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Thursday, June 25, 2009

My Father's Oral History Mystery: Lyles Station and the 1857 "Round House Battle"











CAPTIONS: [Left] Black schoolchildren at the school at Lyles Station, circa late-1800s. (My great-grandmother may be one of the darker girls on the right.)
SOURCE: Lyles Station Historic Preservation Society.

[Right] Me posing at age 11: "My Own Roots"

**************

By 1977, Alex Haley’s Roots had swept the nation—and suddenly I was interested in knowing my family history. Had there been a Kunta Kinte in my family’s past? A Kizzy?

As a parent now, I can only imagine how happy my father was when his 11-year-old eldest daughter—whose biggest preoccupation was stealing his legal pads to write stories about kids on space ships and talking cats—approached him and said, “Dad, do you know any stories about our ancestors?”

My father’s face lit up. "Did I ever tell you about Lyles Station and the Battle of the Round House? It’s a story my grandmother told me, and her mother told her.”

The story she told my father about Lyles Station, Indiana, is recounted in the book I co-authored with my mother, Patricia Stephens Due: Freedom in the Family: A Mother-Daughter Memoir of the Fight for Civil Rights. (My great-grandmother in Indiana, Lydia Stewart Graham, died only three years later, in 1980, when she was 89.)

I was so enthralled by the story that I created a school project called “My Own Roots,” illustrated with my father’s drawings and family photographs, pictured above.

THE STORY MY FATHER TOLD ME

“In the 1850s, not long before the Civil War, a slave master in North Carolina decided to set his slaves free. He bought them a parcel of land in Indiana under his own name. Now these freed slaves had somewhere to go, land where they could build their own houses and start their own farms. So they packed up everything they owned and drove the wagon train from North Carolina to Indiana.

“When they arrived, they began to farm the land. They had bumper crops, better than they expected. In town they sold what they grew, so they were not only feeding themselves, but they were earning money. And they were so prosperous that they started attracting attention to themselves. The white farmers who lived around them started getting jealous. And this came at a time when a lot of folk in Indiana were putting pressure on the governor to make it a slave state. They started thinking, ‘Now who are these niggers making all this money?’ That’s when the trouble started.”

Even as a child, I had heard plenty about that kind of trouble. Stories like that didn’t have happy endings for black people.

My father went on: “Well, sure enough, one night after it was dark, the neighbors of those freed slaves came in a surprise attack. The freed slaves were sleeping in their beds when the shooting started. But they had thought about what to do in the event of something just like this, so they all ran to what’s called a ‘round house.’ That was a big, sturdy building where they stored their farming equipment. They had their rifles in there, too. The men passed out the rifles and shot at their attackers through the narrow windows of the round house, while the women climbed up into the loft and reloaded the guns.

“Suddenly, the door came crashing down. The armed white farmers began swarming inside. But again, the freed slaves were ready for them. They had lined up on either side of the door with battle-axes raised over their heads. When the farmers broke in, they swung those axes down. They won the fight, but it caused a big problem, of course.

“Even the governor had to get involved. He helped them move to a settlement called Lyles Station. Freed slaves from all over came to Lyles Station to settle in a place where their neighbors wouldn’t bother them. They built a thriving community. And my grandmother was born in Princeton, Indiana, which is near Lyles Station. They still have family reunions at Lyles Station.”

When my mother and I were researching Freedom in the Family, I was unable to verify my great-grandmother’s story of the Battle of the Round House, although I contacted the Lyles Station Historic Preservation Society. (There is a children’s book about Lyles Station by Scott Russell Sanders, A Place Called Freedom, which does not include the Round House Battle either.)

But my Great-Grandmother Lydia always stood by her story.

MY FATHER—INTERNET DETECTIVE

My father, John Due, is now a retired civil rights attorney with his own grandchildren, but he has never forgotten that story he heard at his grandmother’s knee. He also has great curiosity, a fondness for the internet and a skeptical mind.

This year, he and his cousin Glenn in Indiana began researching to try to verify the story of the Round House Battle—and their digging mined gold. The most definitive account my father found was an article by university social sciences professor Randy K. Mills that ran in “Black History News and Notes,” a quarterly publication of the Indiana Historical Society Library, in August of 2005. The article is entitled “’They Defended Themselves Nobly’”: A Story of African American Empowerment in Evansville, Indiana, 1857.”

The article details how a family named Lyles journeyed from Tennessee to Indiana after being freed by their slave-master, quoting a direct descendant named Carl Lyles who said they were told to only travel at night and follow the North Star, and that “records show that by the mid-1850s Lyles men had purchased substantial holdings” in Vanderbergh and Gibson counties. [My father believes that our family journeyed some time later, from North Carolina.]

