Danny Duncan Collum

Danny Duncan Collum, a Sojourners contributing writer, teaches writing at Kentucky State University in Frankfort, Kentucky. He is the author of the novel White Boy.

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The Class Undertow

by Danny Duncan Collum 02-28-2018
When being the best isn't good enough.

THE TONYA HARDING saga was a Great American Novel of the 1990s waiting to be written—equal parts Theodore Dreiser and Three Stooges. Harding was the impoverished striver who muscled her way to the top of the hoity-toity world of women’s figure skating, only to be disgraced when her ex-husband’s buffoonish associates carried out a bizarre assault on a rival skater, Nancy Kerrigan.

The film I, Tonya delivers this story well, both as tragedy and as farce. It shows us the particular violence of frustrated hopes, malnourished emotions, and internalized self-hatred that passes from generation to generation like a plague in the lives of poor white people in America.

In 1972, when Tonya Harding was 2 years old, sociologist Richard Sennett and Jonathan Cobb published a book called The Hidden Injuries of Class. That phrase kept running through my mind as I watched I, Tonya. Sennett and Cobb profiled white working-class Americans who felt the pain of being disrespected and looked down upon, yet couldn’t help blaming themselves for that fact. One of their interviewees remarked, “I really didn’t have it upstairs to do satisfying work.”

Less than two years after Sennett’s book arrived, LaVona Golden, a foul-mouthed, chain-smoking wraith of a waitress (played by Allison Janney), intimidated a WASPy skating teacher into taking her daughter Tonya as a student. From that point on, in the movie, the girl’s life is blur of skating and abuse. Her mother torments her into giving her best on the ice, but comes up empty on empathy or affection. And the abuse gets physical. As a teenager (played by Margot Robbie), Tonya moves out to live with her boyfriend and ex-husband-to-be, Jeff Gillooly, and he hits her too.

A Wound That Still Bleeds

by Danny Duncan Collum 01-25-2018
In the 1980s, almost 300,000 farms were lost forever.

OVER THE COURSE of 2017, I spent a lot of time thinking about how the catastrophe of November 2016 came about and a lot of time listening to country singer-songwriter Margo Price. Somewhere along the way, the two activities came together. Price’s artistic rise roughly coincided with Trump’s political one. She won the Americana Emerging Artist Award for 2016 with her first album,Midwest Farmer’s Daughter, and her second, All American Made, was released to much acclaim in October. She makes the kind of rough-hewn, class-conscious country rock that is one of my minimum daily requirements. Both of her albums are anchored by intensely autobiographical songs (“Hands of Time” and “Heart of America,” respectively) that spring from the same historic disruption in her family’s life: the loss of their family farm to foreclosure during the 1980s farm crisis. But here’s the kicker: Margo Price wasn’t even 3 years old in 1986 when her “daddy lost the farm ... [and] took a job at the prison.” She must have little or no conscious memory of farm life, or the foreclosure, but when she sits down with her guitar to pour out her soul, that’s what keeps coming. It’s a wound that, 30 years later, not only hasn’t healed, it hasn’t even stopped bleeding. Maybe that’s where we need to begin if we’re to understand what happened in rural America in 2016.

When the Artist Is an Abuser

by Danny Duncan Collum 01-04-2018
What do we do with works of art made by men who do dark and despicable things?

Woody Allen and co-star Mariel Hemingway in Manhattan.

IN THE PAST couple of months, since the sex crime revelations about Hollywood kingpin Harvey Weinstein, a historic corner has been turned regarding the fact that some powerful men abuse and degrade the women around them. In fact, we’re already talking about this as the post-Weinstein era.

But the wave of belated outrage that is just now cresting may have started building more than a year ago, with reports about Donald Trump’s sordid record as a serial harasser, molester, and adulterer, a history confirmed, on the record, by no less than 20 women in the weeks before election day.

For reasons that have been pretty thoroughly rehearsed, in these pages and elsewhere, that wasn’t enough to stop the Trump train. But the shock of Trump’s victory must have done something to embolden the next wave of women to speak out, at Fox News. And the example of Gretchen Carlson and Megyn Kelly must have made it easier for some of Weinstein’s victims to speak. And after them, the deluge.

