WEBVTT - A Southern Ethos

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<v Speaker 1>Imagine for a moment that it's fifty million years ago.

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<v Speaker 1>The earth is incredibly hot, about twenty five degrees hotter

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<v Speaker 1>on average. There are gators in Canada. The Gulf of

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<v Speaker 1>Mexico is the stuff of present day nightmares. It swallows

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<v Speaker 1>the bottom halves of Mississippi and Alabama and the whole

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<v Speaker 1>state of Florida. The Mississippi River is not yet an

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<v Speaker 1>old man, but it's flowing. It's at the mouth of

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<v Speaker 1>this river that the trouble begins, because as the river flows,

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<v Speaker 1>a fine layer of blue black silt begins to settle

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<v Speaker 1>around the delta. And this isn't just any silt, it's

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<v Speaker 1>mineral heavy, the decay of everything the river has held

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<v Speaker 1>over the millennia. The river will get faster and change course.

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<v Speaker 1>This layer of silt will move with it, fanning out

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<v Speaker 1>along the shallow waters of this ancient sea. After another

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<v Speaker 1>twenty million years or so, it'll become a layer of

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<v Speaker 1>clay four hundred feet deep in some parts. And it's

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<v Speaker 1>right on top of the thickest part of the clay

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<v Speaker 1>that one day Mississippi will decide to build its capital city.

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<v Speaker 1>This is, to put it mildly, a terrible decision because

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<v Speaker 1>this clay is a burnt orange monster. It's made of

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<v Speaker 1>a mineral called smectite, so absorbent it can swell to

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<v Speaker 1>two hundred times its size when wet and shrink just

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<v Speaker 1>that much when it's dry. Over the next two hundred years,

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<v Speaker 1>follow roads and send homes tumbling into creeks, cracked pipes

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<v Speaker 1>and concrete foundations and even bones. It's called Yazoo clay,

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<v Speaker 1>and it's where our story begins. I'm Larison Campbell, and

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<v Speaker 1>this is under Yazoo clay as it happens. I am

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<v Speaker 1>intimately familiar with this clay because Jackson, Mississippi, that poorly

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<v Speaker 1>placed capital city, is where I used to live. This shifting,

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<v Speaker 1>swelling soil has completely shaped the character of the place

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<v Speaker 1>and everyone who lives there. Residents are used to broken

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<v Speaker 1>water mains and boil water notices and seeing trees and

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<v Speaker 1>utility poles in their neighbor's yards. But there's an upside

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<v Speaker 1>to this chaos. In a place as fractured as Mississippi,

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<v Speaker 1>complaining about Yazoo clay is kind of the one thing

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<v Speaker 1>everyone can agree on. It's like traffic in Los Angeles

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<v Speaker 1>or the weather in New England. So when my producer

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<v Speaker 1>and I found ourselves at a fancy Jackson art opening

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<v Speaker 1>talking about dirt, I wasn't too surprised. It is the strangest,

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<v Speaker 1>most destructive soil I've ever dug in before. Still, I

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<v Speaker 1>never heard it talked about quite like this.

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<v Speaker 2>It has character, It is a mind of its own.

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<v Speaker 1>It seems this is Gabby and Stasia. They've got a

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<v Speaker 1>very different relationship with the clay because they spend all

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<v Speaker 1>day in it. These two are archaeological field texts.

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<v Speaker 3>Destructive like to the to stuff in the ground, or

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<v Speaker 3>like to tools.

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<v Speaker 1>All of the above. What Gabby and Stasia are digging for, well,

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<v Speaker 1>that's kind of the whole reason we're in Jackson. But first,

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<v Speaker 1>the art opening. It's foreign artist named Noah Saderstrom, who

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<v Speaker 1>is also a Mississippi native. Noah's tall and thin with

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<v Speaker 1>a bushy beard. He's thrown a blazer on over a

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<v Speaker 1>button up, but his most noticeable accessory is a pair

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<v Speaker 1>of wire framed glasses spectacles. Really, on this particular evening,

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<v Speaker 1>Noah's tough to pin down. From the moment he arrived

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<v Speaker 1>until he headed out. He was in the midst of

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<v Speaker 1>a crowd of wine sipping Jacksonians and florals and sport coats.

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<v Speaker 1>They were all there to ask what happened to doctor Smith,

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<v Speaker 1>because that's the title of Noah's show, The hell of It,

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<v Speaker 1>The hell of a thing incredible. I mean, you'd sent

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<v Speaker 1>me photos of.

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<v Speaker 4>What you were doing, but I didn't tell well.

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<v Speaker 1>This is amazing. I couldn't picture it. You know what

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<v Speaker 1>he couldn't picture a panorama that's six feet tall and

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<v Speaker 1>one hundred and twenty two feet long. In football terms,

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<v Speaker 1>that's the forty yard line. The museum had constructed a

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<v Speaker 1>room within a room, a circular olive green arena to

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<v Speaker 1>hold the length of Noah's painting, and when you see

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<v Speaker 1>it up close, you understand why Noah needed all that space.

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<v Speaker 1>The panorama tells a very complicated family story about a

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<v Speaker 1>very complicated man, Noah's great grandfather, doctor dil Smith. But

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<v Speaker 1>it wasn't an easy story to uncover, Noah says, the

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<v Speaker 1>man was intentionally erased from his family history.

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<v Speaker 4>Doctor Smith disappeared in nineteen twenty five. I spent the

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<v Speaker 4>last seven years researching in public and private archives to

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<v Speaker 4>figure out his.

