WEBVTT - Threads

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<v Speaker 1>And the patients would come out on the front lawn.

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<v Speaker 2>But as the city moved that way, they had to

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<v Speaker 2>bar the poor chests because they became a buggy problem.

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<v Speaker 3>Well, they would get out and show out on the

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<v Speaker 3>lawn and people would stop riding around.

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<v Speaker 4>Oh no, no horse than Puggy.

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<v Speaker 2>Over the course of the Old Asylum's life, it grew,

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<v Speaker 2>Jackson grew around it, its story unspooled threads, joining the

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<v Speaker 2>tapestry of ever expanding daily life in central Mississippi. Back

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<v Speaker 2>at the State Hospital Museum, Donna Brown and Kathy Denton

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<v Speaker 2>showed us around a room full of photos and memorabilia

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<v Speaker 2>from the Old Asylum.

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<v Speaker 5>There are a lot of stories too.

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<v Speaker 6>If you look closely at the picture, you can see

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<v Speaker 6>there's a road that turned here in circles up close

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<v Speaker 6>to the building Sunday afternoons and Jackson, it was a

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<v Speaker 6>common fun thing to do to go picnic on the

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<v Speaker 6>grounds and watch the crazy people.

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<v Speaker 2>After the Old Asylum shuddered its doors when its buildings

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<v Speaker 2>were torn down in the fifties, the stories died down

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<v Speaker 2>for a bit too, But with the rediscovery of the

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<v Speaker 2>Asylum Hills Cemetery, the lore is also coming back to

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<v Speaker 2>Life Asylum Hills. Lady Gibson even has her own well.

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<v Speaker 7>The first time I heard about the Old Asylum was

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<v Speaker 7>from my mother. My mother is still with us, she

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<v Speaker 7>is ninety five years old, but she remembers as a

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<v Speaker 7>child driving through the gravel driveway in front of the

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<v Speaker 7>asylum on Sunday afternoons and waving at the patients. We've

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<v Speaker 7>had lots of people who've come from the community and said, yeah,

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<v Speaker 7>oh yeah, that was like the place to go.

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<v Speaker 2>For the most part, the stories that survive are the

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<v Speaker 2>ones that lean into the Southern Gothic of it all.

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<v Speaker 2>Here's Billy Wayne's cousin.

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<v Speaker 1>I knew that the Old Asylum was there because I've

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<v Speaker 1>talked to friends that are a little older than I

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<v Speaker 1>am that remember the asylum. I remember one of my

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<v Speaker 1>friends I never will forget. He would walk past it

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<v Speaker 1>some times at night and hear those poor souls. I

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<v Speaker 1>remember that's expression he used. I could hear those poor

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<v Speaker 1>souls wailing in the asylum.

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<v Speaker 2>The final years of the Asylum did not leave a

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<v Speaker 2>great impression on Jackson. That shifting Yazoo Clay had done

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<v Speaker 2>a number on the Foundation, which was then doing a

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<v Speaker 2>number on the walls and ceilings. Plaster was literally crumbling

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<v Speaker 2>onto the patient buds, but repairs were out of the question.

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<v Speaker 2>Any state funds flowed to the new state hospital being built,

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<v Speaker 2>the one out in Whitfield.

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<v Speaker 7>Whitfield was funded by the legislature in nineteen twenty six.

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<v Speaker 7>Then the depression happened. Then there were shortages of everything,

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<v Speaker 7>you know, and so the building of Whitfield and the

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<v Speaker 7>opening of Whitfield was delayed until nineteen thirty five. So

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<v Speaker 7>you had from nineteen twenty six to nineteen thirty five

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<v Speaker 7>when they were trying not to put any more money

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<v Speaker 7>into this building that was literally condemned by the time

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<v Speaker 7>the patients moved out.

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<v Speaker 2>When the new State Hospital Whitfield opened its stores, the

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<v Speaker 2>old asylum shut its own and there wasn't a lick

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<v Speaker 2>of overlap between the two.

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<v Speaker 8>The old asylum closed, Field opened, completely new staff, completely

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<v Speaker 8>new department of the Mississippi government. It was not like

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<v Speaker 8>it was a legacy institution. The last twenty five hundred

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<v Speaker 8>patients from here went to Whitfield, but that's the only

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<v Speaker 8>transfer that happened. It was a brand new operation. We

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<v Speaker 8>had this huge institution that operated for eighty years and

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<v Speaker 8>then it remained derelict for twenty and then the University

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<v Speaker 8>Medical Center comes on and there's no transfer of institutional memory.

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<v Speaker 8>The buildings were torn down, the cemetery remained derelict up

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<v Speaker 8>on the hill, unattended, forgotten, unused, unneeded.

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<v Speaker 2>Whitfield was about as blank of a slate as you

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<v Speaker 2>could find. If there were a way for the state

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<v Speaker 2>to sanction forgetting, this was it.

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<v Speaker 8>Many of us, most of us in medicine, have sufficient egos,

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<v Speaker 8>and we all believe that history starts with our arrival.

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<v Speaker 8>So the medical school opened and it was churning from

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<v Speaker 8>the very beginning, patient care and research and education, and

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<v Speaker 8>no time to look back. And we're building this brand new,

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<v Speaker 8>modern medical center and we're looking forward. We have no

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<v Speaker 8>interest in preserving old, crumbling history.

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<v Speaker 2>Well except the old crumbling history is right there, a

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<v Speaker 2>cemetery taking up twelve acres of this town. So the

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<v Speaker 2>real question is what kind of space will Jackson make

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<v Speaker 2>for the people interred there. I'm Larison Campbell and this

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<v Speaker 2>is under Yazoo Clay. When we sat down with Leta

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<v Speaker 2>for one of our mini chats, her phone rang mid interview.

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<v Speaker 2>Most days that would be a pretty big bummer, but

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<v Speaker 2>not this time. The person on the other end of

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<v Speaker 2>the line was Kimberly Jackson, a descendant.

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<v Speaker 7>Hey, Kimberly, I am fine. So I was calling you

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<v Speaker 7>because I have found some information about SINNI and I'm

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<v Speaker 7>going to send you the forms that you need to

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<v Speaker 7>fill out to get it. It's some patient records and anyway,

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<v Speaker 7>it's pretty self explanatory. But I also wanted to ask you.

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<v Speaker 2>Kim is a lot of things to a lot of people.

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<v Speaker 2>She's a school counselor right now pre k.

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<v Speaker 9>Through second grade. They thank you a superstar. Every day

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<v Speaker 9>you is like walking on a red carpet every day.

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<v Speaker 2>She's a caregiver for her mother, for her aunt, and

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<v Speaker 2>for her uncle. Chem is dedicated to doing it all.

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<v Speaker 2>That was clear even when we were trying to pin

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<v Speaker 2>her down for an interview.

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<v Speaker 9>Time there's a yes, there is actually a count on

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<v Speaker 9>the third floor, but.

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<v Speaker 5>I mean it's oh really That might be.

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<v Speaker 2>The day we met her, she'd driven a little over

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<v Speaker 2>an hour from her home in Carthage, Mississippi. She was

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<v Speaker 2>in Jackson to bring her aunt and uncle to their

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<v Speaker 2>doctor's appointments, and so that's where we did the interview

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<v Speaker 2>on a couch outside the doctor's office, right next to

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<v Speaker 2>the vending machines and the elevator bank. So if you

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<v Speaker 2>hear a clank or a ding, no, you know this

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<v Speaker 2>is good. And that might be the fourth floor up there,

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<v Speaker 2>in which case it doesn't look like they have as

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<v Speaker 2>much area as we do. So perfect, okay, So thank

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<v Speaker 2>you for making this drive.

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<v Speaker 9>Yeah, welcome out.

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<v Speaker 5>Like I said, my aunt and uncle and they're on

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<v Speaker 5>the third floor. Yeah, they're right in there. Oh that's perfect. Okay, great, and.

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<v Speaker 2>My aunt's she swooped in for a hug.

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<v Speaker 8>Hello.

