Director Marielle Heller’s film of the Broadway show hits Amazon this week. With Amy Coney Barrett’s hearings underway, the timing couldn’t be better.
For Brown, God’s law trumped man’s, and the Lord, as he often said, is no respecter of persons. But one need not believe in a higher power to recognize the abhorrent amorality of the Supreme Court’s decisions in Dred Scott, Plessy vs. Ferguson or Korematsu vs. United States, all of which witnessed the triumph of political power over human decency. Nor need one credit each incremental advancement as a victory for democracy.even progress can come at the cost of legitimacy: Griswold vs.
For those historically cut out of the body politic, Brown’s lesson, conveyed with such wit and vigor in “The Good Lord Bird,” is to reject the rules set by those who would keep you out of the game in the first place, and thence to write your own.“John Brown always said, ‘Be mild with the mild, shrewd with the crafty, rough to the rough. With a liar, be a thunderbolt,’” remembers the series’ narrator, a young ex-slave nicknamed Onion who is swept up by Brown’s band on the Kansas frontier.
Where the question of legitimacy becomes thorny, and where “The Good Lord Bird’s” treatment of Brown’s radicalism is so powerful, is at the heart of our own fraught moment. In an unjust system, the ballot — the foremost mechanism for delivering and withdrawing consent — is aAdvertisementelection is the most important of our lifetime, that the very fabric of democracy is on the ballot.
“If any are bound, we are all bound,” Hawke’s great agitator proclaims in a speech to an antislavery society at the start of Sunday’s episode. And as DuBois had it a century ago, John Brown was right: If Black lives are on the ballot, he understood — if immigrant families are on the ballot, if women’s bodies are on the ballot, if queer rights are on the ballot — then we have already lost.
We need God and Jesus.
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