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Charlotte

Recommended Readings about Black History in Charlotte

January 31, 2023 by Mark West
Categories: Storied Charlotte

Since February is Black History Month, I am focusing this week’s Storied Charlotte blog post on four nonfiction books that deal with Black history in Charlotte.  Each of these books has its own particular focus but taken together, they provide readers with insights into the history of Charlotte’s Black communities and draw attention to the many contributions that Black residents have made to the history of the city.

Thriving in the Shadows:  The Black Experience in Charlotte and Mecklenburg County by Fannie Flono.  Over the course of her long career as a reporter and editor for the Charlotte Observer, Fannie Flono often wrote articles and columns about the Black community in Charlotte.  She drew on this experience when writing Thriving in the Shadows, which the Novello Festival Press published in 2006.  Thriving in the Shadows is indispensable for anyone who is interested in the history of Brooklyn and Charlotte’s other Black neighborhoods.  It includes more than 100 archival photographs, and it features excerpts from oral history interviews that Flono conducted with prominent members of Charlotte’s Black community.

Legacy: Three Centuries of Black History in Charlotte, North Carolina by Pamela Grundy. Community historian Pamela Grundy provides readers with a concise overview of Black history in Charlotte from the mid-1700s to the present. This book started off as seven-part series for Queen City Nerve.  In 2022, Queen City Nerve published this series as a paperback and as an e-book.  In her author’s note, Grundy writes, “I’ve drawn on sources that include census records, newspapers, family documents, photographs and oral history interviews to offer an overview of the lives, challenges, and accomplishments of the many generations of African Americans who have lived in the Charlotte area.”

Sorting Out the New South City:  Race, Class, and Urban Development in Charlotte, 1875-1975 (Second Edition) by Thomas W. Hanchett.  With the publication of the first edition of Sorting Out the New South City in 1998, Thomas Hanchett established himself as a leading authority on the history of racial and economic segregation in Charlotte.  In this second edition (which the University of North Carolina Press released in 2020), Hanchett provides an insightful new preface in which he examines the implications of Charlotte’s resegregation and discusses the prospects for reversing this trend.  

Bertha Maxwell-Roddey:  A Modern-Day Race Woman and the Power of Black Leadership by Sonya Y. Ramsey. Published by the University Press of Florida in 2022, this biography of Bertha Maxwell-Roddey covers the life and career of one of Charlotte’s leading Black educators from her days as a teacher and principal in the Charlotte-Mecklenburg School system in the 1960s to her career as a professor at UNC Charlotte and founder of the university’s Black Studies Program, which eventually evolved into the current Africana Studies Department.  Ramsey describes this biography as “the story of the life and vision as an educational activist is not just a biography of a phenomenal woman. It represents the untold story of Black women and others who fought to turn the promises and achievements of the civil rights and feminist movements into tangible realities as they fought to make desegregation work in the quiet aftermath of the public civil rights marches and the fiery speeches of Black Power activists in the board rooms and classrooms of the desegregated south from the 1970s to the 1990s.”

These four books make it clear that the history of Charlotte’s Black communities and the history of the city are inextricably intertwined.  As we celebrate Black History Month, we should remember that so many of the stories that make up Storied Charlotte are shaped in one way or another by the history of Black Charlotte.

Tags: Black HistoryCharlotterecommended reading

The Independent Picture House:  A Story Place for Storied Charlotte

July 25, 2022 by Mark West
Categories: Storied Charlotte

The Independent Picture House, Charlotte’s new (and only) arthouse cinema, had its grand opening on June 24, 2022.  A project of the Charlotte Film Society, the Independent Picture House is officially described as a “non-profit community cinema that screens diverse, foreign, arthouse and independent film in Charlotte, NC.”  Located at 4237 Raleigh Street in NoDa, this film venue has three auditoriums, a welcoming lobby area, and ample parking. For more information about the Independent Picture House, please click on the following link:  https://independentpicturehouse.org

The story of how the Independent Picture House came to be goes back about ten years, and the best person to tell this story is Brad Ritter, the President of the Charlotte Film Society.  I contacted Brad and asked him about the evolution of the Independent Picture House.  Here is what he sent to me:

The birth of The Independent Picture House (the Indie) has evolved over the last decade. The Charlotte Film Society’s first serious stab at creating an independent nonprofit arthouse cinema started with a potentially cozy (small) space in Plaza Midwood. It would have been next to Bistro La Bon in a strip mall that is currently being demolished under the guise of “progress.” We went through several architectural drawings and each iteration reduced the size of the space until we were left with a single screen, 40-seat auditorium. Too small.