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<v Speaker 1>Story, and then Noah painted that story an exquisite and

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<v Speaker 1>obsessive detail across the one hundred and eighty three canvases

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<v Speaker 1>that make up his panorama. But what is that story? Well,

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<v Speaker 1>doctor Smith was an eye doctor, married a father of four.

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<v Speaker 4>It's probably like seven tenths of this painting exists of

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<v Speaker 4>the details that were known until he entered state custody,

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<v Speaker 4>and then it goes dark, which is another forty years

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<v Speaker 4>of his life.

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<v Speaker 1>The story went dark because in nineteen twenty five, Noah's

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<v Speaker 1>great grandfather entered the Mississippi State Insane Asylum as it

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<v Speaker 1>was called. Then, any records of what happened next the

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<v Speaker 1>rest of doctor Smith's life were sealed, and this is

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<v Speaker 1>where Noah the artist intersects with Gabby and Stasia the

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<v Speaker 1>field techs. The site they're working on is the side

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<v Speaker 1>of the asylum where he was sent. Mississippi's first mental

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<v Speaker 1>health hospital opened its doors in eighteen fifty five. In

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<v Speaker 1>the course of its eighty years, the Mississippi State Lunatic Asylum,

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<v Speaker 1>as it was officially called back then, treated over thirty

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<v Speaker 1>thousand people, nearly a quarter of them would be buried

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<v Speaker 1>on its grounds. It would also get rebranded a few times,

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<v Speaker 1>first the Mississippi State Lunatic Asylum, then the Mississippi State

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<v Speaker 1>Insane Asylum. I'll just be calling it the Old Asylum.

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<v Speaker 1>I met Noah about a year before the opening. I'd

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<v Speaker 1>heard there was a Mississippi artist working on a show

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<v Speaker 1>about his family connection to the Old State Asylum. I

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<v Speaker 1>think I emailed him the next day. Because as much

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<v Speaker 1>as Southerners love their family stories, there are certain ones

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<v Speaker 1>you're just not supposed to tell. But sometimes those are

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<v Speaker 1>the ones that can't help coming out, you.

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<v Speaker 2>Know how like.

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<v Speaker 4>If you're pulling on some sort of spool, it starts

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<v Speaker 4>to tumble, and then kind of tumble faster, and then

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<v Speaker 4>the yarn just kind of like falls off onto the

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<v Speaker 4>floor in big piles. It kind of feels like that.

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<v Speaker 1>By the way, that was a real live vocalist at

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<v Speaker 1>the art opening. It was a big night with wine

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<v Speaker 1>and cheese and those really delicious little doughnuts. And that's

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<v Speaker 1>because this tumbling spool of yarn, it's bigger than the

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<v Speaker 1>story of Noah's great grandfather. The asylum closed in nineteen

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<v Speaker 1>thirty five, and for the next seventy five years or so,

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<v Speaker 1>it felt like everything from state lawmakers to local society

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<v Speaker 1>did that. Damn Yazoo Clay was trying to erase the

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<v Speaker 1>story of Mississippi's old state asylum. But for the last

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<v Speaker 1>decade that hasn't been the case, and that change started

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<v Speaker 1>someplace you wouldn't expect, with construction of a parking garage

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<v Speaker 1>at the University of Mississippi Medical Center or UMMC. It's

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<v Speaker 1>become a bit of Jackson folklore. Even people at the

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<v Speaker 1>museum that night were talking about it.

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<v Speaker 5>They were doing some digging at UMMC and dug up grays.

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<v Speaker 6>You've heard about it in the paper or even was

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<v Speaker 6>talking about it.

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<v Speaker 5>No, it was just phone calls coming in because their

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<v Speaker 5>husband was working there and they were excavating, clearing the

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<v Speaker 5>ground for future projects.

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<v Speaker 1>Fan skulls, skulls, human skulls right in the middle of

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<v Speaker 1>the biggest medical center in the state.

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<v Speaker 2>And this is the.

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<v Speaker 1>University of Mississippi Medical Center.

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<v Speaker 5>Oh so, perhaps an old asylum.

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<v Speaker 1>Perhaps an old asylum tucked back in the It goes

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<v Speaker 1>way far back to the highway there. I think it's

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<v Speaker 1>back in the back corner. The University of Mississippi Medical

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<v Speaker 1>Center sits on a hill in the center of Jackson.

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<v Speaker 1>It's impossible to miss sprawling yellow complex right at the

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<v Speaker 1>intersection of two of the busiest streets in town. It's

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<v Speaker 1>maybe the most important place in the state. Those thirty

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<v Speaker 1>odd buildings hold Mississippi's only medical school, it's children's hospital,

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<v Speaker 1>and Oregon Transplant Center. It's also Mississippi's only safety net hospital,

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<v Speaker 1>which means it's not allowed to turn away patients who

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<v Speaker 1>can't pay, and in Mississippi, that's a lot of people.

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<v Speaker 2>Ummc's place in Mississippi is incredibly important. Many people have

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<v Speaker 2>no other options for healthcare except UMMC.

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<v Speaker 1>This is Leida Gibson. She works with the medical Center.

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<v Speaker 2>And it's needed for people who maybe come to Jackson

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<v Speaker 2>for a day and have to get everything taken care

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<v Speaker 2>of because they live one hundred miles away.

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<v Speaker 1>It's hard to talk about anything in Mississippi without taking

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<v Speaker 1>a moment to acknowledge that it's a very poor, very

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<v Speaker 1>six state. Those of us from here joke that were

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<v Speaker 1>ranked last and every category you want to be first in,

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<v Speaker 1>and first in every category you want to be last.