As in my great-grandmother’s story, the article says that the freed black thrived, and a community of about 200 freed blacks and escaped slaves lived in a remote community called The Bayou. “In truth,” Mills writes, “the Lyles probably could not have found a more anti-black region of the state in which to live.”

At a time when kidnapping a freed black was a lesser offense than stealing a horse, as Mills notes—and when lynchings and fears of slave uprisings abounded—an altercation arose between the Lyles family and white neighbors over a hog. According to newspaper accounts, the Lyles’ hog escaped into the field of a white neighbor named Thomas Edmonds. Twenty-four-year-old John Lyles was outraged, although the whites claimed they were merely trying to trap the hog to return it to its owners. The Lyles men were reportedly armed with “clubs and guns,” according to the newspaper The Daily Enquirer.

John Lyles allegedly struck one of Edmonds’ sons with a gun muzzle, causing a serious injury that appeared life-threatening, and the elder Edmonds was also injured. The Lyles men were charged with “assault and battery, with an attempt to commit murder,” according to Mills.

Five Lyles brothers were arrested and freed after posting $1,000 bail—itself almost unheard of at that time. As local newspapers reported these events, the public grew inflamed. The Enquirer urged whites in Union Townships to “[rid] herself of the large numbers of free blacks who now infest it,” according to Mills’ article.

Then, on July 25, 1857, a group of up to 100 heavily armed white men converged on the Lyles family cabin. As Mills writes, they would have brought a cannon if they had not been thwarted while trying to steal it from the courthouse. Instead, they began their attack armed with guns. Before it was over, at least one white man was dead and there were scores of injuries.
The sheriff convinced the Lyles brothers to go into protective custody in Evansville to await trial, and they eventually resettled in what became known as Lyles Station.

MY FATHER’S QUESTIONS

Despite a few discrepancies, the article seems to corroborate some key elements of the story my great-grandmother told my father—but it still left gaping questions in his mind. First, how were so few whites killed? And how did the Lyles family avoid extermination? During the 1960s civil rights struggle more than a hundred years later, Southern blacks lived in terror of being killed for far milder offenses than the Round House Battle.

In Tulsa in 1921, between 25 and 300 blacks were killed in riots that erupted after reports that a black youth had tried to rape or assault a white woman; 35 blocks in the black community of Greenwood were torched. John Singleton’s movie Rosewood recounts the tragic destruction of an entire black town after a black drifter supposedly raped a white woman in 1923. And Emmett Till, only 14, was beaten to death in Mississippi in 1955 for allegedly flirting with a white woman.

During the civil rights movement of the 1960s, my mother and other civil rights workers were shot at in Quincy, Florida, at for trying to register blacks to vote while she was a field secretary for the Congress on Racial Equality (CORE). Southern blacks lived in terror of reprisals for civil rights activism.

The more my father researched the Battle of the Round House, the more questions he had, especially when the characters and personalities came to life: He learned that a man who was killed (or severely injured) in the attack was a county commissioner, Alexander Maddox. And the sheriff who supposedly intervened to help ferry the blacks to safety, John S. Gavitt, would seem to have been the last person to take on that role.

“He was a federal marshal before he was sheriff. As a federal marshal…he had a reputation for arresting famous abolitionists. One of them was from Philadelphia who helped blacks escape from Alabama. He caught up with him in Indiana, arrested everybody, got a judge to find them guilty, and while he was transporting them to abolitionist allegedly tried to escape and got killed. This guy was a character, just like Wyatt Earp in the west. It seems very odd.”

But then again, maybe not.

"Let’s look at the choices he has: They had telegraphs in those days. They could have telegraphed the governor’s office and gotten permission to bring over the Indiana militia, and they could have gone down and protected the blacks from that attack. They could have used the same relationship to arrest white attackers. The newspapers would have a field day about not providing law and justice for white people.”

Mills’ article does not mention an intervention by the governor, but my father believes it was inevitable.

"The paper said the sheriff moved the Lyles group back to Gibson County,” Dad says. “The sheriff had no authority to do that in another county. He had to have authorization from the governor.”

Dad goes on: “The story from my grandmother makes more sense, that it was the governor—who controlled the Land Office—who provided new lands for the brothers and our foreparents back in Gibson County, which was only about 15 to 20 miles away from Union Township. But this was an otherwise secret arrangement, because the anti-black politics were very hostile, and the governor could not politically show his hand. The sheriff took the responsibility because he was a lame duck anyway.”

The intervention of Indiana’s governor could explain the sheriff’s stance—but why did the governor make his choices? Why relocate the blacks to new land?

Dad goes on: “All these years, I assumed the governor was some liberal—but this was a Democrat. [In 1857, Democrats were the pro-slavery party.] So what was the motivation for the sheriff and the governor to save our foreparents’ lives so that you and I could exist today?”