A couple of years later we looked at Camp North End for a home. Again, multiple meetings later we did the financial numbers and decided that we couldn’t afford the neighborhood. Too expensive.

During this period, we had developed a great relationship at C3 Lab in Southend. C3 Lab had been hosting our Back Alley Film Series as well as other one-off screenings. They were expanding their arts footprint into two other adjacent buildings and invited us to entertain the idea of building a cinema. We ended up passing on the space due to limited parking and a relatively short lease (seven years). We knew with the growth of Southend a seven-year lease wouldn’t allow us to get established and recoup our capital investment. Too risky.

Enter 2020 and Covid-19. Actually, let’s go back to 2018 when the first of three Charlotte arthouses closed, Park Terrace Cinemas…move forward to December 2019 and the Ballantyne Village Cinema closed. Now we’re in the spring of 2020, and we’re in the midst of Covid. It was during the early stages of the virus in what turned out to be a very long year that the last of the arthouses shuttered.

The Manor Theatre was Charlotte’s oldest and best-known arthouse theatre. At 73 years old, it was by far the oldest theatre operating. The thing that gets me about the Manor’s closing is that it has always been labeled a casualty of Covid. The pandemic made it easy to close the Manor. It became a footnote. Having been a long-time employee there, 27+ years and 21 being the general manager, I had heard the rumors of its demise for decades. I truly think with or without Covid the Manor would have closed by the end of 2020.

I still remember that Saturday when my supervisor called me and my two managers into the cinema to officially tell us the theatre was closing. There were no tears shed as we already knew what was coming. Instead, the most important thing that came out of that meeting was I was able to secure the popcorn machine by telling my boss I wanted it for “sentimental” reasons (which was true) and besides, it was too small for any of the other theatres in town. “Ol’ Poppy” had been a fixture at the Manor since before my tenure and was sort of a center point of the theatre’s universe. Knowing we could give it a new home in some weird way gave us a direction…that being to open our own nonprofit community arthouse cinema.

Within 2 weeks of the official announcement of the Manor’s permanent closing, we had our first meeting with Tony Kuhn at Flywheel Group. As I and a couple other Film Society board members shook Tony’s hand for the first time, he handed us a layout of where Charlotte’s first ever nonprofit cinema would be in the massive 36,000 sq.ft. warehouse. It was at that moment we knew we had our home, and the rest was just details.

Of course, I could go on forever talking about the excitement of opening after two years of construction. And I should and I do thank the thousands of supporters, be it through financial support, volunteering, or just words of encouragement! THANK YOU!

And I really want to bring up our core component of the Indie: the 3 E’s (Educate, Engage and Enable). Because we want to be more than just a movie theatre showing movies. We want to capitalize on being a nonprofit and collaborate with the entire Charlotte community: from taking films out into underserved communities to offering an affordable venue for local artists. We will become the cinematic hub of Charlotte through the support of the community, and we will give back ten-fold.

I commend Brad and all of the members of the Charlotte Film Society for having the vision and determination to create the Independent Picture House.  This community cinema might only be a month old, but it has already established itself as one of Storied Charlotte’s premier places to immerse oneself in the world of stories.

Tags: arthouseCharlotteFilm Societythe Indietheatre

The Debut of the Charlotte Readers Book Club

March 21, 2022 by Mark West
Categories: Storied Charlotte

On December 13, 2021, I received an email from Landis Wade, the founder and host of the Charlotte Readers Podcast.  The re message read “Pitching an idea.”  Intrigued, I opened Landis’s email.  “I have a proposition for you to consider,” he wrote.  He went on to say that he and Sam Poler, the Director of Member Experience at Advent Coworking, were thinking about starting a book club that would meet quarterly at the Advent Coworking facility on Louise Ave.  He wanted to know if I would be interested in partnering with them.  Of course, I said yes. 