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<v Speaker 1>During COVID, demand for beds at the University Medical Center

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<v Speaker 1>was so out of control they ended up turning two

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<v Speaker 1>parking garages into field hospitals, Which is all to say

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<v Speaker 1>there's a lot of pressure on this place. So back

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<v Speaker 1>in twenty twelve, the university began clearing a field on

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<v Speaker 1>campus to make space for a parking garage, but it

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<v Speaker 1>never got built because it turns out the ground was

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<v Speaker 1>already occupied.

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<v Speaker 7>Certainly, whatever plans they had envisioned had to be overwhelmed

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<v Speaker 7>by the number of bodies that they found.

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<v Speaker 1>That's Jerry Mitchell. He was a reporter with the Jackson

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<v Speaker 1>Clarion Ledger when he broke the story back in twenty fourteen.

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<v Speaker 7>I got a tip that they were going to build

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<v Speaker 7>like an underground parking garage at University Missipi Medical Center.

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<v Speaker 7>When they started to do that, they discovered they're like

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<v Speaker 7>a thousand bodies, and so as they would have it,

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<v Speaker 7>they had this big press conference. Everybody else came and I,

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<v Speaker 7>you know, I just pretended like I was there covering

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<v Speaker 7>this like everybody else.

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<v Speaker 1>The press conference was about the new visitor center the

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<v Speaker 1>parking garage would be a part of. They were very

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<v Speaker 1>much not talking about bodies. But Jerry didn't let that

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<v Speaker 1>get in his way. After the press conference, he took

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<v Speaker 1>the vice chancellor Jimmy Keaton aside.

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<v Speaker 7>I said, I hear you guys may not be able

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<v Speaker 7>to build that parking garage because you found a thousand bodies,

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<v Speaker 7>And doctor Keaton's like, uh, I think it may be

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<v Speaker 7>two thousands.

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<v Speaker 8>So.

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<v Speaker 1>I want to pause here. We're talking thousands of bodies.

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<v Speaker 1>And by the way, two thousand also turned out to

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<v Speaker 1>be an underestimate. The university would bring an experts, archaeologists

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<v Speaker 1>and ground penetrating radar, and they'd eventually discover there were

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<v Speaker 1>as many as seven thousand people buried right in the

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<v Speaker 1>middle of town, and almost nobody knew about them.

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<v Speaker 7>All these other press people are walking around, they have

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<v Speaker 7>no idea what we're talking about. I think we're talking

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<v Speaker 7>about this thing there from the press conference were I

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<v Speaker 7>have no idea. You know, all these bodies being found

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<v Speaker 7>on the campus of the hospital, and of course they were.

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<v Speaker 7>The bodies were a part of, as you know, as

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<v Speaker 7>was explained to me, a part of what was called

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<v Speaker 7>the asylum there, which was actually built before the Civil War,

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<v Speaker 7>and so it was the mental institution, basically the main

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<v Speaker 7>one in Mississippi.

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<v Speaker 1>There are a lot of superstitions about cemeteries. It's bad

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<v Speaker 1>luck to walk on a grave or even just a

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<v Speaker 1>trip anywhere in a cemetery. If you whistle in a graveyard,

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<v Speaker 1>you'll summon the devil, and of course, never ever, under

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<v Speaker 1>any circumstances, take anything from a grave. So if you,

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<v Speaker 1>like me, are highly superstitious, you might just decide to

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<v Speaker 1>pack up and find a new spot. But remember, the

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<v Speaker 1>state's main medical center has no other spot. The campus

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<v Speaker 1>is in the heart of the city, so there's no

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<v Speaker 1>room to expand outward. They have to work with what

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<v Speaker 1>they've got, and what they've got is twelve wide open

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<v Speaker 1>acres with thousands of graves.

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<v Speaker 2>I don't believe anybody in the community, anybody certainly at

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<v Speaker 2>the medical center, are now really understood that there could

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<v Speaker 2>possibly be that many burials on campus. One of my

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<v Speaker 2>first questions when I came on was why can't we

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<v Speaker 2>just leave it? You know, why don't we just leave

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<v Speaker 2>it alone? And why don't we let these people rest?

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<v Speaker 6>The space pressures for using the last undeveloped land on

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<v Speaker 6>the campus were increasing, and the Medical Health Center was

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<v Speaker 6>doing long term planning twenty five and fifty year planning,

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<v Speaker 6>so these this was part of the discussion.

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<v Speaker 1>That last voice was doctor Ralph Didlake. You'll hear more

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<v Speaker 1>from him in lighta later, but for now, here's the

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<v Speaker 1>rub the hospital is responsible for the cemetery and the

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<v Speaker 1>former patients buried in it, but it's also responsible for

0:15:46.920 --> 0:15:51.080
<v Speaker 1>its current and future patients. So is this yazoo clay

0:15:51.120 --> 0:15:56.280
<v Speaker 1>for building or for burial? There's also another layer, so

0:15:56.360 --> 0:15:59.520
<v Speaker 1>to speak. Graves are just part of what remains when

0:15:59.520 --> 0:16:03.840
<v Speaker 1>a person eyes. They also leave behind friends and family,

0:16:04.920 --> 0:16:06.880
<v Speaker 1>and the friends and family of those buried in the

0:16:06.960 --> 0:16:11.280
<v Speaker 1>cemetery they've been waiting a long long time to get

0:16:11.320 --> 0:16:15.160
<v Speaker 1>answers about what became of their loved ones. And it's

0:16:15.200 --> 0:16:17.680
<v Speaker 1>not just Noah.

0:16:18.080 --> 0:16:22.120
<v Speaker 3>I'm Anna Sadist from my connection to the first I'm

0:16:22.160 --> 0:16:26.400
<v Speaker 3>the mother of the artist and the granddaughter of the

0:16:26.600 --> 0:16:30.520
<v Speaker 3>person of interest here, doctor Smith. I don't remember what age.