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<v Speaker 2>I clocked her light pink long sleeve shirt with the

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<v Speaker 2>logan love yourself. It's abundantly clear that to Kim, family

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<v Speaker 2>is everything. Almost straight from the moment we arrived, she

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<v Speaker 2>wax poetic about a whole slew of relatives from her

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<v Speaker 2>grandmother's dating history.

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<v Speaker 9>One gentleman from the community said, I'm going to walk

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<v Speaker 9>you home, but let me run out here to get

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<v Speaker 9>a lamp.

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<v Speaker 2>You know, to her great uncle's fashion choices.

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<v Speaker 9>You wore these nickobaccas and thought that he was looking

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<v Speaker 9>real shop with these Nicobocca pants, you know. So they

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<v Speaker 9>would laugh and they jogan, But you think you something,

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<v Speaker 9>But these Nicobaca's on you know what.

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<v Speaker 2>The cloth of her life is made up of these

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<v Speaker 2>memories of these people. But like all the descendants we

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<v Speaker 2>spoke to, there was that familiar blank spot, a rent

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<v Speaker 2>in the fabric. So if you would, yeah, I mean,

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<v Speaker 2>tell tell us about your it's your great.

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<v Speaker 5>Grandmother, right, So do you know about her? Uh? Bits

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<v Speaker 5>and pieces?

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<v Speaker 9>So uh, since all of this has occurred, I found

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<v Speaker 9>out a little bit more. Uh so I always we

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<v Speaker 9>were always told her name was Zenny. She married my grandfather,

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<v Speaker 9>Monroe g and they.

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<v Speaker 5>Had four children.

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<v Speaker 9>They had three boys and then a girl, which was

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<v Speaker 9>my grandmother Marie. So they lived in Conway, and my

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<v Speaker 9>great grandmother was born and raised in another community in

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<v Speaker 9>Leek County called Pilgrim Rest. And so all of a

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<v Speaker 9>lot of her you know, family members uh are buried

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<v Speaker 9>in the Pilgrim Rest Church cemetery.

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<v Speaker 5>Except for her, But I'll get to that.

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<v Speaker 2>Pilgrim Rest was a small community not too far away.

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<v Speaker 2>Zenny's whole family was nearby. But then things went south

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<v Speaker 2>for Zenny. Her mom died. It shook everyone in the family,

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<v Speaker 2>but no one more than Zenny, a young mother herself.

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<v Speaker 9>And as the story goes, when her mother passed away,

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<v Speaker 9>she became, I guess, so despondent with grief that she

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<v Speaker 9>slowly started to her mental health started to decline. My

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<v Speaker 9>grandmother always said that she had a nervous breakdown.

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<v Speaker 2>Kim's grandmother was Jenny's youngest child, not even ten years

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<v Speaker 2>old yet.

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<v Speaker 9>One cousin said that she would leave home. She would

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<v Speaker 9>put my grandma on a hip and take off walking,

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<v Speaker 9>and you know, people be like, know where is it?

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<v Speaker 9>You know, looking for where is it? And she would

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<v Speaker 9>hit a ride going to Pilgrim Rest. She would just

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<v Speaker 9>take off, woo, did a ride, go to Pilgrim Rest,

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<v Speaker 9>you know, hitch ragg get on, you know, and come back.

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<v Speaker 9>They said she'd always come back, She'd always come back.

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<v Speaker 9>My great grandfather was able to get her admitted to

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<v Speaker 9>Asylum Hill.

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<v Speaker 2>But Kem's great grandfathers and his husband, Monroe, remained devoted.

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<v Speaker 2>His wife was his wife in sickness or in health.

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<v Speaker 9>According to my cousins, my great grandfather would to visit

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<v Speaker 9>her at least three times.

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<v Speaker 5>And that must have been a hard track.

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<v Speaker 9>Exactly that Now that touched me because when I think

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<v Speaker 9>about now, this is Mississippi in the nineteen late night

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<v Speaker 9>the late teens, you know, him traveling either by wagon

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<v Speaker 9>or a very.

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<v Speaker 5>A model TA kind of a car.

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<v Speaker 9>Who knows, you know, to think about him getting back

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<v Speaker 9>and forth three times.

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<v Speaker 5>Or he loved her. You can't tell me you didn't

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<v Speaker 5>love her.

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<v Speaker 9>He was if he was determined to visit her three times.

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<v Speaker 5>Yeah, he meant to bring her home.

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<v Speaker 9>Until he for some reason, thought that he couldn't. He

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<v Speaker 9>and her family were thinking, of course, that this was

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<v Speaker 9>going to be a short term stay, you know. And

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<v Speaker 9>so her brother said to my great grandfather, said, when.

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<v Speaker 5>Are you bringing this inning home? And he said, I

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<v Speaker 5>don't know.

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<v Speaker 9>Every time I go, she gets further and further away

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<v Speaker 9>from me. While she was at asylum, hell, she passed away.

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<v Speaker 9>So as far as I know, it was through a telegram.

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<v Speaker 9>Is how he found out that she passed. As far

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<v Speaker 9>as I know, he was not able to see her

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<v Speaker 9>before she was buried. You know, they thinking she's going

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<v Speaker 9>somewhere for a little while, and she never comes back.

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<v Speaker 9>You know, I my heart, my heart has gone out

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<v Speaker 9>to them, and I can tear her up now thinking

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<v Speaker 9>about that that. You know, you're thinking she you know

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<v Speaker 9>she'll be back. You know she's gonna get some help

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<v Speaker 9>and she'll be back. And so my grandmother wasn't even

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<v Speaker 9>she wasn't ten, and the last memory she had of

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<v Speaker 9>her mother was her making her a birthday cake.

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<v Speaker 2>The largest art museum in the state, the Mississippi Museum

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<v Speaker 2>of Art connects Mississippi to the world and the power

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<v Speaker 2>of art to the power community. Located in downtown Jackson,

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<v Speaker 2>the museum's permanent collection is free to the public. National

0:14:06.280 --> 0:14:10.200
<v Speaker 2>and international exhibitions rotate throughout the year, allowing visitors to

0:14:10.280 --> 0:14:13.959
<v Speaker 2>experience works from around the world. The gardens at Expansive

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<v Speaker 2>Lawn at the Mississippi Museum of Art are home to

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<v Speaker 2>art installations and a variety of events for all ages.

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<v Speaker 2>Plan your visit today at MS Museum art dot org.

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<v Speaker 2>That's MS Museum art dot org. The Southern ethos, the

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<v Speaker 2>reverence for the grave ran deep in Kim's family. Cemeteries

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<v Speaker 2>have been part of her life since childhood.

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<v Speaker 5>My grandma was being on visiting cemeteries. It was it

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<v Speaker 5>was a whole thing for.

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<v Speaker 9>Them to have the churches to get together and clean

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<v Speaker 9>the cemetery. You know, mowld the lawn of the cemetery

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<v Speaker 9>changed out the flowers.

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<v Speaker 5>That was the whole thing. That was a day set

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<v Speaker 5>aside to do that kind of thing.

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<v Speaker 9>Look, I'm we going, I went to I'm a little kid,

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<v Speaker 9>I'm at all the funerals. It felt like, you know,

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<v Speaker 9>you know, there was there was always obituaries and always,

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<v Speaker 9>of course, like I said, stories to be told, and

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<v Speaker 9>but hers was always that sense of unknown.

0:15:13.840 --> 0:15:17.720
<v Speaker 2>Kim's grandmother had no grave to point to, just one memory,

0:15:18.000 --> 0:15:20.880
<v Speaker 2>one story of her mother she could pass down to

0:15:20.960 --> 0:15:21.880
<v Speaker 2>her own children.

0:15:23.000 --> 0:15:25.280
<v Speaker 9>It was a happy memory, but there was only one

0:15:25.320 --> 0:15:30.440
<v Speaker 9>memory of her baking this cake for her birthday. And

0:15:30.560 --> 0:15:36.600
<v Speaker 9>to then go from that to news of her, of

0:15:36.640 --> 0:15:41.680
<v Speaker 9>her passing, it's just just a lot of gaps and

0:15:41.800 --> 0:15:44.200
<v Speaker 9>a sense of a little bit sense of longing.