Embracing Art's Sacred Power

by Danny Duncan Collum 11-29-2017
Pope Francis maintains that "a work of art is the strongest evidence that incarnation is possible."

Ceiling of the Sistine Chapel. Image via S-F / Shutterstock.com

AMONG THE MANY hopeful initiatives to come from the Vatican under Pope Francis is an attempt to rebuild the church’s relationship with the arts. Francis declared this to be among his priorities in his famous 2013 interview with Jesuit priest Antonio Spadaro (published in the U.S. by the journal America). Francis listed among his inspirations painters Caravaggio and Chagall, the Russian novelist Dostoevsky and the German poet Friedrich Hölderlin, the music of Bach and Mozart, and the films of Fellini and Rossellini.

Lately the pope’s passion for art has taken tangible form with an interview-based book in Italian, whose title translates to My Idea of Art, and a documentary film of the same name, subtitled in six languages, that tours the Vatican Museum’s artistic treasures. In the book, Pope Francis argues that great art can serve as an antidote to contemporary greed, exclusion, and waste and maintains that “a work of art is the strongest evidence that incarnation is possible.”

Pope Francis came to office determined to downgrade some of the papacy’s pomp and splendor. He lives in a guest house instead of the papal apartment. He wears sturdy black walking shoes instead of those iconic red slippers and a silver cross where his predecessors went for the gold. He seems like the sort who might auction off the Vatican’s art collection and give the money to the poor.

But Francis instead sees the church’s involvement with the arts, past and present, as an occasion for evangelization.

The Divine Comedy for Our Time

by Danny Duncan Collum 10-24-2017
I was reading "The Inferno" at my father's bedside as he was on his way toward paradise.

THIS SUMMER, in Mississippi, I sat by my father’s bed for three weeks and watched him die. After that, I drove one of my kids from Kentucky to New England for a college visit. Along the way, we climbed a mountain and spent the night in a rest area when we couldn’t find a motel room. Then, with five-sixths of my family and three weeks’ worth of camping gear packed into (and onto) an aging minivan, we drove to Banff National Park in Alberta, Canada. Along the way, in British Columbia, we went through an active wildfire and saw a tree explode into flames about 50 feet from our van. At Banff we saw a moose, two grizzly bears, and the vast acres of gravel left behind by the rapidly receding Columbia Icefield.

On every step of this long, strange trip, I carried with me a big, fat, well-worn paperback book, its margins filled with my youngest son’s class notes. So, what did I do this summer? I read The Divine Comedy by Dante Alighieri. Every night—well, most nights—I spent 15 or 20 minutes accompanying the poet of the early 1300s down into the depths of Hell, up the winding mountain trails of Purgatory, and on to the beatific vision of Paradise.

Missing Monuments

by Danny Duncan Collum 09-21-2017
The way to deal with the legacy of slavery and the Confederacy is not to honor it or to erase it, but to fully and honestly recognize it.

AS A WHITE native Mississippian, I grew up among Confederate sympathizers. As an adopted Kentuckian, I live among them still. But the news cycles lately have been dominated by some fans of the Confederacy unlike any I’ve ever seen.

First there were the neo-Nazis in Charlottesville, who purported to defend the honor of Robert E. Lee by chanting slogans such as “Jews will not replace us!” Those twisted and deluded young men and women are ignorant of so much; how could they be expected to know about the thousands of Jewish Confederate soldiers, or the Confederacy’s Jewish attorney general?

Then came President Trump, a New Yorker, going all atwitter about the loss of the “beautiful” [Confederate] statues and monuments in “our cities, towns, and parks.” Closer to home, our Kentucky governor, Matt Bevin, a right-wing multimillionaire businessman who grew up in New Hampshire, accused Kentuckians who want to remove a statue of Jefferson Davis from our state capitol of a “sanitization of history.” (Bevin later denied he said this—though there is a recording—and asserted that he meant to call these efforts “revisionist.”)

Unlike Bevin, I’ve seen history “sanitized.”

