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Seen & Unseen: The Inner World of Sahkanaga

  • 10 Dec 2012/
  • Posted By : Jordan M. Scoggins/
  • 4 comments /
  • Archived in: The Art of Genealogy
Sahkanaga still
Still from Sahkanaga (2011)

My post here today is a little off-topic from the usual genealogy and local history focus here at Jordan’s Journey. But what I want to talk about is relevant in a roundabout, artistic way.

This past weekend I saw Sahkanaga. Sahkanaga is an unusual film for me to watch. Not because of anything to do with the film itself, but for the fact that I happen to be from the county where it was filmed–and where the Tri-State Crematory tragedy (which the film uses as a backdrop for its coming-of-age story) happened.

I told you this post was a bit off-topic for this blog, but hear me out. I think this will be worth your time.

Sahkanaga was written and directed by John Henry Summerour, also from Walker County. Mr. Summerour is, like me, a Georgian expatriate who moved away to New York City and became an artist. Candidly speaking, I think something about growing up in a place like Walker County makes you want–need–to flee it. In the film, Lyla asks Paul, “Do you like it here?”

“Sometimes I think it’s just a really big hole, you know,” Paul responds. “I’m trapped down here. I just want to scream at the top of my lungs so that someone will hear me, send me a ladder or something, save me and get me out of here, you know.”

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The Language of Genealogy

  • 14 Oct 2012/
  • Posted By : Jordan M. Scoggins/
  • 4 comments /
  • Archived in: People and Places

Learning about family history teaches you a lot about history in general. The obvious areas are things like the Civil War and even World War II. When you connect your family to the collective stories of history, suddenly those grand narratives seem a bit more personal.

Photo by luke kurtis

As a New Yorker, I can’t help but wonder how the next generation will look back and remember 9/11. As it is, I already know people who were not alive in 2001. But I lived through it. I watched those towers fall with my own eyes. I photographed them as they burned and fell (this is one of my photos here). I lived in the no-entry zone and had to show a photo ID just to get into my neighborhood. I walked over to the West Side Highway and stood with other New Yorkers cheering on firefighters who sped up and down the highway for weeks on end after those towers fell. How does my personal experience translate to the pages of history we see presented in books and documentaries? It doesn’t. The pages of history record the grand narratives and the dramatic events. But the quiet recollections of those of us who lived through it are just as important.

Often when people look at events around us–the events we know will one day be studied in history books everywhere–we talk about how much history has changed. In the case of 9/11, we use terms like “terrorism” to try and define what happened. Language, though, is limiting. The very moment we put words to tongue we somehow fail ourselves. Yet also those words are something we can’t do without. It’s important to be aware of the limitations we create through language, how our own words confine us, and how–hopefully–we can transcend them.

When we hear about violent events–say, for example, another shooting has made the news–many of us react with a “What’s happening to the world?” kind of attitude. The truth is that nothing is happening… at least nothing that unusual. We have a tendency to romanticize the past as if it represents some sort of ideal. This type of nostalgia for the past is something we all do, and it’s another way in which language fails us. Matt Novak, writing about the public’s perception of the history of the space program, warns that “romanticization of the past has real-world consequences because it breeds a certain kind of futility, a belief that we’re simply not able to accomplish things without every American behind the idea.”

For most of us, history is learned in language that glorifies the good parts, polishes them over for more than they’re worth, and skims over the bad parts. But those “bad” parts hold a lot of value and can, potentially, teach us just as much if not more than the “good” parts. History is not good. History is not bad. History just… is (or maybe “was”).

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