On this date in 1864, the Union army in the American Civil War hanged a black deserter outside Petersburg, Va., for — in the delicate words of the army dispatch — “an attempt to outrage the person of a young lady at the New-Kent Court-house.”
The Union army was just taking up position for the coming monthslong siege of the Confederate capital, Richmond. Johnson, who confessed to deserting another unit, offered savvy blue commanders a win-hearts-and-minds opportunity: a public reassurance that the Old Dominion’s dim view of Negro outrages upon young ladies would be honored by its soon-to-be occupiers.
Not bad in theory. The execution left something to be desired.
The field of public relations being very much in its infancy, the upshot of this salutary demonstration seems not to have been conveyed to its target audience; so, when a defending Confederate battery caught sight of the gallows being thrown up in brazen view of its own lines, it jumped to the not-unreasonable conclusion that the Yanks were about to make an example of a southern spy. Rebel guns promptly made the Union detachment their “target audience.” An artillery shot struck one Sgt. Maj. G. F. Polley (or Polly) and “tore him all to pieces” before
[a] flag of truce was sent out to inform the enemy that a negro was to be hung who had insulted a white woman the day before; they stopped firing. We then marched back and saw the negro hung.
The return on investment for the souls of Johnson and the misfortunate NCO was altogether unsatisfactory:
The incident was cleverly turned to advantage by the Confederates, who had been losing hundreds of Negro laborers by desertion. The Rebels marched Negroes past the spot, pointing out to them the perils of fleeing their lines, saying that the Yankees hanged all ‘Contrabands.’ For weeks nocturnal escapes of Negroes ceased on that front. (Source)
It wasn’t a total loss, however. The Library of Congress ended up with some striking archival photos.
(There’s a better touch-up of this last photograph of Johnson’s body being cut down here.)
On this date in 1905, the former mayor of Charlottesville, Va., was hanged in the city’s jail for the murder of his wife, Fannie — a sentence he may have accepted to protect his mistress from taking the rap.
This fascinating and little-known tale of local color is extensively explored in the Charlottesville weekly The Hook. For a gripping and off-the-beaten-path true crime mystery, the full story is well worth digesting.
Here’s an excerpt:
The City of Charlottesville congratulated itself on the afternoon of February 10 when it read in a special edition of the Daily Progress that J. Samuel McCue had confessed to his crime just hours before he was hanged. With a collective sigh of relief, the citizens could go about their lives knowing that they had done their duty.
But let us look carefully at Sam’s “confession.” Being an attorney, he always chose his words with care. His last words before the judge, after his conviction: “I am as innocent as any other man in the courtroom.”
Then before going to the gallows, he allegedly made a confession.
“J. Samuel McCue stated this morning in our presence and requested us to make public that he did not wish to leave this world with suspicion resting on any human being other than himself; that he alone is responsible for the deed, impelled to it by an evil power beyond his control; and that he recognized his sentence as just.
Signed: George L. Petrie, Harry B. Lee, John B. Turpin”
Are we to believe that a guilty man, just hours from death, was worried that someone else might later be suspected of the crime? He had been tried and convicted of it. What would make him worry that after his death anyone would look for another suspect, thereby proving their own mistake? Who would take responsibility for such an error, and why would Sam care?
On this date in 1831, the slave Nat — remembered to history as Nat Turner after the surname of his original owner — was hanged, flayed and dismembered for leading the most notorious slave rebellion in antebellum America.
A deeply religious man known to other slaves as “The Prophet”, Nat followed what he took to be divine directive to launch a bloody uprising on the night of August 21-22 in Southampton County, Virginia. Using (at first) axes, knives and clubs to avoid attracting attention to gunfire, Nat’s band slaughtered whites from house to house, freeing slaves as they went. At least 55 whites were killed, and a like number of slaves by white militias that mobilized to put down the revolt … and then hundreds more slaves as far away as North Carolina suspected of some tangential involvement or simmering disloyalty.
The uprising was suppressed within two days, but it rooted so deeply in the conscience of the South that it persists to this day.
“I have not slept without anxiety in three months. Our nights are sometimes spent listening to noises.”
-Slaveowner after the rebellion
Nat Turner embodied slaveowners’ terror of the subject population living about them, outnumbering them, resentfully supporting Southern gentility at the end of a whip — the conundrum Jefferson had described barely a decade before as “we have the wolf by the ear, and we can neither hold him, nor safely let him go.” Arguably, the revolt hardened southern whites against moderating slavery; some legislatures tightened restrictions against teaching slaves to read, thinking that literate slaves like Nat were more liable to uprisings.
Conversely, he was a powerful martyr of resistance in the slave quarters, a symbol of scores of other lesser-known uprisings and of the countless more that lurked in dreams and fantasies, awaiting some spark of outrage, some sudden opportunity, some wild carelessness of death.
He was a figure of literature even before his death — The Confessions of Nat Turner, dictated to a white interrogator, left Nat’s own riveting testimony from the shadow of the gallows; the Virginia-born white novelist William Styron used the same title for a controversial 1967 historical novel which earned a Pulitzer but drew a critical rebuttal from many black writers. (Nat Turner also stalks the memory of Styron’s semi-autobiographical narrator in Sophie’s Choice.) More recently, Nat has received graphic novel treatment.
Historians of every stripe, meanwhile, have struggled over the meaning of the man’s deeds and — especially — his paradoxical legacy as symbol.
Update: The occasion received a tribute in Alabama about the time this post went up.
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