Louisiana Cultural Vistas - Fall 2005 - (Page 12)

Do you know what it means to lose New Orleans? by ANNE RICE WHAT DO PEOPLE REALLY KNOW ABOUT NEW ORLEANS? Do they take away with them an awareness that it has always been not only a great white metropolis but also a great black city, a city where AfricanAmericans have come together again and again to form the strongest AfricanAmerican culture in the land? The first literary magazine ever published in Louisiana was the work of black men, French-speaking poets and writers who brought together their work in three issues of a little book called L’Album Littéraire. That was in the 1840s, and by that time the city had a prosperous class of free black artisans, sculptors, businessmen, property owners, skilled laborers in all fields. Thousands of slaves lived on their own in the city, too, making a living at various jobs, and sending home a few dollars to their owners in the country at the end of the month. This is not to diminish the horror of the slave market in the middle of the famous St. Louis Hotel, or the injustice of the slave labor on plantations from one end of the state to the other. It is merely to say that it was never all “have or have not” in this strange and beautiful city. Later in the 19th century, as the Irish immigrants poured in by the thousands, filling the holds of ships that had emptied their cargoes of cotton in Liverpool, and as the German and Italian immigrants soon followed, a vital and complex culture emerged. Huge churches went up to serve the great faith of the city’s European-born Catholics; convents and schools and orphanages were built for the newly arrived and the struggling; the city expanded in all directions with new neighborhoods of large, graceful houses, or areas of more humble cottages, even the smallest of which, with their floor-length shutters and deep-pitched roofs, possessed an undeniable Caribbean charm. Through this all, black culture never declined in Louisiana. In fact, New Orleans became home to blacks in a way, perhaps, that few other American cities have ever been. Dillard University and Xavier University became two of the most outstanding black colleges in America; and once the battles of desegregation had been won, black New Orleanians entered all levels of life, building a visible middle class that is absent in far too many Western and Northern American cities to this day. The influence of blacks on the music of the city and the nation is too immense and too well known to be described. It was black musicians coming down to New Orleans for work who nicknamed the city “the Big Easy” because it was a place where they could always find a job. But it’s not fair to the nature top: Tourists watch from the safety of the Ritz-Carlton valetof New Orleans to think of jazz and the blues as the parking entrance as Hurricane Katrina pounds New Orleans’ poor man’s music, or the music of the oppressed. Something else was going on in New Orleans. The Canal Street. above: The wall of a parking garage collapsed on Burgundy Street in the French Quarter. photographs by Cheryl Gerber living was good there. The clock ticked more slowly; 12 LOUISIANA ENDOWMENT FOR THE HUMANITIES\Fall 2005

Table of Contents Feed for the Digital Edition of Louisiana Cultural Vistas - Fall 2005

Louisiana Cultural Vistas - Fall 2005 Contents Editor’s Column Louisiana Endowment for the Humanities Louisiana State Museum After Katrina and Rita Tabasco: Edmund McIlhenny and the Birth of a Louisiana Pepper Sauce Historic New Orleans Collection Louisiana Association of Museums New Orleans’ Coffee Connection No Man’s Land Louisiana Department of Culture, Recreation and Tourism Bookstand (Book Review by Thomas Uskali) Sound Advice (Music Review by Ben Sandmel) Forum (Commentary by Roy Blount, Jr. )

Louisiana Cultural Vistas - Fall 2005

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