Science History Image, Alamy
Science History Image, Alamy

The World War II Veterans Who Took Aim at the KKK

Science History Image, Alamy
Science History Image, Alamy

It’s unusual for a man to see his name scrawled on a coffin, but Robert Hicks couldn’t say he was surprised. As a black man living in the segregated city of Bogalusa, Louisiana in 1965, Hicks had been subjected to threats of violence on a consistent basis. He was also a vocal supporter of equal rights, and very publicly demanded that black workers at his local mill be granted similar promotion opportunities as their white co-workers. He earned even more hostility by endorsing the grassroots Congress of Racial Equality (CORE) organization.

The coffin bearing Hicks's name and the adjacent burning cross were evidence that the Ku Klux Klan was growing increasingly irate. It was going to get worse. Recently, Hicks had invited two white CORE workers to stay at his house while they were in Bogalusa. The Klan was alternating between spectacle and bomb threats directed at his home. The police were no help; they refused to stand against the Klan, even if it meant ignoring the Civil Rights Act of 1964.

Despite the lack of law enforcement, Hicks and the CORE employees were still protected. Every night, a small band of armed guards patrolled his property, keeping an eye out for suspicious activity. The squad was acting as an intermediary in the event the Klan decided to make good on their threats. While these were locals protecting their neighbors, they’d soon join a much larger organization, a group that supported the values of civil rights leader Martin Luther King, Jr., but didn’t subscribe to his nonviolent philosophy. They would become part of the Deacons for Defense and Justice, who were prepared to use any means necessary to protect their fellow activists.

“We will never go on the offense,” Bogalusa Deacon leader Charles Sims later said. “But if the Klan or anybody else comes in here to hit us, I guarantee they will get hit back.”

 
 

Although racial tensions were pervasive throughout the country in the 1960s, some of the most charged animosity to be found anywhere was in the deep South. The Klan had a strong foothold in Louisiana, so much so that their activity was being normalized in areas like Bogalusa. Klan gatherings were publicized over public radio; half of the cars flew tiny rebel flags. Of the town’s 23,000 residents, 9000 were men and women of color who endured malevolent opposition to their very existence.

Protestors and leaders alike advocated for peaceful demonstrations. Violence, Martin Luther King Jr. advised, would only be met with more violence. The Deacons disagreed.

A midnight meeting of the American white supremicist movement, the Ku Klux Klan
Topical Press Agency/Getty Images

The Deacons for Defense and Justice traced its history to July 1964 in nearby Jonesboro, Louisiana, when Earnest “Chilly Willy” Thomas and Frederick Kirkpatrick started a defense group to protect CORE workers and unarmed protestors from Klan violence. (The name may have come from the deacons of church, who were typically charged with taking care of business.) The group was made up primarily of World War II and Korean War veterans who had grown tired of seeing black Americans physically abused, threatened, and killed for asserting their civil rights. War had erased any apprehension over taking up firearms or meeting force with force.

The movement migrated to Bogalusa when the Deacons first heard that Hicks was being targeted. Following the bomb threats, they sat down and talked with Hicks, and convinced him that having a local chapter would be of benefit to an area so heavily oppressed by Klan influence. Hicks co-founded the chapter along with a Bogalusa local named Charles Sims.

While all of the men received publicity for their efforts, it was Sims who captivated the media. Described as “grizzled” and with the sullen attitude of someone resigned to dispensing violence when necessary, Sims became something of a reluctant spokesperson for the Deacons. Jet magazine called him the man “most feared by whites in Louisiana.” Asked if he’d ever been arrested for battery, Sims estimated he had—about 20 times. “Battery with what?” reporters asked. Sims just held up his fists.

 
 

Sims had little patience for King’s pacifism. “Martin Luther King and me have never seen eye to eye,” he told the Associated Press in July 1965. “He has never been to Bogalusa. If we didn’t have the Deacons here there is no telling how many killings there would have been.”

Indeed, King had never visited Bogalusa. He vowed never to appear where there was a concentration of Deacons because he disagreed with their methodology. To Sims’s thinking, however, there was no choice but to take up arms. The Klan harassed protestors, threw logs in front of motorcades, and shot through the windows of the homes of minorities, all of it largely undisturbed by police intervention.

Dr Martin Luther King at the Alabama civil rights march which he led on March 25, 1965
William Lovelace, Express/Getty Images

What the Klan didn’t account for was the willingness of the Deacons to escalate the conflict. During one public gathering, a white man harassing black attendees was shot three times in the chest by a Deacon carrying a pistol; it was reportedly the first time lethal force had been used by black civil rights supporters in the modern era. (The man survived.) At night, when black residents might be subject to harassment and assault, Deacons toting weapons acted like an impromptu neighborhood watch. Rather than risk getting into a gunfight, the Klan scattered. The window shootings ceased. Despite having only 15 or so members in Bogalusa, the Deacons carried themselves like a small army.

