Or ... My Commitment to Justice, Equity, Antiracism (JEA), and LGBTQ+ Inclusion in My Music, Creative Writing, and Teaching
Echoes of Silence: Singing the Repressed Truth of Generational Violence
Litzie Wright, a haunting figure in George Saunders’s Lincoln in the Bardo, embodies the silence shaped by the intergenerational sexual violence of slavery. Her muteness is not just an absence of sound but a heavy presence, a silence filled with centuries of inherited sexual trauma passed through the maternal line. Litzie’s stillness embodies the deeply repressed truth of systemic sexual abuse, a silenced yet central aspect of the generational and brutal violence of slavery, as my song "Won’t Live It Down" seeks to convey.
The lyrics, "What was done / So many times / Had been done / So many times," attempt to reflect the enduring pain and injustice embedded in Litzie’s life and the lives of her ancestors. Her silence—like the song’s refrain, "I can’t miss the signs / How this violence / It defines / To the bone / Home of mine"—is intended as a reminder of how deeply these atrocities shape the identity and history of all Americans. The song seeks to provide a window into the emotional and historical weight borne by the millions of enslaved women subjected to sexual abuse, highlighting their experiences not only as individuals but as part of a larger, shared legacy of oppression and survival.
The refrain, "She is more / American / Than any white," attempts to underscore the central role of enslaved women like Litzie in the story of America, reframing her silence as a profound and undeniable presence in the nation's history. Just as Litzie’s muteness speaks volumes in Lincoln in the Bardo, the song hopes to amplify the voices of those silenced by systemic violence, insisting that their stories must be acknowledged and remembered.
Amplifying Silenced Voices: The Transformative Power of The Authors of Silence
With respect to The Authors of Silence, Litzie’s story aligns with the project’s exploration of silence as both an imposed erasure and a form of resistance. Her silence, much like the refrain in “Won’t Live It Down," defies neglect, transforming the absence of speech into a powerful call to confront historical truths. The song serves as both elegy and anthem, honoring Litzie and her kin while underscoring the enduring impact of their lives and struggles. Through this lens, Litzie’s silence is not merely a testament to suffering but a profound assertion of resilience, memory, and humanity.
In The Authors of Silence, Litzie’s story expands into a broader critique of how systems of power silence marginalized voices and perpetuate cycles of trauma. The play draws upon historical realities, such as the silenced rape of Sally Hemings by Thomas Jefferson. Hemings, only fourteen when Jefferson first raped her and his wife’s half-sister, exemplifies the commodification of Black women’s bodies and the deliberate silencing of their voices—a dynamic critiqued by feminists Angela Davis and bell hooks. This stark contradiction between Jefferson’s celebrated rhetoric of liberty and his violent actions highlights the systemic hypocrisy embedded in American identity. These parallels resonate disturbingly in contemporary contexts, as demonstrated by the reelection of another rapist and racist to the presidency in the 21st century.
The Authors of Silence was designed not only as a work of art but as a dynamic educational resource that fosters collaborative engagement with themes of social justice. The play’s flexible fosters collaborative workshopping and script revision, inviting students to actively participate in its creation. This collaborative process allows students to reinterpret historical narratives, examine systemic oppression, and connect these lessons to contemporary struggles.
The course integrates elements of African American Studies, Women’s Studies, American Studies, and Digital Humanities, encouraging students to critically engage with cultural archives and reimagine the stories they tell. By engaging with primary sources, archival materials, and critical scholarship, students gain tools to analyze cultural narratives critically while contributing to ongoing conversations about race, gender, and power. Performing the play gives students a visceral understanding of storytelling’s transformative power in amplifying silenced voices and challenging systemic injustice.
The production becomes a learning laboratory where students practice collaboration, empathy, and critical thinking. By embodying the voices of those erased by history, students develop a deeper awareness of the human cost of oppression and the resilience of marginalized communities. The Authors of Silence serves not only as an educational experience but also as a catalyst for empowering students to become storytellers and advocates, using their voices to drive social change.