A few days later, Landis, Sam, and I met, and we officially founded the Charlotte Readers Book Club as a bookish collaboration involving Advent Coworking, Charlotte Readers Podcast, and Storied Charlotte. We agreed that our book club would feature recent books by talented local authors.  We also agreed that our events would be open to the public and that attendees would not be required to read the featured books in advance.  We decided to feature two authors at each event, and Landis and I agreed to co-host the conversations with these featured authors.  

I am pleased to announce that the Charlotte Readers Book Club’s debut event will take place on Wednesday, March 30, at 5:30 pm at Advent Coworking (933 Louise Ave., Suite 101).  This month we’re discussing Code Name: Serendipity by Amber Smith, and Dear Miss Cushman by Paula Martinac.  The central characters in both of these books are young, and the authors will comment on writing about young characters. This event is free and open to the public, but we are asking that attendees request tickets in advance:  https://adventcoworking.com/en/events/tickets/1415004192/charlotte-readers-book-club

Here is some more information about our featured authors:

Amber Smith is the New York Times bestselling author of young adult and middle-grade novels, including The Way I Used to Be, The Last to Let Go, Something Like Gravity, and most recently, her middle-grade debut, Code Name: Serendipity. An advocate for increased awareness of mental health, gendered violence, and LGBTQIA+ equality, she writes in the hope that her books can help to foster change and spark dialogue. She grew up in Buffalo, New York, and now lives in Charlotte, North Carolina, with her wife and their ever-growing family of rescued dogs and cats.

Paula Martinac is the author of a book of short stories and seven novels. Her debut novel, Out of Time, won the Lambda Literary Award for Lesbian Fiction (Seal Press, 1990; e-book Bywater, 2012). Her novel-in-stories, The Ada Decades (Bywater, 2017), was short-listed for the 2017 Ferro-Grumley Award for LGBTQ Fiction, the Foreword Indie Award for LGBTQ Fiction, and the Goldie Award for Historical Fiction; and her novel Clio Rising (Bywater, 2019) received the Gold Medal for Best Regional Fiction from the 2020 Independent Book Publishers Awards. She has also published three nonfiction books on LGBTQ themes. She is a lecturer in the creative writing program at UNC Charlotte. I am looking forward to co-hosting our first Charlotte Readers Book Club event.  Here’s the event link for you to share: Charlotte Readers Book Club  For me, co-hosting this event relates directly to the main reason I started my Storied Charlotte blog. Both are all about celebrating Charlotte’s community of readers and writers. 

Tags: Book ClubCharlotte

In the Words of Two Charlotte Poets

April 02, 2020 by Mark West
Categories: Storied Charlotte

Charlotte’s community of readers and writers is reeling as a result of the coronavirus outbreak.  We have seen the recent cancelations or postponements of Sensoria, the Center City Literary Festival, many library events, and a number of book signings and readings by local writers.  However, the coronavirus cannot stop the National Poetry Month, which takes place each April (https://poets.org/national-poetry-month).  It is fitting, therefore, that Christopher Davis and Grace Ocasio, two of Charlotte’s most prominent poets, are launching new poetry collections this month.  Davis’s Oath is being published by Main Street Rag (https://mainstreetragbookstore.com/product/oath-christopher-davis/), and Ocasio’s Family Reunion is being published by Broadstone Books (http://broadstonebooks.com/Grace_C_Ocasio.html).  I contacted Davis and Ocasio and asked each of them to send me a brief statement about their connections to Charlotte.  I also asked each of them if they would provide a sample from their new collections, and they both agreed.