Because they couldn't cover the entire town with numbers, Sims and his fellow Deacons often relied on intercepting police or Klan calls to pinpoint trouble. When a black physician was having problems driving into town, Sims and his men piled into a car and met him at a gas station. Approaching three white men who were following the doctor, Sims addressed the one nearest to him: "Partner, if you want to keep living you better go back, because if you come any closer to this car, I'm going to kill all three of you." The doctor proceeded down the road without incident.

“If you were black, you couldn’t walk the streets,” Jackie Hicks, Robert’s wife, told a reporter in 2014. “If a group of whites saw you, they would jump on you. But if the Deacons were around, they wouldn’t mess with you.”

Rather than become a war zone, Bogalusa’s tensions simmered just below the surface, with one side waiting for the other to make a move.

 
 

The presence of the Deacons in Bogalusa did not go unnoticed by the FBI. Alarmed by the idea of a full-blown race war being played out with two armed parties, the Bureau kept a close watch on Sims, Hicks, and the other Deacons. Occasionally, some would go on the offensive, like the time a number of Deacons fired into the windows of the home of Herrod Morris, a reverend who had criticized the black community. Fearing the conflict would become combustible, the federal government invoked Reconstruction-era laws to force police to protect civil rights workers. It was the first time such laws had been referenced in modern times. In raising the stakes, the Deacons had forced lawmakers to back the Civil Rights Act with substantial action.

With law enforcement slowly embracing responsibility and more militant groups like the Black Panthers taking up headlines, the Deacons—which had grown to around two dozen chapters in the South, including Mississippi and Alabama—were largely dissolved by 1968 and rarely mentioned in historical accounts thereafter. Some historians have theorized it was because their eye-for-an-eye approach didn’t fit the nonviolent narrative of the civil rights movement. Yet their legacy was largely one of deterrence. Adversaries didn’t act on violent impulses, for fear of retaliation.

Hicks went on to fight racial injustice in other ways: He sued the paper mill where he worked for bypassing black employees, and became a supervisor there in 1971. He also sued the police for harassing civil rights protestors, and got an injunction enforced by the U.S. Justice Department. The Hicks home, which at one time had been guarded by the community, now sits recognized on the National Register of Historic Places.

In 2013, Robert's son, Charles Hicks, told The Washington Post that both his father and the Deacons were to be commended. "Growing up, we had a lot of admiration for the Deacons," he said. "Their philosophy was, 'It’s better to die on your feet than live on your knees.'"

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Marie Antoinette's Jewelry Is Up for Sale
Michael Bowles, Getty Images for Sotheby's
Michael Bowles, Getty Images for Sotheby's

Rare jewelry that once belonged to Marie Antoinette and hasn't been seen in public for 200 years will be heading to the auction block this fall, according to The Adventurine.

A diamond parure (jewelry set), three-strand pearl necklace, and other gems that once adorned the last queen of France will be sold on November 12 in Geneva, Switzerland, as part of Sotheby's "Royal Jewels from the Bourbon-Parma Family" auction. The family in question is related by blood to some of Europe's most important rulers, including former kings of France and Spain and emperors of Austria.

A diamond jewelry set
Courtesy of Sotheby's

Although Marie Antoinette was known for her opulent fashion choices, her jewels have scarcely been seen since the French Revolution, The Adventurine reports. The Smithsonian owns a pair of earrings that are believed to contain diamonds from the queen's collection, and a diamond necklace that appeared at a Christie's auction in 1971 "hasn't been seen since." The jewelry magazine notes that many of Marie Antoinette's jewels were dismantled, but a few—like the ones featured in this latest collection—managed to survive.

A pearl necklace
Courtesy of Sotheby's

According to Sotheby's, Marie Antoinette placed all her jewels in a wooden chest in March 1791 and shipped them off to her nephew, the Austrian Emperor, for safekeeping [PDF]. That following year, the royal family was imprisoned, and in 1793 Marie Antoinette and King Louis XVII were executed by guillotine. Their only surviving child, Marie Thérèse de France, retrieved the jewels and later passed them along to her niece, since she had no children of her own. They ultimately ended up with Robert I, the last ruling Duke of Parma in Italy.

The most valuable piece, a pearl pendant featuring a bow made of diamonds, is expected to fetch between $1 million and $2 million, according to the auction house's estimates. In the late 18th century, pearls were just as coveted as diamonds because of their rarity. Marie Antoinette, of course, wore them often.

