by Mab Segrest ‧ RELEASE DATE: April 14, 2020
A valuable contribution to the history of mental health care and of the racist applications of medicine.
A penetrating study of color-line injustices in the realm of psychiatry.
Some 25,000 bodies lie buried behind the Central State Hospital in Milledgeville, Georgia, the world’s “largest graveyard of disabled people,” part of the world’s largest mental asylum. Founded in 1842 and operational until a decade ago, it was part of a system that, as with other institutions in the Deep South, was divided by race. Mentally ill (or so declared, at any rate) African Americans were put to work in fields and factories and deprived of books, writing materials, and personal items; mentally ill whites were given more leeway and greater privileges. Social justice activist Segrest interrogates the records to give specific weight to such charges. She notes, for example, that when it came to calico dresses at the time of the supposedly separate-but-equal tenet of Plessy v. Ferguson, “white women got one thousand and colored women got a negligible thirty-five.” (The term “colored,” she explains in the opening pages, is a term of art of statisticians of the period, as are such designations as “imbeciles” and “lunatics.”) Valuably, the author also examines psychiatric files to investigate presumed offenses that brought African Americans to Milledgeville in the first place. Many women, for their part, were hospitalized with what would now likely be characterized as PTSD following physical abuse, rape, and other assaults. The hospital operated on “modern” theories promulgated by specialists who were likely in the early 20th century to advocate sterilization of the mentally ill in the interest of eugenics, with Georgia standing at “the epicenter of race and psychiatry” in inflicting this punishment on African Americans disproportionally. For those who suppose that all is well now, Segrest concludes, pointedly, that the “struggle for equity in medicine and health in the United States and globally is not won, and may not be for a while.”
A valuable contribution to the history of mental health care and of the racist applications of medicine.Pub Date: April 14, 2020
ISBN: 978-1-62097-297-7
Page Count: 384
Publisher: The New Press
Review Posted Online: Jan. 19, 2020
Kirkus Reviews Issue: Feb. 15, 2020
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by Howard Zinn ‧ RELEASE DATE: Jan. 1, 1979
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
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by Howard Zinn ; adapted by Rebecca Stefoff with by Ed Morales
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by Maya Angelou ‧ RELEASE DATE: Feb. 1, 1969
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.
Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."
Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.Pub Date: Feb. 1, 1969
ISBN: 0375507892
Page Count: 235
Publisher: Random House
Review Posted Online: May 14, 2012
Kirkus Reviews Issue: Feb. 1, 1969
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by Maya Angelou and illustrated by Steve Johnson and Lou Fancher
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