Here is what Christopher Davis sent me:

I moved to Charlotte in August of 1989, newly hired by the English Department at UNC Charlotte to teach creative writing workshops.  My first collection of poetry, The Tyrant of the Past and the Slave of the Future, had won the 1988 Agnes Lynch Starrett award from Associated Writing Programs, an organization bringing together creative writing programs, and writers, within academia.  The book was about to be published by Texas Tech University Press.  I had grown up in Los Angeles, received a BA in English Literature from Syracuse University, and a Master of Fine Arts degree from the Iowa Writer’s Workshop.  I had taught creative writing for two years at Murray State University in western Kentucky.  I was 29 years old, and my life up to that point had seemed already full of adventure, trauma and insecurity: eleven years earlier, my younger brother had been murdered; my parents, both academics themselves, had subsequently gone through a difficult separation and divorce; as a young(ish) gay man, I felt the presence of the AIDS crisis, as did everyone who was experiencing it personally at that time, in complex, hard-to-compartmentalize ways.  I self-identified as a poet, and as an “arts” person in general, very strongly.  My first impressions of Charlotte, when I came to UNC Charlotte for an on-campus interview in February of 1989, were that it seemed like a lush, sunny, sensual, almost tropical kind of place.  It reminded me of the Wallace Stevens poems I loved, such as “In the Carolinas” and “Bantams in Pine-woods.”  Western Kentucky had been exciting too, to my suburban southern Californian eyes, but it was a landscape of wildernesses, whereas Charlotte contained cultivated gardens filled with day lilies and hosta, and crepe myrtle trees planted by the city along the Plaza, where I rented a small house throughout the 1990’s.  Hurricane Hugo hit, and my first days of teaching at UNC Charlotte were marked by, well, what I was used to:  adventure, trauma and insecurity.  Later in 1989, when the gorgeous flora in my front yard lost its flowers and receded into the ground for winter, I was so upset, assuming I had done something wrong, maybe not watered the plants enough, not fertilized anything.  My first spring here, in March of 1990, was a fabulous revelation.  I watched the day lilies burst out, the pear trees pop alive; I listened to Aaron Copeland’s “Appalachian Spring” in my Walkman; I excitedly worked on poems that would eventually appear in journals, then in my second book, The Patriot, published by University of Georgia Press in 1998.  “One swollen evening / warm rain flooded the gutters. / Dogwood blossoms had come out / over a wash of green leaves. / The world seemed quietly willing.”  I was home.

Much time has passed since then, but, because I have remained in one place for half of my life, always responding to seasonal and historical events, always bringing my sensory experience, my body, my place, into my poems, it somehow seems as if no time has passed, like a “grace dissolved in place,” as T.S. Eliot names that feeling in his poem “Marina.”  Of course Charlotte has gifted me, and my poetry, with much imagery, language and experience.  But I think this poem, which will appear in my forthcoming collection, Oath, published by Main Street Rag Press, is most representative of my creative life, as lived in this part of our country, for so long.  In 2007 I received a grant from UNC Charlotte to support scholarship; I spent one week, in late January, at a hotel at the far end of Wrightsville Beach, in the Wilmington area; I wrote pages and pages of notes, and over several years shaped this poem.  If “that’s all she wrote,” I’m happy!

SHELL ISLAND

It’s weathered subject matter, this boutique hotel,

a revamped Holiday Inn at the end of a sand bar      

pulled this way and that, eroded by wind, rain,

currents, tides flooding the inland waterway.  

To restore expensive real estate, bulldozers

added three thousand more feet of beach

a little to the north, destroying habitats

for plovers, black flyers, sanderlings.

White water fowl wings

skim breaking waves.

*

An Adirondack chair the burgundy of dried blood

hunches against the rusty railing of the balcony. 

My muscles are already beginning to atrophy. 

Really do resent having to sit here, solitary,

slaving over rough drafts, shifting, shrinking,

when the sound of the surf pounds outside.

My heart, you know, feelings, needs to be

touched, doesn’t yours?  My neck hurts, 

my sharp nose and tight-lipped mouth

floating between my shoulder blades.

*

This human mike, this hollow, fragile body,  

a community perceptual center, embraces

it, this inside voice, radio free me, carries

it through books, buffet lines, museums;                                                        

in a pornography outlet beside Autumn Inn,

a care facility for seniors, it makes it moan.

Sun-bleached driftwood looks bone gray.