0:16:30.560 --> 0:16:34.720
<v Speaker 9>I realized that I didn't know anything about my grandfather

0:16:35.360 --> 0:16:37.960
<v Speaker 9>because she would talk about her mother quite a bit,

0:16:38.440 --> 0:16:42.120
<v Speaker 9>and when I asked about my grandfather, she said he

0:16:42.280 --> 0:16:46.440
<v Speaker 9>lost his memory and went away, And so I thought,

0:16:47.040 --> 0:16:49.480
<v Speaker 9>maybe somebody will direct him back home sometime.

0:16:50.360 --> 0:16:53.320
<v Speaker 1>There's this old adage in the South, we don't lock

0:16:53.400 --> 0:16:56.160
<v Speaker 1>our crazy way, We put it on the front porch

0:16:56.440 --> 0:17:00.080
<v Speaker 1>and give it a cocktail. But it's not entirely true.

0:17:00.920 --> 0:17:04.920
<v Speaker 1>In just this one state, thirty thousand people were sent away,

0:17:05.680 --> 0:17:08.200
<v Speaker 1>and as many as seven thousand of them were buried

0:17:08.440 --> 0:17:12.160
<v Speaker 1>under this yazoo clay. Why did their stories get buried

0:17:12.200 --> 0:17:15.639
<v Speaker 1>with them? What's he down through the years in spite

0:17:15.680 --> 0:17:15.960
<v Speaker 1>of it?

0:17:17.440 --> 0:17:22.399
<v Speaker 9>I would just say silence, absence. This is just not

0:17:22.480 --> 0:17:23.200
<v Speaker 9>where we go.

0:17:24.560 --> 0:17:30.679
<v Speaker 4>My suspicion. There is the silence is the response to

0:17:30.720 --> 0:17:31.159
<v Speaker 4>the shame.

0:17:32.400 --> 0:17:37.840
<v Speaker 10>When I share these stories, there's there's just a lot

0:17:37.880 --> 0:17:43.600
<v Speaker 10>of silence, you know, because what can you say? It's

0:17:43.880 --> 0:17:49.680
<v Speaker 10>you know, it's a lot to take in. I am

0:17:50.040 --> 0:17:56.240
<v Speaker 10>Elizabeth West, my ancestor family member. His name was Hillman,

0:17:56.400 --> 0:18:02.359
<v Speaker 10>sisterm and actually I had had no knowledge of him

0:18:02.840 --> 0:18:08.159
<v Speaker 10>up until about, I don't know, five years ago. The

0:18:08.280 --> 0:18:13.960
<v Speaker 10>people who were omitted were the people who had the

0:18:14.080 --> 0:18:19.680
<v Speaker 10>direct line to a history that we have mixed feelings about.

0:18:20.280 --> 0:18:23.639
<v Speaker 10>You know, many people black and white don't want to

0:18:23.680 --> 0:18:28.880
<v Speaker 10>remember the country's period of slavery, even when they want

0:18:28.920 --> 0:18:30.800
<v Speaker 10>to remember it, they just don't want to remember the

0:18:30.880 --> 0:18:35.399
<v Speaker 10>slavery part. And for many of us, you know, we

0:18:35.800 --> 0:18:40.480
<v Speaker 10>are told to just look forward, there's no point in

0:18:41.040 --> 0:18:46.119
<v Speaker 10>looking back. But well, I don't think we've gotten to

0:18:46.119 --> 0:18:49.000
<v Speaker 10>the point where we sit down and really talk about

0:18:49.080 --> 0:18:54.879
<v Speaker 10>it because there's just no words. You just take it

0:18:55.000 --> 0:18:59.560
<v Speaker 10>in and you start seeing how these things in the

0:18:59.640 --> 0:19:04.120
<v Speaker 10>past us have this direct line to where you are

0:19:04.440 --> 0:19:07.960
<v Speaker 10>in this moment, and it's a lot. It's a lot

0:19:08.000 --> 0:19:09.080
<v Speaker 10>to think about.

0:19:15.080 --> 0:19:19.760
<v Speaker 1>In this country, genealogy is a billion dollar industry. We

0:19:19.800 --> 0:19:24.679
<v Speaker 1>are obsessed with understanding our family histories and stories. But

0:19:24.800 --> 0:19:28.560
<v Speaker 1>what if your relative story doesn't have an ending? What

0:19:28.640 --> 0:19:30.960
<v Speaker 1>if the last decades of the lives they lived were

0:19:31.040 --> 0:19:34.080
<v Speaker 1>just washed off the canvas. What do you get out

0:19:34.080 --> 0:19:35.200
<v Speaker 1>of a story with no end.

0:19:36.560 --> 0:19:38.320
<v Speaker 11>My name is Kimberly Jackson.

0:19:38.480 --> 0:19:43.400
<v Speaker 1>Tell us about your It's your great grandmother, right, so

0:19:43.600 --> 0:19:44.440
<v Speaker 1>you know about her.

0:19:44.800 --> 0:19:48.359
<v Speaker 11>So we were always told their name was Zenny. It

0:19:48.440 --> 0:19:53.480
<v Speaker 11>was just such a mystery, such a mystery as to

0:19:53.560 --> 0:19:56.800
<v Speaker 11>what happened to her, well just about everybody else, you know.