For the answer, my father studied the political landscape of the time, when slavery had divided a nation at the eve of the Civil War and immigrants were pouring into Indiana from Germany and Ireland. And, as noted by Mills in his article, a local newspaper lamented that some locals preferred to live near the freed blacks—who were successful farmers contributing to the community—than the immigrants.

“It was good business for the political parties to have these Europeans active in politics,” Dad says. “They became the backbone of a new Republican party that was developed in Indiana. Abraham Lincoln was reaching out to them in order to develop the new Republican party.

“President Buchanan and the Indiana governor and sheriff were allied with the Southern Democrats. The Germans and the Irish immigrants voted the sheriff out of office, so he was pissed off anyway. There was a class prejudice against the Germans and the Irish.”

Did politics and ethnicity trump race in the aftermath of the Battle of the Round House? And even if that was the case, why would Indiana’s governor go to the trouble of relocating the freed slaves and providing them with new land?

The answer, my father believes, lies with my ancestors' roots in North Carolina. The blacks were farming the land, but it had been purchased for them by a white slave-owner.

“It wasn’t for their rights—it was for the right of the former slave-owner,” my father theorizes. “The governor of Indiana, the sheriff in Evansville, had common understanding as Southerners. Evansville, although it is in the free state of Indiana, had a Southern culture. They were just interested in the slave-owners.”

Furthermore, Dad says, it was smart business to keep a profitable black community.

“Indiana was in a serious depression, basically the way we are today,” Dad says. “They went into serious debt using public funds to build the Wabash Canal and the railroad. The value of these farmers is that they were able to go into the market and help pay off the debt. Their produce helped supply profit for the buyers and the suppliers and traders using that railroad. It was about business.”

THE PECULIAR INSTITUTION

This was the same year as the infamous Dred Scott decision of 1857, where the U.S. Supreme Court ruled that slaves and their descendants—even if they were freed or born free—could never be U.S. citizens and were not protected by the Constitution. Since blacks were not deemed citizens, they also could not sue in court. Legally, blacks were at the mercy of their communities’ whims, as many blacks would be for generations to come.

My father’s theory is that the slave-owner made the original journey with the freed blacks on the wagon train to ensure their safety, and so that he could purchase the land for them. So not only did this North Carolina slave-owner decide to grant freedom to persons whom the law considered only property, but he shepherded their safe passage.

Why?

“We have been brought up on how slavery was one thing—horrible,” Dad says. “Atrocious. Mean-spirited. Treating people like they’re animals. It doesn’t have to be that way. In the western part of North Carolina, western Tennessee and western Kentucky, relationships between slaves and slave masters were much different than relationships between slaves and slave masters in Mississippi or Georgia or Alabama.

“One reason is, in the Deep South there were big plantations and the slave-owner practically didn’t know who the slaves were. But in Roots, remember the slave-owner and Chicken George working together? That was common in North Carolina. Slave owners and slaves worked together. It was more of a relationship. He knew that if he did not take care of them as freepersons, they would be taken in North Carolina to be sold to slavery to somebody else.”

And my father believes the roots of go deeper than a slave-owner who recognized his slaves’ humanity because they worked side-by-side.

After months of research and pondering, my father believes he found the core answer by looking at old family photographs. My great-grandmother and grandmother were both fair-skinned. In the historical photograph he found from a school at Lyles Station in the late-1800s, he notes that most of the black children pictured are also very fair.

What if the freedmen weren’t just slaves—what if they were the slave-owner’s children?

“He had no duty to free his slaves, no duty after freeing them to buy this land to settle. You can talk about laws or the Constitution, but human beings are social animals. And all social animals care for their children,” Dad says.

Most of us do, anyway.

Perhaps my father will never know if he’s right about his theories about the “Battle of the Round House” and the founding of Lyles Station, and his curiosity is not yet satisfied.

Who knows? Perhaps my forebears only survived because of a long-ago gift from a father who had a change of heart.

Whatever the answers to the mystery from history, my great-grandmother’s story has never died.

*******

John Due can be contacted at DueLaw@aol.com

Wednesday, May 6, 2009

MAY APPEARANCES IN L.A. & MIAMI—YES, MIAMI! (with Edwidge Danticat)








In May, I have three appearances in Southern California—and I’ll be appearing with Edwidge Danticat in Miami May 21!!! I am not officially on book tour, but it feels that way!

LOS ANGELES—MAY 9 (Saturday) and MAY 17 (Sunday):

I’m honored to be a part of a group show at the Pounder-Koné Art Space, where my novel Blood Colony will be featured in “Cooperative.” The show runs May 7-31. I will attend the opening reception from 6 to 9 p.m. May 9 (Saturday), and I will return to read from Blood Colony at 3 p.m. --CORRECTED TIME--Sunday, May 17. The gallery’s address is 3407 Glendale Boulevard in Atwater Village (Los Angeles).

