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Most quilters know
Barbara Brackman is a foremost authority on quilts related to the
Civil War and antebellum social causes. A quilt historian and
researcher, she began the study of quilts made during and on behalf
of the Civil War by women in America. She wrote two books about the
quilts, women, and the War, in 1997 and 2000 respectively: "Quilts
from the Civil War," and "Civil
War Women." She has lectured nationally and has written numerous
articles on this topic. Previous to this, she researched block
patterns; she compiled over 4,000 pieced block patterns and hundreds
of appliquéd block patterns, and then documented, illustrated, and
dated them, where possible. In 1993, two one-volume encyclopedias
resulted, which have become the source for block pattern
identification used by quilt historians everywhere.
Barbara’s book
is written in an open, friendly, easy-to-understand manner. She
begins by explaining the title of her book. She defines facts as
historians use them, the limitations inherent in interpreting
sources of information, and therefore the importance of finding
multiple sources of information which state that indeed something
occurred in a particular way. ‘Fabrications’ she defines as the
personal interpretation one puts on their own work, in this case,
symbolism in quilts.
She takes the first
few pages to talk about other historically inaccurate stories that
have been taught as facts in history classes through the years. She
uses the
Betsy Ross making the first flag and
George Washington’s cherry tree stories to illustrate her main
point of the book, that if we don’t nip the current “secret code”
quilt myth* in the bud, it too will continue to be taught as
historical fact for years to come, when in truth it has not been
substantiated or confirmed in any way. For it to be taught as fact
is inaccurate, but for it to be told as a family’s story is their
fabrication, and from that point of view, it isn’t a conflict to
quilt historians.
In this book, Barbara
is sharing her fabrication of the symbolism she has attached to a
series of 20 quilt blocks, associating them with slavery in the
period of interest, mostly the late 18th to late 19th centuries. A
timeline on page 10 highlights the important events in
African-American slave history from 1619 to 1964.
To know Barbara is to
know she has a great sense of humor, which she brings into lectures
and workshops. So with a tongue-in-cheek tone, she offers the reader
a certificate of "Poetic License," which gives the quilt maker the
right to add layers of symbolism to the elements in her own
contemporary quilt in whatever ways she desires, as she makes it.
Barbara encourages the maker to write this on a label for future
generations to benefit from, and she gives two examples of when
labels gave the quilt meaning no one could have accurately
interpreted by simply looking at it.
From here on, the book presents eight quilt projects and 20 quilt
patterns, which are accompanied by historical facts about slavery,
taken from first-person narrative quotes from former slaves and from
materials written at the time. Fabrication is indicated when Barbara
writes that a particular block pattern ‘recalls’ the name she gives
to the block, for example, “Aunt Dinah, a block to recall
Americanization.” She fabricates the symbolism of this design, based
on the facts she discovered about how African people brought here
were forced to give up their birth name, first and last. The
captives believed that being forced to live under an American name
symbolized to the Africans and their offspring that they were no
longer free. Many of them had to take the last name of their master
and pass that name on to their children. Older black people were
called Aunt or Uncle in lieu of Mr. or Mrs. or other titles that
show respect. Barbara chose Aunt Dinah to represent this aspect of a
slave’s experience because quilt patterns alluding to slavery are
rare, but about 25 pieced patterns ‘echo the old naming traditions.”
(p. 56) The name Aunt Dinah became an African-American stereotype
through a song.
Each of the 20 blocks
has this type of detail written about it, facts and her fabrication,
along with quotes, period photos, engraved illustrations, and
antique quilts scattered about. This is an effective and interesting
way to teach about life during the time of slavery and what slaves
were forced to endure. Their thoughts and their accounts are
recorded in this book of quilt blocks. The reader learns of what
they endured and how brave they were. We also learn about what they
wore and sewed, how they spent their days and nights, and even how
they celebrated Christmas.
Frederick Douglas and the Works Progress Administration (WPA)
recordings are frequently quoted, as are many formerly unknown
people. The timeline about slavery and freedom and the 105 footnotes
references will be useful to future researchers, teachers and
students.
The reader is not left
wanting for photos of the contemporary quilts and blocks this book
gives instructions for. Some quilts are made with African fabrics;
others are made with plaids and checks, and others with contemporary
or reproduction fabrics. There is not a push toward making the
quilts look like they date to the early 19th century or the Civil
War era. Diagrams and instructions for cutting and various setting
options accompany the blocks. The blocks are pieced except for one
which also has appliqué. For the quilt projects, she has included
some appliqué blocks. Appliqué templates are provided for a Union Shield
and roses and a flower and leafed stem.
The book ends with
children in mind. Discussion questions and answers designed to be
used with the book in the classroom or home school are offered.
There is an easy doll quilt pattern, and there are suggestions for
adapting the easier block patterns given in the book to fit certain
skill levels.
This friendly book,
whose time to be available has definitely come, is written by an
expert researcher on the subject of quilts made in the antebellum
and Civil War periods. She is also a quilt maker, and so the book
gives the reader block patterns and quilt ideas, along with
historical facts about slaves and their lives.
Facts & Fabrications:
Unraveling the History of
Quilts & SlaverY:
: 9 Projects, 20 Blocks, First-person Accounts, by Barbara
Brackman (C&T Pub. 2006) is an easy-to-digest book, but a painful
time to read about, and so it often goes otherwise unread. Myths, folklore and
legends can form when facts and knowledge are missing.
* In 1998, the book
Hidden in Plain View came
on the market, suggesting that quilts were made to be used as maps
with codes only known to slaves in the South needing assistance in
running away from their enslavement to the free states in the North.
This was a few months after the death of the only person who talked
to the authors about this “secret code” and the only support for the
idea that they could point to. The authors interviewed her about
five years earlier than the book was published, which is
unfortunate, as she could not be interviewed by others wanting to
gather more information from her. The fabric code signified
directions or guidelines through colors, block patterns, and knots,
telling slaves such mundane things as how to dress so not to be
obvious, that they should not walk in a straight line but should
zigzag as they ran, and to follow the North Star for the direction
to flee. In fact, all of the information conveyed seems unnecessary
to tell to an adult who likely takes an unexpected opportunity to
run, on the spur of the moment, when he sees a chance to get away
from his master. Freedom, when it made itself available, was
essential, where as preparation was an unlikely luxury. And if they
ran at night, how did they see the quilts? If a house hung a quilt
outside, this supposedly signified it was filled with individuals
sympathetic to ending slavery, who were willing to risk getting
caught themselves to help the salves reach freedom. If this “fabric
sign” concept was true, how long would it be before word got around
that it was the mark of an abolitionist’s home? Wouldn’t it also be
recognized as such by those trying to prevent slaves from getting
away? As one can imagine, the code story has stirred up quite a
controversy, because no factual or historical information can be
found to support it, and no quilts exist to prove it materially;
they are not referenced in any written materials or in the
WPA’s slave narratives (see also
here.) In fact, many of the block patterns were not known to
exist in the antebellum and Civil War periods. Some of the designs
did not appear on quilts or as patterns until late 19th century and
the 20th century. For more information, there are in-depth articles
on my website and links to others, click on UGRR in the menu.
Copyright © 2006 Kimberly Wulfert, PhD for
www.antiquequiltdating.com This review may be reprinted in full,
including this paragraph, for non-commercial use by guild
newsletters, students, teachers, and those spreading the word about
Barbara’s book. For commercial uses, or quotes from this review, all
rights are reserved without permission, please
contact me. |