My first job, in 1972, was with a small weekly in Richmond, Virginia. Like my fellow writer/editors, I was a proud veteran of the sixties campus wars, and our left-of-center politics were strongly represented throughout the paper; which is to say, we were far from a neat ideological fit with the deeply conservative town Richmond still was back then. I joked with my friends up north that, the morning after Richard Nixon’s landslide victory in November, I could actually see my McGovern vote in the paper. The politics weren’t all that I disliked about Richmond. It was sleepy, ghastly hot in the summer, and in general far from what I then thought of as “the action.”
But there was one thing that I loved about the place: it was steeped in history. On Clay Street, just a few blocks from our office on Broad, was the Confederate White House. Not far off loomed the magnificent, Jefferson-designed state capitol. Over on Franklin, the Jefferson Hotel boasted the staircase said to be the model for the one in Gone With the Wind. But above all there was Monument Avenue, with its imposing statues of the generals whose prowess had sustained hope in this capital of a doomed nation a century earlier: Stonewall Jackson, J.E.B. Stuart, Robert E. Lee.
As a Northerner and a lefty, I’d grown up thinking of the South as the bad guys. Nonetheless, there was an undeniable grandeur to these stone figures, and I felt it every day driving past them on my way home. They were men of surpassing courage and nobility, rightly enshrined in national myth: “There stands Jackson like a Stone Wall.” And the image of Lee, wearily arriving at Appomattox aboard Traveller, having resisted calls from diehards that he continue the fight, saving the nation from yet more bloodshed. I wasn’t the only one who felt this way. One of my colleagues, Richmond-born and recently graduated from Harvard (and now a left-wing commentator of some note), would tear up every time he heard “The Night They Drove Old Dixie Down.”
As a Red Diaper baby, I came from a different tradition. My parents never saw Gone With the Wind—they were outside the theater, picketing. But I, too, felt the pull of that history, in all its messiness and grandeur. It was our history, as Americans.
Maybe that’s all over now. Maybe, as my colleague Kay Hymowitz once observed, for kids today American history runs from the oppression of the Indians to the oppression of blacks to the oppression of women, with nothing ennobling in between. Not long ago, talking with several people in their twenties, I was startled to learn that, until the movie came out, none of them had heard of Dunkirk. How, then, could we expect them to know about figures like Richard Kirkland, “the Angel of Marye’s Heights,” the Confederate soldier who, during the abattoir that was Fredericksburg, emerged from the safety of the commanding Southern lines to tend to dying Union soldiers on the killing field below?
Our history is rife with moral complexity. My wife and children exist only as a result of two near-misses. One ancestor, on her mother’s side, whose descendants would include several prominent abolitionists, nearly drowned after falling overboard on The Mayflower, while her great-grandfather on her father’s side, at 12, was nearly shot down from a rooftop in Fort Smith, Arkansas, by an occupying Union soldier after shouting “Long live Jeff Davis!”
All of which is a preamble to saying that, in his exchange with the churlish and ignorant press corps in the aftermath of Charlottesville, Donald Trump got it right when he said: “This week it’s Robert E. Lee. I noticed that Stonewall Jackson is coming down. I wonder is it George Washington next week and is it Thomas Jefferson the week after? You know, you really do have to ask yourself, where does it stop?” He may not have been the ideal messenger—with his combative style, manic egotism, and casual relationship with facts, he never is—but he laid out a case that for months has cried out to be made, and he did it so clearly that the refusal of the media and the elites of both parties, not just to credit it, but even to acknowledge it, speaks volumes. Though Trump has never quite defined what his notion of making America great again actually means, preserving that which needs no fixing—including the history that is our common legacy—is a key part of it.