0:19:57.640 --> 0:19:59.280
<v Speaker 11>You know, there was a beginning to the store, and

0:19:59.280 --> 0:20:01.280
<v Speaker 11>there's an end to the and they had they have

0:20:01.480 --> 0:20:05.760
<v Speaker 11>the whole middle. That wasn't that with her, That was

0:20:05.800 --> 0:20:09.080
<v Speaker 11>not that with her. There was always obituaries and always,

0:20:09.080 --> 0:20:11.199
<v Speaker 11>of course, like I said, story is to be told,

0:20:12.880 --> 0:20:17.040
<v Speaker 11>but hers was always that sense of unknown and with that,

0:20:17.119 --> 0:20:18.720
<v Speaker 11>like I said, a little twinge of sadness but it

0:20:18.760 --> 0:20:20.600
<v Speaker 11>was a lot of love, but little twinge of sadness

0:20:21.119 --> 0:20:23.359
<v Speaker 11>and it just felt like, you know, it was just

0:20:23.560 --> 0:20:24.600
<v Speaker 11>a puzzle missing.

0:20:25.520 --> 0:20:31.040
<v Speaker 12>My name is Wayne Lee My Hairstyles. Grew up in

0:20:31.119 --> 0:20:35.640
<v Speaker 12>Kentucky live in Durham, North Carolina. See, I grew up

0:20:36.000 --> 0:20:40.600
<v Speaker 12>with a little bit of the stigma of they thought

0:20:41.400 --> 0:20:44.600
<v Speaker 12>your grandfather was crazy. They put him in an insane sylum,

0:20:46.560 --> 0:20:48.280
<v Speaker 12>you know, was he was?

0:20:48.280 --> 0:20:48.560
<v Speaker 6>He not?

0:20:48.720 --> 0:20:51.520
<v Speaker 12>Our mom said, he wasn't crazy, he was just starving.

0:20:54.000 --> 0:20:56.960
<v Speaker 1>Each of the descendants we spoke to was dogged in

0:20:57.000 --> 0:21:00.560
<v Speaker 1>their research, tireless in their efforts to find out answers

0:21:00.640 --> 0:21:04.320
<v Speaker 1>about their loved ones and about their own past, because

0:21:04.359 --> 0:21:07.879
<v Speaker 1>they had to be This is a story that was

0:21:07.920 --> 0:21:13.200
<v Speaker 1>buried again and again. Here's the thing. Coming across human

0:21:13.240 --> 0:21:16.600
<v Speaker 1>remains at the medical center wasn't a new problem.

0:21:17.000 --> 0:21:22.200
<v Speaker 2>They were extending a road and they went, oh, there's.

0:21:21.760 --> 0:21:22.879
<v Speaker 1>Some people there.

0:21:23.320 --> 0:21:27.560
<v Speaker 6>Some bones had been discovered several years before when an

0:21:27.600 --> 0:21:32.720
<v Speaker 6>old laundry building was being built, and at that point

0:21:32.800 --> 0:21:38.200
<v Speaker 6>the institution was reminded that there's a cemetery. So fast

0:21:38.200 --> 0:21:42.119
<v Speaker 6>forward to the twenty eleven time frame. A new road

0:21:42.200 --> 0:21:48.360
<v Speaker 6>construction project was started and almost immediately they ran into burials,

0:21:48.840 --> 0:21:52.280
<v Speaker 6>and at that time the original sixty six burials were

0:21:52.280 --> 0:21:54.720
<v Speaker 6>exhumed for the road project.

0:21:55.080 --> 0:21:59.119
<v Speaker 2>In nineteen ninety, when a building was being constructed in

0:21:59.200 --> 0:22:04.439
<v Speaker 2>that area, the construction workers came across some burials as well,

0:22:04.920 --> 0:22:09.439
<v Speaker 2>and at that time the leadership went to the city

0:22:09.480 --> 0:22:12.119
<v Speaker 2>and got all the sort of legal documents in place

0:22:12.160 --> 0:22:15.800
<v Speaker 2>so that they could exhume these remains and relocate them

0:22:15.840 --> 0:22:17.440
<v Speaker 2>to the UMMC cemetery.

0:22:18.440 --> 0:22:21.359
<v Speaker 1>Finding bodies there got to be such a common occurrence

0:22:21.880 --> 0:22:26.040
<v Speaker 1>that in the nineteen seventies the state legislature passed a

0:22:26.160 --> 0:22:32.280
<v Speaker 1>bill allowing them to basically do whatever needed to be done.

0:22:32.600 --> 0:22:37.600
<v Speaker 6>The nineteen seventies legislation is pretty broad, and then there

0:22:37.680 --> 0:22:44.760
<v Speaker 6>was a certain amendment of that that's worded to disinter rearrange,

0:22:45.000 --> 0:22:49.720
<v Speaker 6>So we could probably have shoehorned almost anything into that language,

0:22:50.160 --> 0:22:51.919
<v Speaker 6>but it would have been a terrible idea.

0:22:52.800 --> 0:22:56.360
<v Speaker 1>So the medical Center finds seven thousand graves, they've got

0:22:56.359 --> 0:22:59.199
<v Speaker 1>the legal standing and paperwork in place to do what

0:22:59.240 --> 0:23:02.480
<v Speaker 1>they need to do to solve their space issue. So

0:23:02.640 --> 0:23:12.600
<v Speaker 1>what isn't a terrible idea? That's after the break The

0:23:12.720 --> 0:23:15.639
<v Speaker 1>largest art museum in the state, the Mississippi Museum of

0:23:15.760 --> 0:23:18.359
<v Speaker 1>Art connects Mississippi to the world and the power of

0:23:18.480 --> 0:23:22.120
<v Speaker 1>art to the power of community. Located in downtown Jackson,

0:23:22.160 --> 0:23:25.680
<v Speaker 1>the museum's permanent collection is free to the public. National

0:23:25.680 --> 0:23:29.600
<v Speaker 1>and international exhibitions rotate throughout the year, allowing visitors to

0:23:29.680 --> 0:23:33.320
<v Speaker 1>experience works from around the world. The gardens at Expansive

0:23:33.400 --> 0:23:35.639
<v Speaker 1>Lawn at the Mississippi Museum of Art are home to

0:23:35.720 --> 0:23:39.240
<v Speaker 1>art installations and a variety of events for all ages.