"Cooperative” features women painters, filmmakers and writers, also including Elizabeth Colomba, Julie Dash (Daughters of the Dust), Meri Nana-Ama Danquah, Tonya Engel, Loren Holland, Tamara Madden, Akosua Adoma Owusu, S. Pearl Sharp and Lisa Teasley. My book reading is at 7 p.m. Sunday, May 17.

If you’ve never been to the Pounder-Koné gallery, please come get an introduction. Like so many people, I have a lot to learn about art…and the shows here are terrific. The gallery is co-owned by marvelous actress CCH Pounder (“The Shield”), who is a gracious hostess. I’ve seen her personal art collection, and her taste is really special to behold. As a novelist, I’m just happy to be invited to share a night with fellow artists in a beautiful place.
******

LOS ANGELES—MAY 16 (Saturday)

I’m an alum of Northwestern University, and I’m attending my first NU Club of Los Angeles event: The “Author, Author! NU Authors Bookreading” scheduled from 3 to 5:30 p.m. Saturday, May 16. The event is at the Studio City branch of the Los Angeles Public Library, 12511 Moorpark Street in Studio City.

Also appearing: screenwriter and novelist Allison Burnett (Fame and Feast of Love); playwright, screenwriter and novelist Sally Nemeth; Richard Bangs and Douglas W. Kmiec, a Catholic law professor who was denied communion in Los Angeles for supporting Barack Obama.

Admission is free and open to the public. Books will be on sale for signing.
*****

MIAMI—MAY 21 (Thursday)

I am appearing with Edwidge Danticat in Miami, and I couldn’t be more excited! We’re taking part in a program entitled “Black Diaspora Authors: Edwidge Danticat & Tananarive Due” at the Historical Museum of Southern Florida in Miami.

First, I don’t make it back home to Miami nearly enough, especially since my parents moved to upstate Florida. And secondly, Edwidge Danticat is a treasure in world letters—both in fiction and nonfiction. Her latest book, Brother, I’m Dying, chronicles the painful journey of her Haitian uncle, who died while neglected in custody of U.S. customs; winner of the National Book Critics Circle's Award for autobiography.

Edwidge and I will read from our work and discuss how living in South Florida has influenced our writing. I feel honored to appear with her.

The event is at 6:30 p.m. Thursday, May 21. The Historical Museum of South Florida is at 101 W. Flagler Street in Miami. For information, call 305-375-1492.

Monday, April 6, 2009

Martin Luther King's telegram to my mother at Leon County Jail

I just returned from a trip to help my mother, Patricia Stephens Due, organize the library-quality papers she has collected since my parents were involved in the 1960s civil rights struggle. (Much of which we used as research while co-authoring Freedom in the Family: A Mother-Daughter Memoir of the Fight for Civil Rights.)

This past weekend, Mom reflected on Dr. King's assassination in April of 1968, recalling how her phone started ringing and didn't stop. How she had to swallow her own agony to try to comfort other activists, who were half-mad with grief while cities burned with hopelessness. My mother was especially upset that she was unable to attend the funeral—she’d recently had a Caesarian section to give birth to my new baby sister, Johnita. My father, civil rights attorney John Due, represented our family for Dr. King’s funeral in Atlanta.

My mother knew Dr. King. She had his private telephone number.

Dr. King was the unassuming young pastor she first met when he made a presentation at a CORE workshop (Congress of Racial Equality) she and her sister attended as college students in the summer of 1960. Before CORE, my mother had been a typical college student practicing her music, discovering her social life.

A year earlier, a family friend had bribed Mom and her sister, Priscilla, into attending the CORE meeting at the tail end of their summer vacation in Miami. (He promised them a steak dinner at Wolfie's! Wolfie's, at the time, was the only restaurant in Miami Beach that served blacks.)

But they never got to dinner.

Dr. King and Rosa Parks had gained national notice during the Montgomery Bus Boycott from 1955-1956. Blacks had also launched a bus boycott in Tallahassee, Florida, in 1956, although it happened right before my mother and aunt arrived at Florida A&M University in Tallahassee, where they attended college.

In the fall of 1959, still students at FAMU, Patricia and Priscilla Stephens organized a CORE chapter in Tallahassee. By 1960, six months later, she and her sister were in jail. They had been arrested after ordering food at a Woolworth lunch counter in Tallahassee during a sit-in. My mother, aunt and three other FAMU students were the first Jail-In in the nation during the student sit-in movement, choosing jail rather than paying a fine. Next year is the 50th anniversary of the Jail-In.

My mother and aunt ultimately spent 49 days in Leon County Jail, garnering international attention. At the time, my mother was 20 years old.