A diamond and pearl pendant
Courtesy of Sotheby's

"It is one of the most important royal jewelry collections ever to appear on the market and each and every jewel is absolutely imbued with history," Daniela Mascetti, of Sotheby's European jewelry division, said in a statement.

[h/t The Adventurine]

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12 Facts About James Joyce
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Hulton Archive/Getty Images

June 16, 1904 is the day that James Joyce, the Irish author of Modernist masterpieces like Dubliners and A Portrait of the Artist as a Young Man, and who was described as “a curious mixture of sinister genius and uncertain talent,” set his seminal work, Ulysses. It also thought to be the day that he had his first date with his future wife, Nora Barnacle.

He was as mythical as the myths he used as the foundations for his own work. So in honor of that June day in 1904—known to fans worldwide as “Bloomsday,” after one of the book’s protagonists, Leopold Bloom—here are 12 facts about James Joyce.

1. HE WAS ONLY 9 WHEN HIS FIRST PIECE OF WRITING WAS PUBLISHED.

In 1891, shortly after he had to leave Clongowes Wood College when his father lost his job, 9-year-old Joyce wrote a poem called “Et Tu Healy?” It was published by his father John and distributed to friends; the elder Joyce thought so highly of it, he allegedly sent copies to the Pope.

No known complete copies of the poem exist, but the precocious student’s verse allegedly denounced a politician named Tim Healy for abandoning 19th century Irish nationalist politician Charles Stewart Parnell after a sex scandal. Fragments of the ending of the poem, later remembered by James’s brother Stanislaus, showed Parnell looking down on Irish politicians:

His quaint-perched aerie on the crags of Time
Where the rude din of this century
Can trouble him no more

While the poem was seemingly quaint, young Joyce equating Healy as Brutus and Parnell as Caesar marked the first time he’d use old archetypes in a modern context, much in the same way Ulysses is a unique retelling of The Odyssey.

As an adult, Joyce would publish his first book, a collection of poems called Chamber Music, in 1907. It was followed by Dubliners, a collection of short stories, in 1914, and the semi-autobiographical A Portrait of the Artist as a Young Man (in which Clongowes Wood College is prominently featured) in 1916.

2. HE CAUSED A CONTROVERSY AT HIS COLLEGE’S PAPER.

While attending University College Dublin, Joyce attempted to publish a negative review—titled “The Day of the Rabblement”—of a new local playhouse called the Irish Literary Theatre in the school’s paper, St. Stephen’s. Joyce’s condemnation of the theater’s “parochialism” was allegedly so scathing that the paper’s editors, after seeking consultation from one of the school’s priests, refused to print it.

Incensed about possible censorship, Joyce appealed to the school’s president, who sided with the editors—which prompted Joyce to put up his own money to publish 85 copies to be distributed across campus.

The pamphlet, published alongside a friend’s essay to beef up the page-count, came with the preface: “These two essays were commissioned by the editor of St. Stephen’s for that paper, but were subsequently refused insertion by the censor.” It wouldn’t be the last time Joyce would fight censorship.

3. NORA BARNACLE GHOSTED HIM FOR THEIR PLANNED FIRST DATE.

By the time Nora Barnacle and Joyce finally married in 1931, they had lived together for 27 years, traveled the continent and had two children. The couple first met in Dublin in 1904 when Joyce struck up a conversation with her near the hotel where Nora worked as a chambermaid. She initially mistook him for a Swedish sailor because of his blue eyes and the yachting cap he wore that day, and he charmed her so much that they set a date for June 14—but she didn’t show.

He then wrote her a letter, saying, “I looked for a long time at a head of reddish-brown hair and decided it was not yours. I went home quite dejected. I would like to make an appointment but it might not suit you. I hope you will be kind enough to make one with me—if you have not forgotten me!” This led to their first date, which supposedly took place on June 16, 1904.

She would continue to be his muse throughout their life together in both his published work (the character Molly Bloom in Ulysses is based on her) and their fruitful personal correspondence. Their notably dirty love letters to each other—featuring him saying their love-making reminded him of “a hog riding a sow” and signing off one by saying “Goodnight, my little farting Nora, my dirty littlef**kbird!"—have highlighted the NSFW nature of their relationship. In fact, one of Joyce’s signed erotic letters to Nora fetched a record £240,800 ($446,422) at a London auction in 2004.

