four Black men sitting in front of a barbershop. One Sunday morning, Agee, accompanied by a white landowner, was driven out to see the man’s Black foreman and tenants. Agee, who was from Tennessee, was anguished about the encounter, admitting that the landlord’s tenants “were negroes and no use to me”: Fortune magazine, which had originally assigned Evans and Agee to the story (and never published it), had requested that the article cover whites, not Blacks, whose “plight,” according to a later account, the magazine did not consider “newsworthy.”
Agee nonetheless recorded a menacing scene of the white landlord crudely commanding a group of Black men, dressed in Sunday clothes, to approach and sing for them, “to show us what nigger music is like.” Chagrined, Agee was “sick in the knowledge that they felt they were here at our demand.” Later, he approached a young Black couple on the road to ask about photographing a nearby church. Petrified by his intentions, the woman clenched her body like “a suddenly terrified wild animal.” Seeing her fearing for her life, he “wished to God I was dead.”
Fifty years later, Dale Maharidge, a journalist with The Sacramento Bee, returned to Agee’s families. Some of their descendants had prospered, yet many were still afflicted by poverty and illness, living in mobile homes. His 1989 volume, And Their Children After Them: The Legacy of “Let Us Now Praise Famous Men”: James Agee, Walker Evans, and the Rise and Fall of Cotton in the South, accompanied by a new series of photos by Michael Williamson, won a Pulitzer Prize, sticking fairly close to the three white families Agee had written about. Among the grimmest living conditions Maharidge found were those of the widow of a man who had been one of the naked boys in Evans’s photographs. Her home was a shack she rented for $10 a month, with no running water or electricity. He commented:
In thousands of miles of travel across the rural South, blacks were often found occupying such dwellings; it’s rare to find whites in such “little country homes,” the preferred euphemism when whites occupy them.
Maharidge did locate the Black community of Parson’s Cove, “at a point on the map that seems as far from anywhere as any visitor to Alabama should be,” and spent time with Frank Gaines and his family. They were “landlocked by white landowners on all sides” who were still refusing to sell land to Blacks. Maharidge, who is white, alluded in broad strokes to the Gaineses’ housing—a few hot rooms illuminated by bare bulbs, walls insulated “with cardboard and newspaper.” Water was piped from a spring; nothing was said about sanitation. The writer admitted that he found it hard to penetrate the deep mistrust, or even to start conversations in Parson’s Cove, “one of the blackest places in Alabama.”
Now, decades after Agee and Maharidge, a Black writer is telling the story of the Black Belt. Catherine Coleman Flowers grew up there, and her new book, Waste: One Woman’s Fight Against America’s Dirty Secret, contains no photographs, but it doesn’t need any. It deals directly in images as redolent as Agee’s clods of earth and phials of odors. The “dirty secret” Flowers urges readers to confront is the racial and economic injustice of rural American subsistence, including but not limited to the South, and the degradation it entails. She chronicles the lives of friends and neighbors coping with criminally deficient housing and a lack of sanitation so horrific that raw sewage bubbles up in sinks and toilets, floods the floors of run-down and collapsing trailers, and lies reeking in backyards and lagoons. She widens her gaze to take in similar crises from California to Florida and beyond, but she begins in her own backyard.