0:15:44.280 --> 0:15:44.400
<v Speaker 5>Now.

0:15:44.640 --> 0:15:46.640
<v Speaker 9>She would never really dwell on it too long, Like

0:15:46.680 --> 0:15:49.320
<v Speaker 9>if she mentioned her, she would say a little something

0:15:49.360 --> 0:15:51.880
<v Speaker 9>and that was it. So she wasn't she didn't ever

0:15:51.920 --> 0:15:54.440
<v Speaker 9>shy away from it. But there was just always this

0:15:54.560 --> 0:15:57.440
<v Speaker 9>sense of that's all there is, you know, that like

0:15:57.480 --> 0:15:59.760
<v Speaker 9>there was this is the end of the store, there's

0:15:59.760 --> 0:16:01.720
<v Speaker 9>nothing else but love.

0:16:01.760 --> 0:16:02.960
<v Speaker 5>But what Twain's are saying.

0:16:03.120 --> 0:16:05.080
<v Speaker 10>I mean, that's really interesting because I feel like we've

0:16:05.120 --> 0:16:08.120
<v Speaker 10>talked to so many there, you know, a fair number

0:16:08.120 --> 0:16:10.840
<v Speaker 10>of people at this point who had relatives who were

0:16:10.840 --> 0:16:13.440
<v Speaker 10>in there, And it's kind of the reactions I've heard

0:16:13.520 --> 0:16:16.000
<v Speaker 10>have been a little bit different in that I think

0:16:16.000 --> 0:16:18.160
<v Speaker 10>there's a lot of shame associated.

0:16:18.520 --> 0:16:21.520
<v Speaker 5>But they never had it. They never tried to keep

0:16:21.560 --> 0:16:22.200
<v Speaker 5>it a secret.

0:16:22.440 --> 0:16:24.680
<v Speaker 9>It wasn't a secret that she went to Whitfield, as

0:16:24.720 --> 0:16:26.080
<v Speaker 9>they called it.

0:16:26.080 --> 0:16:27.480
<v Speaker 5>It was never they never did.

0:16:28.240 --> 0:16:31.520
<v Speaker 9>Never did they, And I will say that, yeah, it

0:16:31.600 --> 0:16:33.040
<v Speaker 9>wasn't something they tried to had.

0:16:33.920 --> 0:16:35.520
<v Speaker 5>They were always very upfront about it.

0:16:36.800 --> 0:16:40.440
<v Speaker 2>Her family never tried to hide her. But Zenny got

0:16:40.480 --> 0:16:48.640
<v Speaker 2>lost anyhow. Part of the confusion was bureaucratic. In Mississippi

0:16:48.640 --> 0:16:52.120
<v Speaker 2>these days, when people say asylum, they mean Whitfield, the

0:16:52.200 --> 0:16:56.680
<v Speaker 2>current state hospital. Ken and her family, like many Mississippians,

0:16:57.160 --> 0:16:59.880
<v Speaker 2>never even knew there was an old asylum in Jackson.

0:17:00.560 --> 0:17:02.880
<v Speaker 9>As time went on, they called it Whitfield. So in

0:17:02.920 --> 0:17:06.120
<v Speaker 9>our minds, we're thinking that she was buried where Whitville

0:17:06.280 --> 0:17:07.680
<v Speaker 9>is out in Pearl somewhere.

0:17:08.600 --> 0:17:11.640
<v Speaker 2>So when Kim went to search for her great grandmother's records,

0:17:11.680 --> 0:17:16.080
<v Speaker 2>she contacted Whitfield. Every time they just say they had

0:17:16.119 --> 0:17:22.280
<v Speaker 2>no records of Zenny because Zenny was never there for Kim.

0:17:22.520 --> 0:17:25.879
<v Speaker 2>It felt like the asylum had just swallowed her hole,

0:17:29.840 --> 0:17:34.440
<v Speaker 2>but Zenny hadn't vanished. She was closer than anyone knew.

0:17:35.160 --> 0:17:38.960
<v Speaker 9>My grandmother attended Tougaloo, So when I think about it,

0:17:39.040 --> 0:17:42.640
<v Speaker 9>she was not that far from where her mother was buried,

0:17:43.560 --> 0:17:47.440
<v Speaker 9>and she had no idea, no idea that that's where

0:17:47.480 --> 0:17:48.200
<v Speaker 9>she was buried.

0:17:49.040 --> 0:17:51.960
<v Speaker 2>Tugalu College is in Jackson, just six miles from the

0:17:51.960 --> 0:17:56.600
<v Speaker 2>old asylum, and for decades, Zenni's daughter and then her

0:17:56.640 --> 0:18:01.080
<v Speaker 2>granddaughter and finally her great granddaughter has right by that

0:18:01.160 --> 0:18:12.879
<v Speaker 2>cemetery like ships in the night until remember back in

0:18:12.920 --> 0:18:16.120
<v Speaker 2>episode two that pr road show that the Asylum Hill

0:18:16.160 --> 0:18:19.560
<v Speaker 2>project went on the one where they spoken rotary clubs

0:18:19.600 --> 0:18:20.679
<v Speaker 2>and put out newspaper.

0:18:20.680 --> 0:18:26.280
<v Speaker 9>Adds, I see an ad in the Carthaginian, which is

0:18:26.280 --> 0:18:32.720
<v Speaker 9>our local newspaper, and it mentioned that the following people were.

0:18:34.240 --> 0:18:36.040
<v Speaker 5>Believed to have been buried.

0:18:36.240 --> 0:18:42.639
<v Speaker 9>At Asylum Hill, and I see her name, and so

0:18:42.680 --> 0:18:45.400
<v Speaker 9>it had a contact number. It turned out to be lighter,

0:18:46.359 --> 0:18:50.439
<v Speaker 9>and so that's how I found out.

0:18:51.040 --> 0:18:55.120
<v Speaker 5>You have a watch roots. You know how Alex Halen.

0:18:55.000 --> 0:18:58.600
<v Speaker 9>When he made it to Africa and he went to

0:18:58.640 --> 0:19:00.880
<v Speaker 9>the he went.

0:19:00.800 --> 0:19:04.359
<v Speaker 5>To the to the village where Cooter Kintate was born,

0:19:04.440 --> 0:19:06.760
<v Speaker 5>and he was like, I found you. You know, That's

0:19:06.760 --> 0:19:08.560
<v Speaker 5>how I felt. I was like, oh my god, we

0:19:08.680 --> 0:19:09.160
<v Speaker 5>found her.

0:19:09.200 --> 0:19:12.879
<v Speaker 9>I found him, and I let my family know, you know,

0:19:13.040 --> 0:19:14.480
<v Speaker 9>and you know the whole you know.

0:19:14.520 --> 0:19:16.199
<v Speaker 5>It was like, oh my go I told Mama first. I

0:19:16.240 --> 0:19:16.720
<v Speaker 5>told her.

0:19:16.800 --> 0:19:18.480
<v Speaker 9>I was like, you know, Grandma's in the name in

0:19:18.480 --> 0:19:22.960
<v Speaker 9>the paper, you know, and uh yeah, So it was

0:19:24.640 --> 0:19:30.440
<v Speaker 9>I felt a sense of especially a sense of relief.