0:23:39.960 --> 0:23:44.320
<v Speaker 1>Plan your visit today at MS Museumart dot org. That's

0:23:44.520 --> 0:23:46.440
<v Speaker 1>MS Museum Art dot org.

0:23:49.520 --> 0:23:53.960
<v Speaker 2>I'm Lida Gibson. I am the coordinator of the Asylum

0:23:54.040 --> 0:23:54.879
<v Speaker 2>Hill Project.

0:23:55.440 --> 0:23:59.400
<v Speaker 6>I'm raftedlike. I am director of the Center for Bioethics

0:23:59.400 --> 0:24:03.200
<v Speaker 6>and Medical Humanities at the University of Mississippi Medical Center.

0:24:03.320 --> 0:24:05.840
<v Speaker 6>I was a surgeon for twenty five years and then

0:24:05.960 --> 0:24:07.760
<v Speaker 6>went into administrative positions.

0:24:08.720 --> 0:24:12.520
<v Speaker 1>The Asylum Hill Project, that's the arm of the university

0:24:12.680 --> 0:24:16.119
<v Speaker 1>organized to reconcile the needs of the living with the

0:24:16.160 --> 0:24:20.000
<v Speaker 1>needs of the dead, and that reconciliation has to be

0:24:20.080 --> 0:24:24.640
<v Speaker 1>weighted towards the living. The medical center needs the land

0:24:24.680 --> 0:24:28.760
<v Speaker 1>to expand to provide more vital services. So the question

0:24:28.880 --> 0:24:34.000
<v Speaker 1>isn't if the cemetery will move, it's how So it was.

0:24:34.000 --> 0:24:39.879
<v Speaker 2>The vision of doctor Ralph Didlake to handle this challenge

0:24:40.160 --> 0:24:44.560
<v Speaker 2>of having a cemetery on the last remaining part of

0:24:44.640 --> 0:24:47.960
<v Speaker 2>the campus. It was his vision to kind of deal

0:24:48.000 --> 0:24:51.720
<v Speaker 2>with this in a way that was ethical, that embraced

0:24:51.720 --> 0:24:52.399
<v Speaker 2>the community.

0:24:54.040 --> 0:24:57.560
<v Speaker 6>I was very interested in the problem. I found it

0:24:57.600 --> 0:25:02.240
<v Speaker 6>to be a challenging nut to crack, both from an

0:25:02.240 --> 0:25:08.840
<v Speaker 6>administrative efficiency standpoint and from a bioethics standpoint. So, yes,

0:25:08.960 --> 0:25:11.440
<v Speaker 6>did I seek it out. I'm not sure I overtly

0:25:11.480 --> 0:25:14.359
<v Speaker 6>sought it out, but I didn't run away from it.

0:25:15.000 --> 0:25:17.840
<v Speaker 6>And at that time I was director of the Bioethics Center,

0:25:18.200 --> 0:25:24.879
<v Speaker 6>and I kept hearing various plans brought forward, and I

0:25:24.880 --> 0:25:28.560
<v Speaker 6>felt very strongly that whatever plan was selected, whatever was

0:25:28.600 --> 0:25:33.880
<v Speaker 6>done with the land or the remains, had to be ethical.

0:25:34.800 --> 0:25:39.600
<v Speaker 6>It had to be not just respectful and ethical, but

0:25:40.520 --> 0:25:44.679
<v Speaker 6>it needed to fit well into a Southern community. It

0:25:44.720 --> 0:25:49.119
<v Speaker 6>had to have a Southern ethos about it. And I

0:25:49.200 --> 0:25:55.159
<v Speaker 6>remembered a line from William Faulkner's The Readers where he

0:25:55.720 --> 0:25:59.760
<v Speaker 6>paraphrasing he said, Southerners don't fear death, but they take

0:25:59.800 --> 0:26:01.359
<v Speaker 6>fear funerals very seriously.

0:26:03.240 --> 0:26:07.919
<v Speaker 1>Southerners take funerals very seriously. The same goes for what

0:26:08.040 --> 0:26:12.600
<v Speaker 1>comes after the burial, and cemeteries hold a very special

0:26:12.640 --> 0:26:16.879
<v Speaker 1>place in the Southern imagination, but in the Southern reality

0:26:17.720 --> 0:26:24.639
<v Speaker 1>quality specialized healthcare is sparse, difficult to access, and sorely needed.

0:26:25.720 --> 0:26:28.880
<v Speaker 1>What importance is there in doing right by the dead

0:26:29.920 --> 0:26:34.080
<v Speaker 1>when there's such dire need for the living scarce resources?

0:26:34.160 --> 0:26:36.639
<v Speaker 1>Mean that this question of what to do with this

0:26:36.800 --> 0:26:40.920
<v Speaker 1>land and how and when is a zero sum game.

0:26:41.840 --> 0:26:44.919
<v Speaker 1>Rush the excavation and you violate the Southern reverence for

0:26:44.960 --> 0:26:49.720
<v Speaker 1>the grave. But take your time and how many patients

0:26:49.720 --> 0:26:54.000
<v Speaker 1>will go to their graves sooner than they should? Zero

0:26:54.080 --> 0:26:58.639
<v Speaker 1>sum or not. As Faulkner says, there's no fear in death,

0:26:59.080 --> 0:27:02.640
<v Speaker 1>that there is a fear of being forgotten. Maybe that's

0:27:02.640 --> 0:27:05.159
<v Speaker 1>where all those superstitions come from.