As my mother and I filed papers in her library these past few days, I ran my fingers across the yellowing stacks of typed and hand-written letters the jailed students received from all over the world--people of all races who were bewildered and outraged that black students could be sent to jail for trying to order food in a public restaurant.

On March 19, 1960, the five jailed FAMU students received a telegram from Dr. King. He knew a thing or two about being thrown in jail, and he offered these words:

"I have just learned of your courageous willingness to go to jail instead of paying fines for your righteous protest against segregated eating facilities. Through your decision you have again proven that there is nothing more majestic and sublime than the determined courage of individuals willing to suffer and sacrifice for the cause of freedom. You have discovered anew the meaning of the cross, and as Christ died to make men holy, you are suffering to make men free.

"As you suffer the inconvenience of remaining in jail, please remember that unearned suffering is redemptive. Going to jail for a righteous cause is a badge of honor and a symbol of dignity.

"I assure you that your valiant witness is one of the glowing epics of our time and you are bringing all of America nearer [to] the threshold of the world's bright tomorrows."

The world's bright tomorrows.

Brightness hasn't reached everyone, especially in this flailing world economy, but in 2009 we are all waking in one of the tomorrows Dr. King wrote about.

This past weekend, I sat with my mother while she remembered Dr. King's assassination. How she had to tend to that ringing phone. How concerned she was that people she cared about would be hurt in the night's riots. Wondering what the future held.

On April 4, 1968, these bright tomorrows must have seemed oh so far away.

Wednesday, March 18, 2009

Tananarive Due & Steven Barnes to appear in New York March 28, March 29


I don’t get to New York nearly enough, so Steve and I are really looking forward to two appearances coming up on March 28 and March 29, and we hope to see you there!

The first appearance is bittersweet but very timely: A celebration of the life and works of Octavia E. Butler on Saturday, March 28. The next evening, on Sunday, March 29, a program in Harlem will celebrate Tananarive Due. (An incredible honor for me!) Both events are open to the public for $10 ($5 for students and seniors). More information follows:

Saturday, March 28

A few weeks ago, I realized that it was the third anniversary of Octavia E. Butler’s death. For me, it was a sad morning.

I remembered missing my last chance to see her at a Fledgling book-signing at Eso Won Books here in L.A. only months before she died. (It was Halloween, and my son was going trick-or-treating for the first time.) And how, months later, an email arrived from a magazine journalist who had a friend who lived in Octavia’s Seattle neighborhood and had heard a heartbreaking rumor. And how Harlan Ellison, her mentor, called us to confirm our worst fears: Octavia was gone. It is still difficult for me to see her photo.

But while these past three years have been a struggle for all of us who knew and loved Octavia’s work—and Octavia the person—she is not really gone at all. Her literature remains. Our memories remain. Her vision remains.

My husband, Steven Barnes, and I have been invited to New York to help celebrate Octavia, returning to a beloved and familiar venue.

The National Black Writers’ Conference Bi-Annual Symposium is celebrating the life and works of Octavia E. Butler Saturday, March 28. It’s a daylong symposium, from 11 a.m. to 5 p.m., at Medgar Evers College, 1650 Bedford Avenue in Brooklyn. Steve and I will reflect on Octavia and the influence of her work early in the day.

Steve and I both knew and loved Octavia. Steve had known her for decades, and I met her in 1997 at the same conference on black speculative fiction at Clark Atlanta University where I met my soon-to-be husband. After that conference, my life would never be the same. Octavia kept a photo from that conference framed on her wall—me, Octavia, Steve, Samuel “Chip” Delany and Jewelle Gomez. “My other family,” she explained when we remarked upon it.

Now, a new family in black speculative fiction will appear to honor her: Other panelists throughout the day will include my hubby and fellow NAACP Image Award winner Steven Barnes (Lion's Blood and the upcoming Shadow Valley, his sequel to Great Sky Woman), New York Times bestselling author L.A. Banks (The Vampire Huntress Series) and fantasist Nnedi Okorafor, author of Zahrah the Windseeker.

For more information, visit http://www1.cuny.edu/forum/?p=3384.

Sunday, March 29

I have to put modesty aside to help promote this one:

UpSouth Inc. and the Medgar Evers Center for Black Literature are sponsoring a very special evening entitled “Voices and Visions of New American Dreams: Celebrating a Master Storyteller—Tananarive Due.”

To say that I feel honored and humbled is an understatement. I live every day in the knowledge of how blessed I am to be able to make a living doing what I love. I’m gratified that readers support my work, period. That’s something no writer can take for granted, especially during tough economic times.

When I started publishing, I had never heard of speculative fiction. I had read Gloria Naylor’s Mama Day and Toni Morrison’s Beloved (and lots of Stephen King!), but I had never read other black writers who wrote about the supernatural, or who wrote about the future.