0:19:31.720 --> 0:19:34.199
<v Speaker 9>But just to know that, you know, it's just I

0:19:34.280 --> 0:19:37.320
<v Speaker 9>was just so it was just mind boggling that to

0:19:37.440 --> 0:19:44.520
<v Speaker 9>think that, to see her name in print, to know that,

0:19:44.640 --> 0:19:48.400
<v Speaker 9>oh there's more to the story. I'm able to fill

0:19:48.400 --> 0:19:52.040
<v Speaker 9>in the gaps, just mind blowing because think about this,

0:19:52.119 --> 0:19:54.399
<v Speaker 9>by this time, my mama was in her late seventies,

0:19:54.840 --> 0:19:58.760
<v Speaker 9>you know, finding all of this out, and so, like

0:19:58.840 --> 0:20:01.440
<v Speaker 9>I said, all of a sud sudden zen, it went

0:20:01.480 --> 0:20:05.440
<v Speaker 9>from being you know, a story to you a real

0:20:05.920 --> 0:20:08.119
<v Speaker 9>you know, a person you think about, a person with

0:20:08.200 --> 0:20:12.439
<v Speaker 9>a whole entire life, you know, not just you know,

0:20:13.920 --> 0:20:17.360
<v Speaker 9>creating a home life with you know, her grandfather and

0:20:17.440 --> 0:20:19.280
<v Speaker 9>you know, having my you know, because basically it was

0:20:20.000 --> 0:20:22.840
<v Speaker 9>when they when they heard of Grandma's in it. It was

0:20:22.880 --> 0:20:25.199
<v Speaker 9>the same way she told it to us. You know,

0:20:25.320 --> 0:20:27.879
<v Speaker 9>there was there was no extra stories, you know what

0:20:27.960 --> 0:20:31.520
<v Speaker 9>I'm saying. And so to go from wow, so you

0:20:31.560 --> 0:20:35.280
<v Speaker 9>know there was an actual they go from being her

0:20:35.320 --> 0:20:41.040
<v Speaker 9>being admitted to the hospital to her dying. No no

0:20:41.240 --> 0:20:43.160
<v Speaker 9>news of what happened while she was.

0:20:43.160 --> 0:20:44.080
<v Speaker 5>There, no nothing.

0:20:45.720 --> 0:20:50.119
<v Speaker 2>What is it about connecting like these dots?

0:20:50.320 --> 0:20:54.040
<v Speaker 10>What what does it as the person who's still alive today?

0:20:54.080 --> 0:20:58.639
<v Speaker 5>Like what does it give you? And for lack of

0:20:58.640 --> 0:20:59.920
<v Speaker 5>a better word, completeness.

0:21:03.359 --> 0:21:10.600
<v Speaker 9>My people always talked about their family, always, both sides,

0:21:11.400 --> 0:21:15.280
<v Speaker 9>you know, always was all of this talk about remember

0:21:15.320 --> 0:21:18.280
<v Speaker 9>what grandma did, Remember what uncle so and so did,

0:21:18.320 --> 0:21:21.800
<v Speaker 9>her cousin so and so. There was always these stories

0:21:22.119 --> 0:21:25.520
<v Speaker 9>always and when it came and so it makes me,

0:21:25.680 --> 0:21:27.399
<v Speaker 9>like I said, it makes me give a a sense

0:21:27.440 --> 0:21:30.720
<v Speaker 9>of completion in a way finding zen it and I

0:21:30.840 --> 0:21:33.639
<v Speaker 9>just really feel like, ah, I got it.

0:21:35.480 --> 0:21:37.720
<v Speaker 5>This is what this is? This it it it It

0:21:37.920 --> 0:21:38.640
<v Speaker 5>feels me.

0:21:40.400 --> 0:21:44.320
<v Speaker 9>To finally know that there was an end to her

0:21:44.400 --> 0:21:47.040
<v Speaker 9>story where the hap air said there was an end,

0:21:47.440 --> 0:21:52.440
<v Speaker 9>because it didn't. It was just such a mystery, such

0:21:52.480 --> 0:21:55.600
<v Speaker 9>a mystery as to what happened to her, well just

0:21:55.600 --> 0:21:58.399
<v Speaker 9>about everybody else, you know. You know, there was a

0:21:58.440 --> 0:22:00.480
<v Speaker 9>beginning to the story and there's an end at the store,

0:22:00.560 --> 0:22:02.800
<v Speaker 9>and they had they have the whole in, you know,

0:22:02.880 --> 0:22:07.159
<v Speaker 9>the whole middle. That wasn't that with her, That was

0:22:07.200 --> 0:22:08.000
<v Speaker 9>not that with her.

0:22:11.359 --> 0:22:13.960
<v Speaker 2>Come has something a lot of other descendants have been

0:22:13.960 --> 0:22:17.440
<v Speaker 2>looking for. She can just about point to the spot

0:22:17.560 --> 0:22:18.639
<v Speaker 2>where Zenny is buried.

0:22:19.720 --> 0:22:23.119
<v Speaker 9>There's a grove of trees and the grassy area. If

0:22:23.160 --> 0:22:25.600
<v Speaker 9>I'm not mistaken, that's where she would have been buried.

0:22:26.080 --> 0:22:29.560
<v Speaker 9>I ride by there now and think, you know, she's there.

0:22:29.800 --> 0:22:32.480
<v Speaker 9>I think about it as her burial place. You know,

0:22:32.600 --> 0:22:35.280
<v Speaker 9>when I drive by, I look out there and I think,

0:22:35.320 --> 0:22:38.439
<v Speaker 9>you know there you you know, there she is. And

0:22:38.480 --> 0:22:41.520
<v Speaker 9>that's what my grandmother and her siblings did not ever have,

0:22:42.280 --> 0:22:44.840
<v Speaker 9>was a sense of there she is, or we can

0:22:44.920 --> 0:22:46.760
<v Speaker 9>go out there and visit her when we would like to,

0:22:47.160 --> 0:22:47.960
<v Speaker 9>or drive by.

0:22:48.880 --> 0:22:51.320
<v Speaker 5>They did not have that sense at all. They never

0:22:51.440 --> 0:22:52.560
<v Speaker 5>knew where she was.

0:22:53.840 --> 0:22:56.600
<v Speaker 2>So come checks in with her. She fills Anny in

0:22:56.720 --> 0:22:58.040
<v Speaker 2>on what's become of her family.

0:22:58.720 --> 0:23:02.439
<v Speaker 9>Now, somebody they your children will raise, would love, so

0:23:02.640 --> 0:23:06.439
<v Speaker 9>you know, don't think that you know, they were just

0:23:06.560 --> 0:23:09.320
<v Speaker 9>out there in the world left to their own devices. No,

0:23:10.359 --> 0:23:12.600
<v Speaker 9>they were raised in the manner you would have want

0:23:12.680 --> 0:23:13.440
<v Speaker 9>them to be raised.

0:23:13.480 --> 0:23:15.040
<v Speaker 5>They were loved in the way that you will want

0:23:15.080 --> 0:23:18.680
<v Speaker 5>them to be loved. We did not ever forget about you.

0:23:18.680 --> 0:23:23.879
<v Speaker 9>You always loved, you always missed. We just did not forget.

0:23:25.200 --> 0:23:26.600
<v Speaker 9>But now we have found.

0:23:26.400 --> 0:23:38.080
<v Speaker 2>You come as the poster child for what the Asylum

0:23:38.119 --> 0:23:39.880
<v Speaker 2>Hell Project is hoping to pull off.

0:23:40.480 --> 0:23:43.840
<v Speaker 8>I will tell this story anywhere I can. I would

0:23:43.880 --> 0:23:47.199
<v Speaker 8>be happy to. I think the more we get the

0:23:47.240 --> 0:23:51.040
<v Speaker 8>word out, the deeper our engagement will be with the community,

0:23:51.600 --> 0:23:55.000
<v Speaker 8>the more transparent will be, and the more stories that

0:23:55.040 --> 0:23:55.760
<v Speaker 8>will hear.

0:23:55.600 --> 0:23:59.520
<v Speaker 2>Back by the way, Doctor Deadlake says that any descendants

0:23:59.520 --> 0:24:02.399
<v Speaker 2>who may be listening can contact the Asylum Hill Project

0:24:02.480 --> 0:24:05.320
<v Speaker 2>through its website Asylum Hill dot org.

0:24:05.920 --> 0:24:10.280
<v Speaker 8>We'll be happy to talk to them, describe what we're doing,

0:24:11.000 --> 0:24:13.640
<v Speaker 8>engage with them, see if they would like to give

0:24:13.720 --> 0:24:15.000
<v Speaker 8>us a name to look for.