0:27:06.040 --> 0:27:08.920
<v Speaker 11>Oh yeah, because see my grandma was being on visiting cemeteries,

0:27:09.119 --> 0:27:13.159
<v Speaker 11>so yeah, we would oh yeah, big, Oh it was.

0:27:13.240 --> 0:27:15.280
<v Speaker 11>It was a whole thing for the churches to get

0:27:15.320 --> 0:27:18.560
<v Speaker 11>together and clean the cemetery, you know, mowed the lawn

0:27:18.600 --> 0:27:21.240
<v Speaker 11>of the cemetery, changed out the flowers. That was the

0:27:21.240 --> 0:27:24.080
<v Speaker 11>whole thing. That was a day set aside to do

0:27:24.160 --> 0:27:24.840
<v Speaker 11>that kind of thing.

0:27:25.440 --> 0:27:28.639
<v Speaker 1>Once upon a time, the Old Asylum Cemetery received that

0:27:28.760 --> 0:27:32.240
<v Speaker 1>level of Karen attention. What might the grounds in the

0:27:32.280 --> 0:27:36.359
<v Speaker 1>asylum have looked like then? It was eighteen fifty five

0:27:36.560 --> 0:27:40.920
<v Speaker 1>when the Mississippi State Lunatic Asylum opened its doors, surrounded

0:27:40.960 --> 0:27:44.680
<v Speaker 1>by its one hundred and sixty acre campus, and it

0:27:44.720 --> 0:27:48.080
<v Speaker 1>would keep growing. By the time it closed its doors,

0:27:48.680 --> 0:27:56.200
<v Speaker 1>the Old Asylum covered about thirteen hundred acres. It was picturesque,

0:27:56.560 --> 0:28:01.120
<v Speaker 1>sprawling green with a main building designed with classical architecture

0:28:01.119 --> 0:28:05.119
<v Speaker 1>in mind akupola, Greek columns, the works.

0:28:05.680 --> 0:28:05.879
<v Speaker 6>You know.

0:28:05.920 --> 0:28:09.280
<v Speaker 2>I will say too that when the asylum was established

0:28:09.880 --> 0:28:11.040
<v Speaker 2>it was state of the art.

0:28:11.160 --> 0:28:11.440
<v Speaker 8>I mean.

0:28:11.560 --> 0:28:15.159
<v Speaker 2>Mississippi, of course was one of the richest states, if

0:28:15.200 --> 0:28:17.880
<v Speaker 2>not the rich estate, because it's easy to get rich

0:28:17.960 --> 0:28:22.919
<v Speaker 2>when you're exploiting other people and enslaving other people. But

0:28:24.000 --> 0:28:28.560
<v Speaker 2>this was sort of a monument to the goodness of

0:28:29.080 --> 0:28:33.199
<v Speaker 2>Mississippi leaders as well as just to take care of

0:28:33.240 --> 0:28:35.760
<v Speaker 2>those who are less fortunate than we are.

0:28:37.040 --> 0:28:40.959
<v Speaker 1>The goodness of Mississippi leaders tough to believe that. They

0:28:40.960 --> 0:28:43.880
<v Speaker 1>thought providing mental health care would help the state's image

0:28:43.920 --> 0:28:50.000
<v Speaker 1>more than ending slavery. That was their calculus. All seven

0:28:50.080 --> 0:28:53.080
<v Speaker 1>thousand of these graves are unmarked, but that isn't how

0:28:53.080 --> 0:28:53.680
<v Speaker 1>they started.

0:28:54.800 --> 0:28:57.320
<v Speaker 8>I don't know if La mentioned to y'all, but the

0:28:57.360 --> 0:29:00.400
<v Speaker 8>original originally the graves, every single grave was marked with

0:29:00.440 --> 0:29:03.000
<v Speaker 8>a wooden marker, and it was painted with the name

0:29:03.040 --> 0:29:05.520
<v Speaker 8>of the deceased, the date of death, and the county

0:29:05.560 --> 0:29:06.479
<v Speaker 8>the person was from.

0:29:06.960 --> 0:29:09.680
<v Speaker 1>That's doctor Jennifer Mack who's heading up the excavation of

0:29:09.720 --> 0:29:13.880
<v Speaker 1>the Asylum cemetery. And what happened to those wooden markers.

0:29:14.960 --> 0:29:18.360
<v Speaker 1>Remember the yazoo clay, that burnt orange stuff I told

0:29:18.400 --> 0:29:22.120
<v Speaker 1>you about at the top of the episode. Oh, yes, yes,

0:29:22.240 --> 0:29:22.920
<v Speaker 1>it's terrible.

0:29:23.520 --> 0:29:26.480
<v Speaker 8>Yeah, it's terrible, terrible dirt.

0:29:26.600 --> 0:29:31.240
<v Speaker 1>The soils are also a challenge Herezukla character. How can

0:29:31.600 --> 0:29:34.640
<v Speaker 1>soil just eat metal?

0:29:34.840 --> 0:29:37.120
<v Speaker 6>It's just it's amazing, yes, what it can do.

0:29:43.760 --> 0:29:47.640
<v Speaker 1>Today the old Asylum Cemetery is an unmarked field of

0:29:47.680 --> 0:29:51.880
<v Speaker 1>green grass, dappled with the occasional tree, surrounded by chain

0:29:51.920 --> 0:29:55.560
<v Speaker 1>link fence lined with black mesh. There are hents of

0:29:55.600 --> 0:29:59.640
<v Speaker 1>burnt orange poking through the grass, but not a grave marker.