Well, I guess I am here on an arts grant,

i.e., to mix work, dying, and play. 

Pray, let’s wave at, never away, 

*

that obese sex tourist, trudging, in flip-

flops, along the boardwalk, two gay

Thai guys, twins, performing an act

behind his back, bowing, grinning,  

their four middle fingers lifted, tips,

bending in, slightly, wiggling, like

hooks catching trapped laughs,

flipping, “quote, unquote,”

the bird, supernatural,

rhetorical, rhapsodic. 

Here is what Grace Ocasio sent me:

As far as I was concerned, Charlotte was a foreign land, and I was a hardcore New Yorker when I moved to Charlotte in 1993, newly wed from the burbs of Westchester County.  The only thing I knew about Charlotte was that my mother had passed through it one time, years before she migrated to New York with my father and that my uncle, Dr. Arthur Grant, had received a B.A. in English from Johnson C. Smith University.  I truly became, upon learning from my then fiancé, Edwin Ocasio, that his company, Hearst Corporation, would be relocating to Charlotte the summer of 1992, like Eva Gabor’s Lisa of Green Acres fame.  “The stores” I implored as I conversed with Eddie long distance ten months before our wedding.  For sure, the asphalt jungle had rooted itself deep in my DNA, and no amount of persuasion on Eddie’s part was going to sell me on Charlotte.  Hence, I went kicking and screaming down south. 

Little by little, Charlotte grew on me.  Teeming with nature galore, the birds and trees of various kinds won me over.   All the writers I met wrote about flowers.  What is this? I wondered.  True, the amazing contemporary poet Thomas Lux taught me in a Sarah Lawrence College graduate seminar that one could use flowers symbolically, creating great potency of language.  One need not imbue one’s language with the literal meaning of flowers, I learned.  Still, I imbibed what the writers around me wrote, admired and appreciated their verse.  I, however, referenced nature in order to reflect/mirror my emotions.  The death of my mother in 2008 prompted me to write about her passing aided by the image of a dogwood.  Other poems emerged, some relating to nature in one way or another. A few of these poems made their way into my new collection, Family Reunion.  Nowadays, I sit or stand in my bones, content to wait for small moments to burgeon into poems.

FALL FESTIVAL

We, my Edward and I, take Zoe to a pumpkin patch

where she dives into a horde of pumpkins

as though they will draw her close

as cousins she’s never met.

She commands the hayride––

first child to scramble up

into the tractor-drawn wagon,

first child to throw a bucket of hay over her head.

We walk through a meadow, snatch wildflowers,

cram our pockets with them,

lean against white oaks and watch the sun

slide down the sky like a child racing down a water coaster.

We flash our headlights from Mooresville to Charlotte,

letting people know harvest is the time to gloat

over chill in the air, the snap of grass under feet,

the scent of pumpkin buttercream,

the yellow, red, and orange leaves of tupelos

that entice us to sleep even when we’ve been up all night,

tossing stray sandman thoughts out the window

or in the trash can in our backyard.  

I thank Christopher Davis and Grace Ocasio for sharing their thoughts and poetry and for their many contributions to Storied Charlotte.        

Tags: Charlottepoetpoetrypoets

Storied Charlotte: Celebrating the Stories and Storytellers of Charlotte

February 11, 2020 by Mark West
Categories: Storied Charlotte

Charlotte, Carson McCullers, and Harry Golden — Welcome to the inaugural post of Storied Charlotte, my new blog about the stories and storytellers of Charlotte.  Storied Charlotte is an outgrowth of my Monday Missive, a blog I wrote during the seven and a half years that I served as the chair of UNC Charlotte’s Department of English.  When I stepped down as chair in December 2019, I drew the curtain on my Monday Missive.  Since then, numerous people have told me that they miss reading my Monday Missive, and they asked me to consider starting a new blog.  Their requests prompted me to launch Storied Charlotte.