0:24:17.280 --> 0:24:20.399
<v Speaker 2>But of course, the Asylum Hill Project isn't just about

0:24:20.400 --> 0:24:25.159
<v Speaker 2>connecting descendants with information about their loved ones. It's about

0:24:25.200 --> 0:24:29.199
<v Speaker 2>that land, the land that the medical center needs to

0:24:29.280 --> 0:24:34.560
<v Speaker 2>build more vital medical infrastructure, the land currently occupied by

0:24:34.720 --> 0:24:41.359
<v Speaker 2>thousands of former patients, as they've talked to more people

0:24:41.440 --> 0:24:43.760
<v Speaker 2>like him. The folks at Asylum Hill have begun to

0:24:43.800 --> 0:24:47.119
<v Speaker 2>formulate a plan, but it's one that will take time.

0:24:48.040 --> 0:24:51.080
<v Speaker 2>There's the project of sorting archived patient records.

0:24:51.320 --> 0:24:54.520
<v Speaker 7>I think I estimated that it would take five years,

0:24:55.040 --> 0:24:59.240
<v Speaker 7>given our current staffing, to just get everything indexed and separated.

0:25:00.080 --> 0:25:04.200
<v Speaker 2>And of course the cemetery excavations, the process of removing

0:25:04.240 --> 0:25:07.480
<v Speaker 2>the remains to make space for the medical center's expansion.

0:25:08.040 --> 0:25:11.240
<v Speaker 3>In an ideal world, for instance, if we don't have

0:25:12.160 --> 0:25:16.199
<v Speaker 3>constant flooding which always slows us down in Mississippi, and

0:25:16.320 --> 0:25:22.120
<v Speaker 3>if we had an appropriate crew size, still like six

0:25:22.240 --> 0:25:25.679
<v Speaker 3>or seven more years. And that's just for the excavation

0:25:25.800 --> 0:25:29.480
<v Speaker 3>that it's not the analysis. If there are let's say,

0:25:29.520 --> 0:25:30.960
<v Speaker 3>seven thousand graves.

0:25:32.880 --> 0:25:36.040
<v Speaker 2>We've talked a lot about final resting places here. That's

0:25:36.200 --> 0:25:41.680
<v Speaker 2>what cemeteries are, right, except for this one. An important

0:25:41.680 --> 0:25:44.000
<v Speaker 2>thing to realize is that if we say there's seven

0:25:44.040 --> 0:25:47.040
<v Speaker 2>thousand graves, that at the end of all this there

0:25:47.080 --> 0:25:51.240
<v Speaker 2>will be seven thousand sets of remains removed from the clay.

0:25:52.800 --> 0:25:57.080
<v Speaker 2>And that brings up an awkward truth. There's a fine

0:25:57.119 --> 0:26:01.159
<v Speaker 2>line between being taken care of, treated like a burden.

0:26:02.359 --> 0:26:05.600
<v Speaker 2>It's hard not to worry that what these former patients are,

0:26:06.280 --> 0:26:11.399
<v Speaker 2>more than anything else, is in the way. And if

0:26:11.440 --> 0:26:15.440
<v Speaker 2>there's one clear takeaway from talking with descendants, it's that

0:26:15.480 --> 0:26:18.840
<v Speaker 2>the first and foremost duty of care owed to these

0:26:18.920 --> 0:26:25.360
<v Speaker 2>patients is just respect, and sometimes that looks like acknowledgment,

0:26:26.560 --> 0:26:29.440
<v Speaker 2>which doctor Didlake says is a part of what will

0:26:29.440 --> 0:26:30.560
<v Speaker 2>happen next.

0:26:31.320 --> 0:26:34.400
<v Speaker 8>We're going to build a memorial on campus and not

0:26:34.480 --> 0:26:39.840
<v Speaker 8>re enter these individuals. That is administratively much more efficient.

0:26:40.840 --> 0:26:46.440
<v Speaker 8>It's also makes those remains available to any wonderful technologies

0:26:47.480 --> 0:26:50.560
<v Speaker 8>that are out over the horizon that can help identify

0:26:50.640 --> 0:26:56.040
<v Speaker 8>these individuals and offer them to families for traditional burial.

0:26:57.960 --> 0:27:02.920
<v Speaker 2>So what does it mean to make remains means more available. Well,

0:27:03.040 --> 0:27:08.000
<v Speaker 2>for starters, they're not going back into the ground anywhere. Instead,

0:27:08.240 --> 0:27:11.560
<v Speaker 2>the Asylum Hill Project will build a standalone mausoleum to

0:27:11.640 --> 0:27:15.639
<v Speaker 2>house the remains above ground. This is partially in service

0:27:15.680 --> 0:27:18.679
<v Speaker 2>of the budget. If they wanted to rebury the remains,

0:27:18.800 --> 0:27:21.119
<v Speaker 2>they'd have to buy more land to do it on,

0:27:22.440 --> 0:27:24.919
<v Speaker 2>but it's also in service of the core aim of

0:27:24.960 --> 0:27:28.440
<v Speaker 2>the Asylum Hill Project to learn all they can about

0:27:28.440 --> 0:27:32.679
<v Speaker 2>the old Asylum, including its patients. This whole thing is

0:27:32.880 --> 0:27:36.639
<v Speaker 2>part of a university after all, and keeping everything above

0:27:36.640 --> 0:27:42.680
<v Speaker 2>ground does keep the remains more available for research. There

0:27:42.760 --> 0:27:46.720
<v Speaker 2>is the specter of spectacle with this plan. So Asylum

0:27:46.760 --> 0:27:49.560
<v Speaker 2>Hill did what it does best. They went out to

0:27:49.680 --> 0:27:52.520
<v Speaker 2>the descendant community and got their buy in for this

0:27:52.640 --> 0:27:53.840
<v Speaker 2>stage of the project too.

0:27:54.520 --> 0:27:58.159
<v Speaker 7>Amazingly, I'm not sure any of us expected that we

0:27:58.200 --> 0:28:00.960
<v Speaker 7>will be at this point to but here we are.

0:28:01.960 --> 0:28:03.840
<v Speaker 7>And I mean there are people who I mean, there

0:28:03.840 --> 0:28:05.800
<v Speaker 7>are descendants who have said, you know what, I don't

0:28:05.840 --> 0:28:09.400
<v Speaker 7>like the idea of my relative being disturbed, but if

0:28:09.400 --> 0:28:12.199
<v Speaker 7>she has to be, then this is the way I

0:28:12.200 --> 0:28:12.480
<v Speaker 7>want it.

0:28:12.480 --> 0:28:17.640
<v Speaker 8>Tone just the level of positivity of that plan has

0:28:17.720 --> 0:28:22.919
<v Speaker 8>been stunning, both in the community at large and in

0:28:22.960 --> 0:28:29.120
<v Speaker 8>the descendant community and our community advisory board. So we're

0:28:29.320 --> 0:28:33.959
<v Speaker 8>very happy about that. So that paradigm is acceptable.

0:28:34.960 --> 0:28:39.360
<v Speaker 2>That paradigm is acceptable. It all ties back to that

0:28:39.480 --> 0:28:45.360
<v Speaker 2>Southern ethos, because maybe, just maybe building a new home

0:28:45.400 --> 0:28:47.719
<v Speaker 2>for these remains in the heart of the city is

0:28:47.760 --> 0:28:52.000
<v Speaker 2>the best chance for finally reintegrating these former patients with

0:28:52.120 --> 0:28:57.640
<v Speaker 2>their community, interweaving the threads of their lives once again

0:28:57.920 --> 0:29:00.360
<v Speaker 2>with the fabric of the city.

0:29:00.840 --> 0:29:06.920
<v Speaker 1>I say, people that don't appreciate and enjoy history. I said, well,

0:29:07.520 --> 0:29:12.160
<v Speaker 1>we'll relegate them to the Dead Soul Society. You can't

0:29:12.200 --> 0:29:14.360
<v Speaker 1>explain it to them.