4. HE HAD REALLY BAD EYES.

While Joyce’s persistent money problems caused him to lead a life of what could be categorized as creative discomfort, he had to deal with a near lifetime of medical discomfort as well. Joyce suffered from anterior uveitis, which led to a series of around 12 eye surgeries over his lifetime. (Due to the relatively unsophisticated state of ophthalmology at the time, and his decision not to listen to contemporary medical advice, scholars speculate that his iritis, glaucoma, and cataracts could have been caused by sarcoidosis, syphilis, tuberculosis, or any number of congenital problems.) His vision issues caused Joyce to wear an eye patch for years and forced him to do his writing on large white sheets of paper using only red crayon. The persistent eye struggles even inspired him to name his daughter Lucia, after St. Lucia, patron saint of the blind.

5. HE TAUGHT ENGLISH AT A BERLITZ LANGUAGE SCHOOL.

In 1904, Joyce—eager to get out of Ireland—responded to an ad for a teaching position in Europe. Evelyn Gilford, a job agent based in the British town of Market Rasen, Lincolnshire, notified Joyce that a job was reserved for him and, for two guineas, he would be told exactly where the position was. Joyce sent the money, and by the end of 1904, he and his future wife, Nora, had left Dublin for the job at a Berlitz language school in Zurich, Switzerland—but when they got there, the pair learned there was no open position. But they did hear a position was open at a Berlitz school in Trieste, Italy. The pair packed up and moved on to Italy only to find out they’d been swindled again.

Joyce eventually found a Berlitz teaching job in Pola in Austria-Hungary (now Pula, Croatia). English was one of 17 languages Joyce could speak; others included Arabic, Sanskrit, Greek, and Italian (which eventually became his preferred language, and one that he exclusively spoke at home with his family). He also loved playwright Henrik Ibsen so much that he learned Norwegian so that he could read Ibsen's works in their original form—and send the writer a fan letter in his native tongue.

6. HE INVESTED IN A MOVIE THEATER.

There are about 400 movie theaters in Ireland today, but they trace their history back to 1909, when Joyce helped open the Volta Cinematograph, which is considered “the first full-time, continuous, dedicated cinema” in Ireland.

More a money-making scheme than a product of a love of cinema, Joyce first got the idea when he was having trouble getting Dubliners published and noticed the abundance of cinemas while living in Trieste. When his sister, Eva, told him Ireland didn’t have any movie theaters, Joyce joined up with four Italian investors (he’d get 10 percent of the profits) to open up the Volta on Dublin’s Mary Street.

The venture fizzled as quickly as Joyce’s involvement. After not attracting audiences due to mostly showing only Italian and European movies unpopular with everyday Dubliners, Joyce cut his losses and pulled out of the venture after only seven months.

The cinema itself didn’t close until 1919, during the time Joyce was hard at work on Ulysses. (It reopened with a different name in 1921 and didn’t fully close until 1948.)

7. HE TURNED TO A COMPLETELY INEXPERIENCED PUBLISHER TO RELEASE HIS MOST WELL-KNOWN BOOK.

The publishing history of Ulysses is itself its own odyssey. Joyce began writing the work in 1914, and by 1918 he had begun serializing the novel in the American magazine Little Review with the help of poet Ezra Pound.

But by 1921, Little Review was in financial trouble. The published version of Episode 13 of Ulysses, “Nausicaa,” resulted in a costly obscenity lawsuit against its publishers, Margaret Anderson and Jane Heap, and the book was banned in the United States. Joyce appealed to different publishers for help—including Leonard and Virginia Woolf’s Hogarth Press—but none agreed to take on a project with such legal implications (and in Virginia Woolf’s case, length), no matter how supposedly groundbreaking it was.

Joyce, then based in Paris, made friends with Sylvia Beach, whose bookstore, Shakespeare and Company, was a gathering hub for the post-war expatriate creative community. In her autobiography, Beach wrote:

All hope of publication in the English-speaking countries, at least for a long time to come, was gone. And here in my little bookshop sat James Joyce, sighing deeply.

It occurred to me that something might be done, and I asked : “Would you let Shakespeare and Company have the honour of bringing out your Ulysses?”

He accepted my offer immediately and joyfully. I thought it rash of him to entrust his great Ulysses to such a funny little publisher. But he seemed delighted, and so was I. ... Undeterred by lack of capital, experience, and all the other requisites of a publisher, I went right ahead with Ulysses.

Beach planned a first edition of 1000 copies (with 100 signed by the author), while the book would continue to be banned in a number of countries throughout the 1920s and 1930s. Eventually it was allowed to be published in the United States in 1933 after the case United States v. One Book Called Ulysses deemed the book not obscene and allowed it in the United States.