I often promoted literary events in Charlotte in my Monday Missive, but I usually focused on the people and events associated with the English Department.  In Storied Charlotte, my focus will be on Charlotte’s vibrant literary community.  As a long-time member of UNC Charlotte’s English Department, I have a deep interest in Charlotte’s evolving literary community.  This community includes more than writers. It also encompasses librarians, booksellers, publishers, literacy activists, and (most importantly) readers.  My hope is that Storied Charlotte will be of interest to everyone who has connections to Charlotte’s literary community or who is curious about how Charlotte became such a storied city.

In reflecting on the history of Charlotte’s literary community, I think that there are two writers who played particularly important roles in establishing Charlotte as a place that attracts and inspires important writers.  One is Carson McCullers, and the other is Harry Golden.  Neither of these writers grew up in Charlotte, but both of them began their careers as writers while living in Charlotte.

Photo by Gavin West
Photo by Gavin West

McCullers moved to Charlotte from Columbus, Georgia, in 1937 when she was just twenty years old.  She and her husband moved into a boarding house on East Boulevard, and it was here that she began her first novel, The Heart Is a Lonely Hunter.  A few months later, they moved to a house on Central Avenue where she continued to work on her novel. They left Charlotte in the spring of 1938 and moved to Fayetteville, and she finished The Heart Is a Lonely Hunter while living there.  The book came out in 1940 to great acclaim and immediately established McCullers as an up-and-coming writer.  McCullers spent much of the rest of her life in New York, but she continued to write about the American South in her fiction.

During her time in Charlotte, McCullers generally wrote in the morning and then took long walks in the afternoon.  She drew on the observations she made during these walks in The Heart Is a Lonely Hunter.  She did not identify Charlotte as the setting for this novel, but she incorporated details from Charlotte in her descriptions of the unnamed mill town where the characters live.  She also included in her novel reflections on the racism and sexism that she witnessed during her time in Charlotte.  Given that she wrote the book in the late 1930s, her sensitive treatment of these issues can be seen as prophetic.

Shortly after McCullers published The Heart Is a Lonely Hunter and moved to New York, a New Yorker named Harry Golden moved to Charlotte.  Golden spent most of his boyhood and young adult days in New York City before settling permanently in Charlotte in 1941.  The next year he published a trial run of the Carolina Israelite, a newspaper intended primarily for North Carolina’s Jewish community.  It was a success, and in 1944 he began publishing the newspaper on a regular basis.  He continued to publish this paper until 1968.

In addition to publishing his newspaper, Golden wrote numerous best-selling books, including Only in America (1958), For 2¢ Plain (1958), and Enjoy, Enjoy! (1960).   Although these books became known for their folksy humor, they had a serious side to them, too.  In many of his publications and public appearances, Golden spoke out against racial segregation and called for an end to the Jim Crow laws.   At the time of his death in 1981, Golden was Charlotte’s most famous writer.  Kimberly Marlowe Hartnett provides a thorough discussion of Golden’s career as a writer in Carolina Israelite:  How Harry Golden Made Us Care about Jews, the South, and Civil Rights.

Photo by Gavin West
Photo by Gavin West

Both McCullers and Golden have left their marks on the streets of Charlotte.  The former boarding house on 311 East Boulevard where McCullers started her writing career still stands.  It is now the location of the Copper Restaurant, and in front of the restaurant there is a historical marker commemorating McCullers’s association with the building.  The final home where Harry Golden lived is also still standing and is still used as a private residence.  It’s a bungalow at the corner of Hawthorne Lane and E. 8th Street, right across from Hawthorne Lane Methodist Church.   There is a historical marker near that house indicting that Golden lived in this building.  The marker is located at the corner of 7th Street and Hawthorne Lane.  Also, the Atkins Library at UNC Charlotte has a permanent display covering Golden’s life and writings. 

McCullers and Golden found inspiration in Charlotte.  Neither saw Charlotte as a perfect place, and both were attuned to the prejudice that was commonplace in Charlotte in the mid-twentieth century. Still, for both of them, Charlotte proved to be a fertile place where they could pursue their careers as writers.   As the years have gone by, many writers have followed in their footsteps.

Tags: booksCarson McCullersCharlotteHarry GoldenlibrariansliteraryliteratureStoriesWriters
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