0:29:14.480 --> 0:29:15.240
<v Speaker 5>They just don't.

0:29:15.280 --> 0:29:17.400
<v Speaker 1>They just don't, you know, And I don't try to

0:29:17.480 --> 0:29:18.240
<v Speaker 1>explain it there.

0:29:18.280 --> 0:29:20.280
<v Speaker 5>But it's a fascinating thing.

0:29:21.120 --> 0:29:23.920
<v Speaker 9>I feel at peace knowing that I found her. You know,

0:29:23.960 --> 0:29:29.280
<v Speaker 9>I felt they send some peace knowing that refounder. So

0:29:29.840 --> 0:29:33.480
<v Speaker 9>right now I'm just you know, living in that peace.

0:29:33.880 --> 0:29:36.120
<v Speaker 5>The asylum has for me.

0:29:36.520 --> 0:29:42.640
<v Speaker 11>It has become this almost like a I guess, a

0:29:42.840 --> 0:29:46.920
<v Speaker 11>historical shrine in my mind, because I look at Hillman,

0:29:47.240 --> 0:29:52.480
<v Speaker 11>that's one story, and you multiplied that by, you know,

0:29:53.240 --> 0:29:56.960
<v Speaker 11>a few thousand, and then you think about what it

0:29:56.960 --> 0:30:03.840
<v Speaker 11>would mean to capture the stories and how we can

0:30:03.920 --> 0:30:08.640
<v Speaker 11>arrive at how that leads us to a sense of

0:30:08.680 --> 0:30:11.240
<v Speaker 11>our history, because you know, I don't feel like this

0:30:11.360 --> 0:30:14.320
<v Speaker 11>is just my family's history. I you know, it's a

0:30:14.360 --> 0:30:15.280
<v Speaker 11>bigger history.

0:30:16.000 --> 0:30:19.240
<v Speaker 12>And my brother passed away two years ago some kind

0:30:19.280 --> 0:30:22.680
<v Speaker 12>to kind of carry on what he had started. It

0:30:22.800 --> 0:30:26.200
<v Speaker 12>was very important, a lot more important to him all

0:30:26.240 --> 0:30:27.840
<v Speaker 12>those years that he spent on it that it was

0:30:27.880 --> 0:30:29.480
<v Speaker 12>to me. I was just a kid, and I didn't

0:30:30.680 --> 0:30:35.520
<v Speaker 12>didn't know, but as you get older, you know that means.

0:30:35.280 --> 0:30:35.880
<v Speaker 5>More to you.

0:30:36.640 --> 0:30:38.680
<v Speaker 12>And so I'm sure he's there with my granddad saying

0:30:39.400 --> 0:30:39.800
<v Speaker 12>where to go.

0:30:39.880 --> 0:30:40.160
<v Speaker 13>Brother.

0:30:41.120 --> 0:30:44.760
<v Speaker 14>I just burst into tears. I really didn't expect to

0:30:44.760 --> 0:30:45.040
<v Speaker 14>do that.

0:30:45.040 --> 0:30:46.080
<v Speaker 5>I hadn't even gotten into it.

0:30:46.120 --> 0:30:48.680
<v Speaker 15>But that's what you're supposed to do when you hear

0:30:48.760 --> 0:30:51.600
<v Speaker 15>his name, and that's what your body knows to do,

0:30:53.160 --> 0:30:53.920
<v Speaker 15>burst into tears.

0:30:53.920 --> 0:30:59.040
<v Speaker 14>Any question that success. And there was an impulse like

0:31:00.160 --> 0:31:02.520
<v Speaker 14>the two of us just stood there, held on to

0:31:02.640 --> 0:31:06.880
<v Speaker 14>each other for a long time. I have no idea

0:31:06.920 --> 0:31:09.960
<v Speaker 14>what was going around us while we were doing that, but.

0:31:10.880 --> 0:31:14.000
<v Speaker 15>Yeah, I mean, the thing that strikes me about all

0:31:14.040 --> 0:31:16.640
<v Speaker 15>of it is how unfinished. All of it feels like,

0:31:17.000 --> 0:31:21.440
<v Speaker 15>all the conversations, all of the interactions, there's nothing like, wow,

0:31:21.480 --> 0:31:25.440
<v Speaker 15>that's done. There's nothing done, you know, not remotely done.

0:31:27.480 --> 0:31:31.400
<v Speaker 2>Nothing is done. None of it is finished. The family

0:31:31.440 --> 0:31:35.880
<v Speaker 2>story goes on because the family does a little more

0:31:35.920 --> 0:31:36.680
<v Speaker 2>whole than before.

0:31:41.000 --> 0:31:43.239
<v Speaker 9>And it just felt like, you know, it was just

0:31:43.440 --> 0:31:47.640
<v Speaker 9>a puzzle missing, you know, you it feels like now

0:31:47.720 --> 0:31:50.120
<v Speaker 9>the piece, like I have the piece of the puzzle

0:31:50.160 --> 0:31:52.920
<v Speaker 9>that I just felt like that my family needed.

0:31:54.280 --> 0:31:56.840
<v Speaker 8>If you have any standing in the state of Mississippi.

0:31:57.320 --> 0:32:01.720
<v Speaker 8>Part of your work is writing wrongs. There are many

0:32:02.560 --> 0:32:03.400
<v Speaker 8>for this.

0:32:04.880 --> 0:32:05.520
<v Speaker 1>Project.

0:32:05.800 --> 0:32:10.240
<v Speaker 8>I don't see it so much as an overt effort

0:32:10.320 --> 0:32:15.560
<v Speaker 8>to right wrongs, because I think that assumes the old

0:32:15.680 --> 0:32:25.080
<v Speaker 8>stereotypical asylum motif of a terrible place, overcrowded, abandoned people,

0:32:25.440 --> 0:32:29.120
<v Speaker 8>and that's not the picture that's emerging from the history

0:32:29.120 --> 0:32:29.880
<v Speaker 8>that we're collecting.

0:32:31.720 --> 0:32:32.040
<v Speaker 1>Now.

0:32:32.480 --> 0:32:36.120
<v Speaker 8>Are there things that could have been done differently and

0:32:36.160 --> 0:32:39.680
<v Speaker 8>we want to both acknowledge and learn from those.

0:32:40.200 --> 0:32:48.960
<v Speaker 2>Sure, the story of Asylum Hill is one of discovery, memory, pain,

0:32:49.080 --> 0:32:53.720
<v Speaker 2>and catharsis. But most of all, the story of Asylum

0:32:53.840 --> 0:32:59.479
<v Speaker 2>Hill is unexpected. A crew of scientists, historians, artist, school

0:32:59.520 --> 0:33:06.160
<v Speaker 2>council professors, and gravedousers, all digging deeper in search of understanding.

0:33:22.280 --> 0:33:25.440
<v Speaker 2>At the Mississippi Museum of Art, Noah's exhibit was up

0:33:25.480 --> 0:33:29.760
<v Speaker 2>for nearly six months. Visitors came through, sat with the work,

0:33:29.920 --> 0:33:34.040
<v Speaker 2>reckoned with their own histories. Museum staff told me that

0:33:34.120 --> 0:33:36.560
<v Speaker 2>they lost count of how many people made a point

0:33:36.600 --> 0:33:39.280
<v Speaker 2>to let them know that Noah's family story of mental

0:33:39.320 --> 0:33:42.800
<v Speaker 2>illness was not all that unlike their own, and the

0:33:42.880 --> 0:33:48.880
<v Speaker 2>exhibit offered another very tangible way for museum goers to engage.

0:33:48.280 --> 0:33:53.640
<v Speaker 4>Okay, so y'all this thread right here, I try to

0:33:53.680 --> 0:33:54.160
<v Speaker 4>go over.

0:33:54.360 --> 0:33:55.280
<v Speaker 5>It's not a big deal.