I’m embarrassed to say that Steven Barnes and Octavia E. Butler had escaped my notice until after I’d written My Soul to Keep (1997). (Now, the number of writers of color who identify themselves as horror, fantasy or science fiction writers has grown so much that they have their own internet networking sites!)

But I stepped out on complete faith with my first novel, The Between (1995), with the hope that someone would care about the stories I wanted to tell of life, death, healing and love—with a few spooky moments. Without the success of Terry McMillan and Waiting to Exhale, my road would have been much harder.
It has been a magical, life-changing ride ever since.

I want to thank my editor at Atria Books, Malaika Adero, as well as the other organizers for their hard work creating this event in my honor. And I want to thank my faithful readers for carrying me thus far on the way.

The event is at 5 p.m. at Faison’s Firehouse Theatre in Harlem, 6 Hancock Place/124th Street (between Morningside and St. Nicholas avenues).

Steve and I will be presenters, as well as poet and author Opal Palmer Adisa (author of Until Judgment Comes and Eros Muse).

There will be books for sale, and I will be happy to sign them. I don’t make it to New York nearly often enough, so I’ll also be glad to see friends and readers.

For more information, visit http://www.upsouth.org/
Hope to see you there!

Sunday, February 15, 2009

An NAACP Image Award for IN THE NIGHT OF THE HEAT---and a complete list of winners!!!



CAPTION: (left to right) Blair Underwood, Tananarive Due and Steven Barnes on the red carpet at the 40th NAACP Image Awards. Photo credit: WireImage.com.

I’m excited to announce that Steven Barnes, Blair Underwood and I received the 2009 NAACP Image Award for our mystery collaboration In the Night of the Heat, the second novel in our Tennyson Hardwick mystery series! (I was also nominated for Blood Colony, my latest African Immortals novel.)

Wow. [For a complete list of winners announced Feb. 12, see the end of this entry.]

The other nominees in the category were my friend E. Lynn Harris for Just Too Good to be True, Bonnie Glover for Going Down South and James McBride for Song Yet Sung. Formidable competition, to say the least. So I didn’t expect to win—especially since the blessing of a double nomination meant that I was likely to split my voters.

I’ve only been nominated for an Image Award once before—for The Black Rose in 2001. I didn’t win. It was an amazing experience, and an eye-opening one: Since that night, I’ve watched the Oscars with much more empathy for the nominees who ALMOST got to take the statuette home.

This time, I told myself I was simply going to go and enjoy the ceremony at Shrine Auditorium in Los Angeles. No expectations. My sister Lydia really wanted to fly in from Texas to support me, but she couldn’t arrange it—so I invited my friend Farai Chideya, an author and commentator. (Since Steve’s daughter, Nicki, couldn’t make it because of classes at UC Irvine, Steve invited his niece, Sharleen Higa.)

For almost a week, I was a ball of nerves. It took so much energy for me to prepare for the ceremony and the receptions and parties, I ended up writing notes for my acceptance speech in the car on the way. Even then, it felt like a foolish jinx to write anything at all.

The Novel category was presented in the pre-show, not televised live on Fox, but the pre-show had to run on time so that the live show could run on time later. (And no one wants to be the one cut off by the “get-off-the-stage” music they play at awards shows.)

We had 45 seconds for a speech. Blair had told us beforehand that if In the Night of the Heat won, he would accompany us to the stage, but he would leave the remarks to us. (Steve and I are the authors of the Tennyson Hardwick novels, and Blair is like our “producer,” with a strong hand in discussing content and the character who bears his face.)

Even split in half instead of thirds, that left only 22 seconds apiece for an acceptance speech.

And then there was the surreal element. When the name of our book was called, almost all rational thought fled my mind. I don’t remember the walk to the stage at all. All I know is that I ended up at the microphone first. I remember thanking my parents. I thanked Steve (“my collaborator and soul-mate.”) And I thanked Blair (“for his vision and a wonderful character in Tennyson Hardwick.”) And my editor, Malaika Adero at Atria Books. In retrospect, it seems as if I was just rattling off names.

Now that the fog of the day has cleared, I wish I’d had the time, or presence of mind, to say what the NAACP Image Award really means to me. My fantasy speech would have gone something like this:

“I stand here today on the 100th birthday of National Association for the Advancement of Colored People, less than a month after the inauguration of the nation’s first black president, and I am humbled to receive this award.

First, I want to thank my parents, John Due and Patricia Stephens Due, who raised me and my sisters Johnita and Lydia to know our history—and to believe that an individual CAN change the world. For me, this is a homecoming. We were raised at NAACP meetings, attending NAACP conventions and demonstrations, and I was tested and trained as a young writer in the NAACP’s high school ACT-SO competition, founded by the late Vernon Jarrett.