8. ERNEST HEMINGWAY WAS HIS DRINKING BUDDY—AND SOMETIMES HIS BODYGUARD.

Ernest Hemingway—who was major champion of Ulysses—met Joyce at Shakespeare and Company, and was later a frequent companion among the bars of Paris with writers like Wyndham Lewis and Valery Larbaud.

Hemingway recalled the Irish writer would start to get into drunken fights and leave Hemingway to deal with the consequences. "Once, in one of those casual conversations you have when you're drinking," Hemingway said, "Joyce said to me he was afraid his writing was too suburban and that maybe he should get around a bit and see the world. He was afraid of some things, lightning and things, but a wonderful man. He was under great discipline—his wife, his work and his bad eyes. His wife was there and she said, yes, his work was too suburban--'Jim could do with a spot of that lion hunting.' We would go out to drink and Joyce would fall into a fight. He couldn't even see the man so he'd say, 'Deal with him, Hemingway! Deal with him!'"

9. HE MET ANOTHER MODERNIST TITAN—AND HAD A TERRIBLE TIME.

Marcel Proust’s gargantuan, seven-volume masterpiece, À la recherche du temps perdu, is perhaps the other most important Modernist work of the early 20th century besides Ulysses. In May 1922, the authors met at a party for composer Igor Stravinsky and ballet impresario Sergei Diaghilev in Paris. The Dubliners author arrived late, was drunk, and wasn’t wearing formal clothes because he was too poor to afford them. Proust arrived even later than Joyce, and though there are varying accounts of what was actually said between the two, every known version points to a very anticlimactic meeting of the minds.

According to author William Carlos Williams, Joyce said, “I’ve headaches every day. My eyes are terrible,” to which the ailing Proust replied, “My poor stomach. What am I going to do? It’s killing me. In fact, I must leave at once.”

Publisher Margaret Anderson claimed that Proust admitted, “I regret that I don’t know Mr. Joyce’s work,” while Joyce replied, “I have never read Mr. Proust.”

Art reviewer Arthur Power said both writers simply talked about liking truffles. Joyce later told painter Frank Budgen, “Our talk consisted solely of the word ‘No.’”

10. HE CREATED A 100-LETTER WORD TO DESCRIBE HIS FEAR OF THUNDER AND LIGHTNING.

Joyce had a childhood fear of thunder and lightning, which sprang from his Catholic governess’s pious warnings that such meteorological occurrences were actually God manifesting his anger at him. The fear haunted the writer all his life, though Joyce recognized the beginnings of his phobia. When asked by a friend why he was so afraid of rough weather, Joyce responded, “You were not brought up in Catholic Ireland.”

The fear also manifested itself in Joyce’s writing. In Portrait of the Artist as a Young Man, the autobiographical protagonist Stephen Dedalus says he fears “dogs, horses, firearms, the sea, thunderstorms, [and] machinery.”

But the most fascinating manifestation of his astraphobia is in his stream of consciousness swan song, Finnegans Wake, where he created the 100-letter word Bababadalgharaghtaka-mminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk to represent a symbolic biblical thunderclap. The mouthful is actually made up of different words for “thunder” in French (tonnerre), Italian (tuono), Greek (bronte), and Japanese (kaminari).

11. HE’S THOUGHT OF AS A LITERARY GENIUS, BUT NOT EVERYONE WAS A FAN.

Fellow Modernist Virginia Woolf didn't much care for Joyce or his work. She compared his writing to "a queasy undergraduate scratching his pimples," and said that "one hopes he’ll grow out of it; but as Joyce is 40 this scarcely seems likely."

She wasn't the only one. In a letter, D.H. Lawrence—who wrote such classics as Women in Love and Lady Chatterley’s Loversaid of Joyce: “My God, what a clumsy olla putrida James Joyce is! Nothing but old fags and cabbage stumps of quotations from the Bible and the rest stewed in the juice of deliberate, journalistic dirty-mindedness.”

“Do I get much pleasure from this work? No," author H.G. Wells wrote in his review of Finnegans Wake. “ ... Who the hell is this Joyce who demands so many waking hours of the few thousand I have still to live for a proper appreciation of his quirks and fancies and flashes of rendering?”

Even his partner Nora had a difficult time with his work, saying after the publication of Ulysses, “Why don’t you write sensible books that people can understand?”

12. HIS SUPPOSED FINAL WORDS WERE AS ABSTRACT AS HIS WRITING.

Joyce was admitted to a Zurich hospital in January 1941 for a perforated duodenal ulcer, but slipped into a coma after surgery and died on January 13. His last words were befitting his notoriously difficult works—they're said to have been, "Does nobody understand?"

Additional Source: James Joyce

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