0:33:55.400 --> 0:34:00.040
<v Speaker 3>Then oh, I try to go over this and ideally.

0:34:00.360 --> 0:34:02.360
<v Speaker 2>Out under the other one on its own.

0:34:02.440 --> 0:34:04.680
<v Speaker 13>So don't even worry about that that was starting. I'll

0:34:04.680 --> 0:34:07.480
<v Speaker 13>go over it because that, in the end makes it

0:34:07.560 --> 0:34:09.040
<v Speaker 13>loop around the edge.

0:34:09.040 --> 0:34:12.759
<v Speaker 2>Well, on the night of Noah's opening, we noticed this

0:34:13.200 --> 0:34:18.080
<v Speaker 2>hulking structure, blond wood and string. It was tucked into

0:34:18.120 --> 0:34:21.080
<v Speaker 2>the corner of the room next to Noah's painting, cordoned

0:34:21.120 --> 0:34:23.120
<v Speaker 2>off behind red velvet ropes.

0:34:23.760 --> 0:34:26.000
<v Speaker 13>Like I was saying, you can make the end sort

0:34:26.040 --> 0:34:27.120
<v Speaker 13>of come.

0:34:26.880 --> 0:34:32.360
<v Speaker 4>To about this point perfect, that'll be fine, and then

0:34:32.760 --> 0:34:33.640
<v Speaker 4>let your foot off.

0:34:33.680 --> 0:34:37.720
<v Speaker 2>It was a loom four feet wide, maybe a bit taller.

0:34:38.560 --> 0:34:41.800
<v Speaker 13>There's not a whole lot of these out in the world.

0:34:42.440 --> 0:34:44.480
<v Speaker 13>It was like a big batch of them made for

0:34:44.560 --> 0:34:47.920
<v Speaker 13>a craft school in Canada in the nineteen twenties, and

0:34:48.520 --> 0:34:50.600
<v Speaker 13>this is one of them. Sometimes people will contact me

0:34:50.640 --> 0:34:52.759
<v Speaker 13>because they'll be looking for Millville loom and they'll run

0:34:52.800 --> 0:34:53.960
<v Speaker 13>across me in contact me.

0:34:54.080 --> 0:34:54.920
<v Speaker 2>Like where'd you get it?

0:34:55.520 --> 0:34:57.280
<v Speaker 13>But looms are like that.

0:34:57.280 --> 0:35:01.080
<v Speaker 2>That was the loom's owner, my name's Emily Wicki. Emily's

0:35:01.120 --> 0:35:04.799
<v Speaker 2>not a weaver by trade. She's an archaeological field tech,

0:35:06.600 --> 0:35:09.080
<v Speaker 2>one of the field tech's working on the Asylum hillsite.

0:35:09.480 --> 0:35:13.719
<v Speaker 4>It beat it down, okay, or we'll get this out.

0:35:13.880 --> 0:35:16.040
<v Speaker 2>She'd set this loom up at the museum with a

0:35:16.200 --> 0:35:21.600
<v Speaker 2>very specific project in mind, a collaborative one. Over the

0:35:21.640 --> 0:35:25.000
<v Speaker 2>course of the summer, anyone who'd come to see Noah's show,

0:35:25.000 --> 0:35:28.400
<v Speaker 2>to visit the museum would be invited to weave a

0:35:28.440 --> 0:35:29.080
<v Speaker 2>few rows.

0:35:29.560 --> 0:35:29.799
<v Speaker 5>Yeah.

0:35:30.320 --> 0:35:33.880
<v Speaker 13>So my idea is for anyone that comes in that

0:35:33.960 --> 0:35:37.200
<v Speaker 13>will at once too that would feel as if it

0:35:37.239 --> 0:35:40.120
<v Speaker 13>will hopefully enjoy it, to sit down and add to this.

0:35:40.840 --> 0:35:44.040
<v Speaker 2>So I asked her about the colors of the threads.

0:35:44.200 --> 0:35:49.440
<v Speaker 2>She'd dyed them herself, using natural dyes like black walnut, indigo,

0:35:49.880 --> 0:35:55.279
<v Speaker 2>golden rod, and yazoo clay, taken straight from the old

0:35:55.320 --> 0:36:01.200
<v Speaker 2>Asylum cemetery. The project is community driven to its core,

0:36:01.400 --> 0:36:05.520
<v Speaker 2>from the weavers down to the pattern Emily's embedded within

0:36:05.560 --> 0:36:06.959
<v Speaker 2>the loom.

0:36:07.200 --> 0:36:09.080
<v Speaker 4>The warp is the vertical threads that.

0:36:09.040 --> 0:36:13.480
<v Speaker 13>Are running through this, and I did all of the

0:36:13.600 --> 0:36:16.600
<v Speaker 13>planning and setting a bath. It's called dressing the loom

0:36:16.840 --> 0:36:19.160
<v Speaker 13>because it takes so long to set it up, but

0:36:19.280 --> 0:36:22.839
<v Speaker 13>then to see it create this pattern that's you don't

0:36:22.880 --> 0:36:24.960
<v Speaker 13>even understand how it's happening.

0:36:25.200 --> 0:36:29.160
<v Speaker 2>Which the community represented in that pattern isn't just the living,

0:36:29.360 --> 0:36:31.480
<v Speaker 2>the people who can get to the museum and add

0:36:31.520 --> 0:36:36.280
<v Speaker 2>their personal touch to this cloth. It's also every patient

0:36:36.320 --> 0:36:39.000
<v Speaker 2>who passed through the doors of the old asylum between

0:36:39.040 --> 0:36:43.319
<v Speaker 2>eighteen ninety two and nineteen nineteen that we're in that viole.

0:36:44.560 --> 0:36:47.680
<v Speaker 2>The vertical strings on this loom, their color and how

0:36:47.719 --> 0:36:52.319
<v Speaker 2>they alternate with each other represent actual data about the

0:36:52.360 --> 0:36:56.560
<v Speaker 2>people who once lived at the asylum, their race, their gender.

0:36:56.960 --> 0:37:01.399
<v Speaker 4>Yeah, do so right over here, I reference these by

0:37:01.440 --> 0:37:06.520
<v Speaker 4>any reports of who die. And they separate all of.

0:37:06.360 --> 0:37:09.560
<v Speaker 7>This explains it it basically does.

0:37:09.680 --> 0:37:12.040
<v Speaker 13>They separated it by male.

0:37:11.840 --> 0:37:14.800
<v Speaker 7>And female and white and population of color.

0:37:15.080 --> 0:37:19.520
<v Speaker 13>Okay, so I separated it. And here like.

0:37:19.560 --> 0:37:25.319
<v Speaker 2>That, every single vertical thread represents four patients. A black

0:37:25.360 --> 0:37:26.640
<v Speaker 2>thread signals a new year.

0:37:27.320 --> 0:37:30.080
<v Speaker 13>So every time you see the stripes change, there's two

0:37:30.120 --> 0:37:33.080
<v Speaker 13>colors for one year, and every time you see that rollover,

0:37:33.160 --> 0:37:34.080
<v Speaker 13>that's another year.

0:37:34.960 --> 0:37:38.000
<v Speaker 2>And as the number of patients that the asylum grows,

0:37:38.600 --> 0:37:42.839
<v Speaker 2>so do the stripes, widening from left to right. As

0:37:42.920 --> 0:37:45.920
<v Speaker 2>more and more people of color become patients at the asylum,

0:37:46.239 --> 0:37:50.960
<v Speaker 2>vertical green threads begin to outnumber gray. The facts the data.

0:37:51.800 --> 0:37:55.120
<v Speaker 2>Emily embedded these into the vertical pattern when she's set

0:37:55.200 --> 0:38:00.399
<v Speaker 2>up the loom, but the horizontal patterns those up.

0:38:00.280 --> 0:38:00.760
<v Speaker 5>To the weaver.