Art as Activism: Using Music and Drama to Confront Oppression and Advocate for Justice
Music and lyrics are powerful vehicles for addressing systemic oppression. My 2017 anti-Trump album, Eleven Nine, created in partnership with Lambda Legal, responds to threats against LGBTQ+ rights posed by heterosexist and transphobic ideologies. This collaboration underscored the album's commitment to legal advocacy for the LGBTQ+ community, amplifying its message against bigotry and authoritarianism.
Eleven Nine was part of a broader effort to denounce Trump’s authoritarian tendencies and his uncritical admiration for leaders like Putin, whose homophobic policies and violent suppression of dissent endanger not only LGBTQ+ rights but also democratic freedoms worldwide. The album’s narrative confronts these dangers head-on, using music as a rallying cry for justice and social change.
Another element of the album cover’s visual critique is its pointed reference to Trump’s grotesque ableism. The cover draws attention to his infamous and unconscionable mockery during a 2015 campaign rally of Pulitzer Prize-winning reporter Serge F. Kovaleski, who lives with arthrogryposis. This moment starkly epitomized Trump’s appeal to what Lincoln, in bitter irony, might have called “the lowest angels" of MAGA's nature. By foregrounding this incident, the album delivers a powerful rebuke to Trump’s disregard for dignity, empathy, and inclusion.
Over the course of my career, I have released more than forty political protest songs, including “Morton’s Pillory Plea,” which revisits the story of Thomas Morton, a 17th-century figure who resisted Puritan exploitation of Indigenous peoples. These works critique the erasure of marginalized voices and highlight ongoing injustices.
My creative work also confronts gender-based violence, as seen in “Hey Josephine,” a reimagining of the misogynistic American rock classic “Hey Joe.” By transforming its narrative, the song challenges the normalization of violence against women in cultural memory.
Closing Thoughts
The intersection of music, lyrical poetry, storytelling, the humanities, critical theory, and education forms the cornerstone of my work as an artist, academic, and educator. I believe that storytelling, in all its forms, has the power to bridge divides, challenge entrenched systems, and imagine new futures. Whether through the intimate medium of songwriting or a collaborative process of playwriting, my work seeks to illuminate the voices and stories that have been marginalized or silenced.
In the classroom, my goal is to equip students with the critical tools and creative confidence to engage with the world around them thoughtfully and meaningfully. By fostering dialogue, encouraging collaboration, and emphasizing the power of art, music, education, the humanities, and narrative, I hope to inspire students to see themselves as both creators and agents of change.
Ultimately, my work is driven by the conviction that art and education are profoundly interconnected. Both have the capacity to empower individuals, forge connections, and advance justice. Through this intersection, I strive to confront historical silences and contribute to a world where dignity, humanity, and justice are not only valued but actively pursued.
Won’t Live It Down
(A Song for Litzie and All Her Kin)
(©2019 Anders/O’Bitz)
She steps up
Litzie Wright
What shut her up
Up so tight
What could be done
Cause such a fright
What was done
So many times
Had been done
So many times
All her life
And down her family line
I can’t miss the signs
How this violence
It defines
To the bone
Home of mine
Won’t live it down
Her beauty stuns
Litzie Wright
Her mothers' mothers
Feared the night
Of violence born
All down the line
I can’t miss the signs
How this violence
It defines
To the bone
Home of mine
Won’t live it down
Break
I can’t miss the signs
How this violence
It defines
Our broken home
Ah
We are born
Defiled
She is more
American
Than any white
Ah
You’re our home
Litzie Wright
To the bone
Won’t live it down
from American Bardo, released July 31, 2020
Eric Anders - Vocals
Mark O’Bitz - Acoustic and Electric Guitar, Background Vocals
Jason Littlefield - Electric and Upright Bass
Mike Butler - Slide Guitar, Wurlitzer
Matt Lynott - Drums
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