How Facebook Is Commodifying Community

by Danny Duncan Collum 07-25-2017
Unpaid organizers create genuinely meaningful support groups--and boost ad revenue.
Rawpixel.com / Shutterstock.com

Rawpixel.com / Shutterstock.com

YOU COULD SAY it’s been the best of times and the worst of times for Facebook Inc. This summer the social media platform’s number of monthly users reached 2 billion. That’s more than one-fourth of the world population, and Facebook has achieved that global reach while still off limits for more than a billion Chinese. More than half of Facebook users log in every day; in the U.S., one out of every five internet page views takes place on Facebook. The company is currently valued at $435 billion.

This success has come despite what should have been a truly dreadful year for the company’s image. Rapes, murders, and suicides have been live-streamed on Facebook. And at least some of those atrocities may have been provoked by the unparalleled opportunity Facebook offers to sociopaths and exhibitionists. In addition, in the past year Facebook was guilty of helping disseminate false information that helped elect Donald Trump. The social network has also been widely named as a major contributor to our increasingly toxic political culture, in which citizens never have to face facts that might contradict their prejudices. A 2016 study from the University of Pittsburgh even found an association between social media use, including Facebook, and depression among young adults.

Message Control

by Danny Duncan Collum 07-07-2017
Sinclair Broadcast Group, a chain of local TV stations that skews to the right of Fox, is emerging as a national media voice.

AMONG THE THINGS the Trump administration has successfully disrupted is the media hierarchy within the White House press corps. These days the Christian Broadcasting Network gets called on at presidential press conferences and CNN gets ignored.

One of the biggest beneficiaries of this shift has been a chain of local TV stations called the Sinclair Broadcast Group, which currently reaches 38 percent of U.S. households with a blend of local news and right-wing messaging. Sinclair is a big power on the U.S. media landscape, and it’s about to get a lot bigger and more powerful. Today the group owns 173 stations, but it is about to take advantage of a Trump administration change in media ownership rules to buy the 42 stations owned by Tribune Media, including outlets in New York and Los Angeles and the Chicago-based WGN America cable channel.

Strange and Beautiful Psalms

by Danny Duncan Collum 06-05-2017
Jessi Colter and Lenny Kaye make a Spirit-driven musical odd couple.

AT THIS POINT, it’s almost a tradition that aging roots music icons find a third, fourth, or fifth act in partnership with some latter-day guru of cool. Think Rick Rubin and Johnny Cash, Jack White and Loretta Lynn, Joe Henry and almost everyone else.

But the latest such pairing is, on the surface at least, the most incongruous yet. Jessi Colter, a soulful country singer most famous for being the widow of Waylon Jennings, has made an album (The Psalms) with Lenny Kaye, the rock historian, producer, and guitarist most famous for his lifetime membership in the Patti Smith Group.

Unlike all those other musical odd couplings, this one is not cross-generational. Colter is only three years older than Kaye, but it was always a long way from CBGB to the Grand Ole Opry. Yet here they are collaborating, on an album of Bible verses set to music no less. But when you look a little bit below the surface, this pairing makes all the sense in the world.

The origins of this album go all the way back to 1995, when Kaye, who has always kept up his career as a music journalist, was in Nashville helping Waylon Jennings write his autobiography. One morning, he walked into the living room and beheld Colter at the piano, her Bible open before her, laying down chords and improvising melodies as she sang from the King James Version of the Psalms. It was, Kaye has written, “one of the most beautiful expressions of belief I had ever witnessed.”

News We Could Lose

by Danny Duncan Collum 05-01-2017
Public broadcasting has become a crucial part of the national supply system for real news.

IN MY YEARS of writing this column, the politics and culture of U.S. public broadcasting has been a topic in regular rotation. During Democratic administrations, I’ve tended to bash both the Public Broadcasting Service and National Public Radio for elitism, timidity, and pro-corporate bias.

But during Republican administrations it’s always seemed necessary to defend the very existence of a nonprofit, public-interest alternative in the vast, depressing, and sometimes dangerous strip mall that is U.S. commercial media.

These days the timidity of U.S. public broadcasting is still in evidence. For instance, NPR has steadfastly refused to join other prestigious media outlets in calling Donald Trump’s patent deliberate falsehoods by the appropriate four-letter Anglo-Saxon word: “Lies.” And as for elitism, take Victoria ... please!

But let’s put all that aside for now. The guard has changed again, and a new president has issued a budget blueprint that would eliminate any federal spending to support public broadcasting. So it’s time again to restate the obvious reasons why public media matter.