0:38:01.640 --> 0:38:04.919
<v Speaker 2>The colors they pick, how they pass the shuttle from

0:38:04.960 --> 0:38:09.000
<v Speaker 2>one hand to the other, whether they were nervous or

0:38:09.360 --> 0:38:14.480
<v Speaker 2>forceful or methodical, all informs what the final fabric will

0:38:14.480 --> 0:38:14.840
<v Speaker 2>look like.

0:38:15.600 --> 0:38:17.560
<v Speaker 13>So I've done the hard part of setting up the

0:38:17.560 --> 0:38:21.520
<v Speaker 13>warp and doing the calculations to make it a specific

0:38:21.560 --> 0:38:25.799
<v Speaker 13>type of weave. But the way the pattern is embedded,

0:38:26.880 --> 0:38:29.759
<v Speaker 13>people will be able to do all kinds of different patterns,

0:38:30.239 --> 0:38:35.280
<v Speaker 13>and by they can make it as plain or as.

0:38:34.120 --> 0:38:35.839
<v Speaker 4>Crazy or abstract as they want.

0:38:36.000 --> 0:38:37.680
<v Speaker 5>So hopefully.

0:38:38.880 --> 0:38:46.719
<v Speaker 13>Every time someone weaves, they'll be sort of connecting to

0:38:46.800 --> 0:38:52.840
<v Speaker 13>that past and will be sort of complicating those overly

0:38:52.920 --> 0:38:57.279
<v Speaker 13>simplified statistics in my mind. But I hope it'll mean

0:38:57.480 --> 0:38:58.400
<v Speaker 13>many different.

0:38:58.080 --> 0:38:59.040
<v Speaker 5>Things to many people.

0:38:59.239 --> 0:39:01.719
<v Speaker 13>I hope everyone will come and have an experience with it.

0:39:03.280 --> 0:39:06.280
<v Speaker 2>The weaving isn't just for the edification of the living.

0:39:07.400 --> 0:39:11.520
<v Speaker 2>After all, this cemetery, what's left of it it's never

0:39:11.600 --> 0:39:16.160
<v Speaker 2>really about us, And neither is this fabric that Emily

0:39:16.320 --> 0:39:20.200
<v Speaker 2>and others have brought into being, because this isn't just

0:39:20.239 --> 0:39:24.799
<v Speaker 2>a cloth or a throw that's being woven. It's a

0:39:24.840 --> 0:39:29.719
<v Speaker 2>burial shroud, much like the ones the patients themselves were

0:39:29.719 --> 0:39:33.320
<v Speaker 2>buried on, sometimes with too many safety pins.

0:39:33.600 --> 0:39:35.560
<v Speaker 16>Yeah, but I love the idea of being buried and

0:39:35.600 --> 0:39:37.959
<v Speaker 16>like getting returned to the earth, like returning to the mother.

0:39:38.120 --> 0:39:40.919
<v Speaker 16>You know, I just really love that he was talking

0:39:40.920 --> 0:39:42.759
<v Speaker 16>about shame and like how you have shame from an

0:39:42.800 --> 0:39:45.040
<v Speaker 16>unmarked grave and not knowing what happened to someone. But

0:39:45.160 --> 0:39:49.160
<v Speaker 16>like it's really kind of beautiful, like like we really

0:39:49.160 --> 0:39:50.719
<v Speaker 16>don't our graves don't last that long.

0:39:51.880 --> 0:39:54.480
<v Speaker 13>You know, a lot of comfort in knowing the ephemeral

0:39:55.560 --> 0:39:59.000
<v Speaker 13>like of my mistakes and otherwise.

0:39:59.320 --> 0:40:01.719
<v Speaker 5>But just you know, I just find that to.

0:40:01.680 --> 0:40:04.000
<v Speaker 4>Be comforting that I'm just this little part of a

0:40:04.080 --> 0:40:17.360
<v Speaker 4>bigger story, you know, a huge story.

0:40:31.520 --> 0:40:35.719
<v Speaker 2>Fifty million years ago, some bits of a mineral called

0:40:35.760 --> 0:40:41.080
<v Speaker 2>smectite got swept up, carried along on fast moving waters

0:40:41.120 --> 0:40:49.320
<v Speaker 2>flowing south. Eventually the water slowed and the minerals fell,

0:40:50.560 --> 0:40:58.720
<v Speaker 2>settling down forming layer upon layer of clay. Time passed

0:41:00.520 --> 0:41:05.520
<v Speaker 2>the sun rose, the rain fell, the rivers changed course.

0:41:07.520 --> 0:41:12.759
<v Speaker 2>A city got built on top of the clay. The

0:41:12.840 --> 0:41:17.880
<v Speaker 2>rain fell, the sun rose, the clay swelled and shrank,

0:41:18.920 --> 0:41:25.560
<v Speaker 2>and foundations got wrecked. At an asylum on a hill,

0:41:26.480 --> 0:41:31.800
<v Speaker 2>a cemetery was laid into this clay. At an asylum

0:41:31.800 --> 0:41:38.520
<v Speaker 2>on a hill, a cemetery was forgotten. Then, not all

0:41:38.560 --> 0:41:43.600
<v Speaker 2>too long ago, hands scooped up some of that fairy clay.

0:41:44.280 --> 0:41:45.120
<v Speaker 5>They added it to.

0:41:45.120 --> 0:41:49.560
<v Speaker 2>Water, and added yarn to the dark orange slurry. The

0:41:49.640 --> 0:41:54.640
<v Speaker 2>two sat there together for weeks, one staining the other.

0:41:56.440 --> 0:41:59.600
<v Speaker 2>Then that pair of hands pulled out the yarn, wrung

0:41:59.600 --> 0:42:02.040
<v Speaker 2>out most of the water and most of the clay.

0:42:06.200 --> 0:42:08.840
<v Speaker 2>At the end of it, all that yarn would be

0:42:08.840 --> 0:42:12.360
<v Speaker 2>wound around a spool and set on a loom. It

0:42:12.400 --> 0:42:16.680
<v Speaker 2>would become part of a fabric, one created by hundreds

0:42:16.680 --> 0:42:21.800
<v Speaker 2>of pairs of hands, intimately weaving the past into the present.

0:42:28.719 --> 0:42:32.120
<v Speaker 2>It's like I said at the beginning, Yazoo clay is

0:42:32.200 --> 0:42:36.600
<v Speaker 2>the bane of central Mississippi. It wreaks havoc on everything

0:42:36.760 --> 0:42:41.440
<v Speaker 2>from our homes to our graves to our memories. But

0:42:41.520 --> 0:42:46.880
<v Speaker 2>it's also the source of great beauty. Mississippians, after all,

0:42:47.120 --> 0:42:51.920
<v Speaker 2>grow deep roots. We kind of can't help it. Maybe

0:42:51.920 --> 0:42:54.560
<v Speaker 2>that's why we're so hung up on the dirt therein

0:43:14.960 --> 0:43:18.160
<v Speaker 2>under Yazoo. Clay is executive produced by the Mississippi Museum

0:43:18.239 --> 0:43:21.200
<v Speaker 2>of Art in partnership with pod People. It's hosted by

0:43:21.239 --> 0:43:24.640
<v Speaker 2>me Larison Campbell and written and produced by Rebecca Shasson

0:43:24.719 --> 0:43:27.760
<v Speaker 2>and myself with help from Angela Yee and Amy Machado,

0:43:28.120 --> 0:43:31.360
<v Speaker 2>with editing and sound design by Morgan Fuz and Erica Wong,

0:43:31.719 --> 0:43:35.000
<v Speaker 2>and thanks to Blue Dot Sessions for music. Special thanks

0:43:35.000 --> 0:43:37.879
<v Speaker 2>to Betsy Bradley at the Mississippi Museum of Art, as

0:43:37.920 --> 0:43:40.400
<v Speaker 2>well as Leida Gibson at the Center for Bioethics and

0:43:40.440 --> 0:43:44.080
<v Speaker 2>Medical Humanities at the University of Mississippi Medical Center. Visit

0:43:44.200 --> 0:43:46.160
<v Speaker 2>Jackson and Jay and Deny Stein.