I also want to give a special thank-you to the NAACP for being the only major Hollywood award that includes a Literary category! Thank you for recognizing that authors of fiction, non-fiction and poetry deserve a place at the Welcome Table, too.

I want to thank my collaborator and soul-mate Steven Barnes, an extraordinary teacher who has always given me room to fly. We have distinct voices in our solo work, but our collaborations have brought us new and surprising harmonies.

And thanks to Blair Underwood, who has taught us through example how to maintain grace and dignity in this battleground called Hollywood.

We conceived of the Tennyson Hardwick novels as a way to tell stories of healing and redemption that matter to all of us—while at the same time hoping to empower ourselves to have more control over how characters of color are portrayed on the screen.

We hope we are walking in the right direction.

Most importantly, thanks to God—who has brought us all thus far on the way. I have been blessed every day to make a living doing the thing I love. In these difficult economic times that are hitting writers hard, I cannot, and do not, take that for granted. I can only hope that through my writing I give back a portion of what has been given to me.”
Even that doesn’t sum it all up, but it’s closer.

The Image Awards included memorable performances by Jennifer Hudson, Stevie Wonder, Beyonce and will.i.am, along with a tribute to Nobel prize-winners Al Gore and Kenyan environmental activist Wangari Maathai.

But my favorite moment was the tribute to Muhammad Ali, who suffers from Parkinson's disease and therefore could only sit on the stage. The crowd rose to its feet when he came into sight, and a booming chant erupted from the audience: “Ali! Ali! Ali!”

I was happy to have the chance to be in that room and shout the Champ’s name.

*****


BACKSTAGE AT THE IMAGE AWARDS


After we received our award, Blair ushered us out of the auditorium to walk the red carpet. Since red carpets are not a part of a writer’s normal life, we were happy for him to lead the way.

Even the walk out of the auditorium was great fun. As we passed through the rear, a gaggle of ladies who were fans of Blair’s let out appreciative, throaty hisses and calls, their voices just loud enough to be heard. “Hey, sexy!” “Love the book!”

Grinning, Blair turned to Steve and said, “See what happens when I hang out with y’all?” (Thanks, Blair—but book lovers or not, we doubt that the cloud of pheromones floating from those seats had much to do with our clever turns of phrase.)

Next, the red carpet, where a bank of about 40 photographers awaited. We stopped to pose at three spots along the carpet, and all the while the photographers tried to direct our gazes: “Blair, look up!” “Look left!” “Look right!” Flashbulbs strobed around us.

Other arrivals were posed behind us, and there were disgusted cries from the photographers when a publicist just behind Steve wouldn’t get out of the way of the shot.

Other arrivals that day included Halle Berry, Sean Combs, Dakota Fanning and a gaggle of other celebrities, so Blair made sure to explain who we were: “Image Award winners!” he said, and spelled our names out for them. When the cameras from “Access Hollywood” and “Entertainment Tonight” found Blair, he made sure we were included.

Not exactly a typical day in a writer’s life.

After the Image Awards, at one point we were standing fewer than five feet from Will Smith backstage, although we didn’t have a chance to speak to him—or his wife Jada Pinkett-Smith, who was with him. At the after-party, Steve and I shared a table with actress CCH Pounder (“The Shield”) and actor Jeffrey Wright. I also stopped at NAACP chairman Julian Bond’s table to give him greetings from my parents, who know him as civil rights activists.

All in all, it was an unforgettable night.

*******

Here is the complete list of 2009 NAACP Image Award winners.

Congratulations to all of the winners and Image Award nominees!

Outstanding Comedy Series
"Tyler Perry's House of Payne" (TBS)

Outstanding Actor in a Comedy Series
LaVan Davis - "Tyler Perry's House of Payne" (TBS)

Outstanding Actress in a Comedy Series
Tracee Ellis Ross - "Girlfriends" (CW)

Outstanding Supporting Actor in a Comedy Series Lance Gross
"Tyler Perry's House of Payne" (TBS)

Outstanding Supporting Actress in a Comedy Series
Keshia Knight Pulliam - "Tyler Perry's House of Payne" (TBS)

Outstanding Drama Series
"Grey's Anatomy" (ABC)

Outstanding Actor in a Drama Series
Hill Harper - "CSI: NY" (CBS)

Outstanding Actress in a Drama Series
Chandra Wilson - "Grey's Anatomy" (ABC)

Outstanding Supporting Actor in a Drama Series
Taye Diggs - "Private Practice" (ABC)

Outstanding Supporting Actress in a Drama Series
Angela Bassett - "ER" (NBC)

Outstanding Television Movie, Mini-Series or Dramatic Special
"A Raisin in the Sun" (ABC)

Outstanding Actor in a Television Movie, Mini-Series or Dramatic Special
Sean Combs - "A Raisin in the Sun" (ABC)

Outstanding Actress in a Television Movie, Mini-Series or Dramatic Special
Phylicia Rashad - "A Raisin in the Sun" (ABC)

Outstanding Actor in a Daytime Drama Series
Bryton McClure - "The Young and the Restless" (CBS)

Outstanding Actress in a Daytime Drama Series
Debbi Morgan - "All My Children" (ABC)

Outstanding News/Information - Series or Special
"In Conversation: Michelle Obama Interview" (TVOne)

Outstanding Talk Series
"The View" (ABC)

Outstanding Reality Series
"American Idol 7" (FOX)

Outstanding Variety - Series or Special
"UNCF An Evening of Stars: Tribute to Smokey Robinson" (Syndicated)

Outstanding Children's Program
"Dora The Explorer" (Nickelodeon)

Outstanding Performance in a Youth/Children's Program - Series or Special
Keke Palmer - "True Jackson" (Nickelodeon)

Outstanding New Artist
Jennifer Hudson (Arista)

Outstanding Male Artist
Jamie Foxx (J Records)

Outstanding Female Artist
Beyoncé (MusicWorld/Columbia Records)

Outstanding Duo, Group or Collaboration
Jennifer Hudson feat. Fantasia - "I'm His Only Woman" (Arista)

Outstanding Jazz Artist
Natalie Cole - "Still Unforgettable" (DMI Records)

Outstanding Gospel Artist - Traditional or Contemporary
Mary Mary (Columbia Records)

Outstanding World Music Album
Cheryl Keyes - "Let Me Take You There" (Keycan Records)

Outstanding Music Video
"Yes We Can" - Will.i.am (Will.i.am Music Group/Interscope)

Outstanding Song
"Yes We Can" - Will.i.am (Will.i.am Music Group/Interscope)

Outstanding Album
Jennifer Hudson - "Jennifer Hudson" (Arista)

Outstanding Literary Work - Fiction
"In the Night of the Heat: A Tennyson Hardwick Novel" -
Blair Underwood, Tananarive Due, Steven Barnes (Simon & Schuster/Atria Books)

Outstanding Literary Work - Non-Fiction
"Letter to My Daughter" - Maya Angelou (Random House)

Outstanding Literary Work - Debut Author
"Barack, Race, and the Media: Drawing My Own Conclusion" -
David Glenn Brown (David G. Brown Studios)

Outstanding Literary Work - Biography/Auto-Biography
"The Legs Are the Last to Go" - Diahann Carroll (Amistad)

Outstanding Literary Work - Instructional
"32 Ways to Be a Champion in Business" - Earvin "Magic" Johnson (Crown Business)

Outstanding Literary Work - Poetry
"Hip Hop Speaks To Children: A Celebration of "Poetry With A Beat" -
Nikki Giovanni (Source Books/Jabberwocky)

Outstanding Literary Work - Children
"Barack Obama: Son of Promise, Child of Hope" -
Nikki Grimes; Illustrator Bryan Collier (Simon & Schuster)

Outstanding Literary Work - Youth/Teens
"Letters to a Young Sister: Define Your Destiny" - Hill Harper (Gotham Books)

Outstanding Actor in a Motion Picture
Will Smith - "Seven Pounds" (Columbia Pictures)

Outstanding Actress in a Motion Picture
Rosario Dawson - "Seven Pounds" (Columbia Pictures)

Outstanding Supporting Actor in a Motion Picture
Columbus Short - "Cadillac Records" (Sony Music Film/Parkwood Pictures)

Outstanding Supporting Actress in a Motion Picture
Taraji P. Henson - "The Curious Case of Benjamin Button" (Paramount)

Outstanding Motion Picture
"The Secret Life of Bees" (Fox Searchlight)

Outstanding Independent Motion Picture
"Slumdog Millionaire" (Fox Searchlight)

Outstanding Documentary (Theatrical or Television)
"The Black List" (HBO)

Outstanding Foreign Motion Picture
"The Class" (Sony Pictures Classics)

Outstanding Directing in a Dramatic Series
Ernest Dickerson - "Lincoln Heights: The Day Before Tomorrow" (ABC Family)

Outstanding Directing in a Comedy Series
Kevin Sullivan - "30 Rock: MILF Island" (NBC)

Outstanding Directing in a Motion Picture (Theatrical or Television)
Gina Prince-Bythewood -"The Secret Life of Bees" (Fox Searchlight Pictures

Outstanding Writing in a Motion Picture (Theatrical or Television)
Jenny Lumet - "Rachel Getting Married" (Sony Pictures Classics)

Outstanding Writing in a Dramatic Series
Shonda Rhimes - "Grey's Anatomy: Freedom Part 1 & 2" (ABC)

Outstanding Writing in a Comedy Series
Erica D. Montolfo - "The Game: White Coats and White Lies" (CW)