0:30:06.880 --> 0:30:10.160
<v Speaker 1>When we first got down South, we thought it the

0:30:10.240 --> 0:30:14.520
<v Speaker 1>Asylum was the story. We touched down in New Orleans

0:30:14.520 --> 0:30:17.680
<v Speaker 1>and drove up by fifty five, secure in the belief

0:30:17.760 --> 0:30:20.160
<v Speaker 1>that we were on our way to tell the tale

0:30:20.280 --> 0:30:24.880
<v Speaker 1>of an old asylum falling into disrepair, the mystery of

0:30:25.040 --> 0:30:29.080
<v Speaker 1>what happened within those walls. We were wrong.

0:30:29.800 --> 0:30:33.320
<v Speaker 7>Yeah, that was an email.

0:30:33.440 --> 0:30:34.920
<v Speaker 9>Thought that was an email.

0:30:35.160 --> 0:30:38.840
<v Speaker 1>I felt guilty of reading the email. I felt guilty.

0:30:38.880 --> 0:30:40.800
<v Speaker 1>By the time I got to the second sentence, I was.

0:30:40.680 --> 0:30:44.200
<v Speaker 3>Like Yeah, I was like, oh no, this is reckless

0:30:44.760 --> 0:30:45.520
<v Speaker 3>more an email.

0:30:46.880 --> 0:30:48.960
<v Speaker 1>On the one hand, bummer, because like, it would have

0:30:48.960 --> 0:30:54.240
<v Speaker 1>been nice to interview them. One of the people we'd

0:30:54.240 --> 0:30:57.480
<v Speaker 1>hoped to talk to was Patrick Hopkins, a philosopher and

0:30:57.520 --> 0:31:01.280
<v Speaker 1>ethicist who works with the Center for Bioethics Medical Humanities

0:31:01.360 --> 0:31:06.160
<v Speaker 1>at UMMC. Patrick and one of his colleagues recently received

0:31:06.160 --> 0:31:09.480
<v Speaker 1>a grant for something that piqued my interest. They were

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<v Speaker 1>going to be reading through volumes like boxes and boxes

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<v Speaker 1>of the old asylum's patient files. Finally, this was our

0:31:20.040 --> 0:31:23.440
<v Speaker 1>entry into this world that had been intentionally locked away.

0:31:24.240 --> 0:31:28.280
<v Speaker 1>But Patrick, the guy who had the key, wasn't interested

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<v Speaker 1>in opening that door. To attempt to talk authoritatively about

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<v Speaker 1>patient experiences at the asylum at this point would be

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<v Speaker 1>scholarly malpractice and would lend itself to bringing attention to

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<v Speaker 1>whatever random bit of information we have recently come across,

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<v Speaker 1>rather than waiting for the big picture. As an analogy,

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<v Speaker 1>if I were writing a biography of someone, you wouldn't

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<v Speaker 1>want to interview me about that person's life when I

0:31:56.440 --> 0:31:59.480
<v Speaker 1>had only gotten up to their third birthday in my research.

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<v Speaker 1>I mean, it's a great point with respect to the

0:32:02.720 --> 0:32:07.280
<v Speaker 1>process of research, But these are also real people and

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<v Speaker 1>their very real families have waited decades to learn anything

0:32:11.840 --> 0:32:16.960
<v Speaker 1>about their lives. Is saying keep waiting really doing right

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<v Speaker 1>by them? Or are we doing right by the living?

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<v Speaker 1>Short change the debt? And ultimately that's what this whole

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<v Speaker 1>thing is about. How can Asylum Hill make room for

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<v Speaker 1>the present, for the future while honoring the past. How

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<v Speaker 1>can these descendants reconcile the desire to know their ancestors'

0:32:38.520 --> 0:32:45.160
<v Speaker 1>stories with the pain that that may inevitably bring. Yazoo

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<v Speaker 1>clay is a tricky soil. It doesn't fall neatly into

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<v Speaker 1>any one category. It's the nemesis of contractors statewide, wrecking

0:32:54.600 --> 0:33:00.240
<v Speaker 1>home foundations, road work, and generally causing chaos. But a

0:33:00.320 --> 0:33:04.640
<v Speaker 1>ride down the highways outside Jackson and the lushness of

0:33:04.680 --> 0:33:11.040
<v Speaker 1>the green will take your breath away. Yazoo Clay forms

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<v Speaker 1>a foundation for the wreckage secrecy can bring, but the

0:33:14.960 --> 0:33:18.160
<v Speaker 1>breakdown of what came before can make for fertile ground.

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<v Speaker 1>In the case of the clay on Asylum Hill, it's

0:33:23.120 --> 0:33:26.320
<v Speaker 1>managed to do a bit of both. That's coming up

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<v Speaker 1>on Under Yazoo Clay.

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<v Speaker 12>I'm Wayne Lee, I'm a Dawser. I'm at the Greenwood

0:33:36.320 --> 0:33:40.480
<v Speaker 12>Cemetery in Jackson, Mississippi, and I'm gonna do a little

0:33:40.520 --> 0:33:44.600
<v Speaker 12>demonstration with the divining Arts.

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<v Speaker 1>Under Yazoo Clay is executive produced by the Mississippi Museum

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<v Speaker 1>of Art in partnership with pod People. It's hosted by

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<v Speaker 1>me Laris and Campbell and written and produced by Rebecca

0:33:57.560 --> 0:34:01.080
<v Speaker 1>Chassan and myself with help from Angela Yee and Amy Machado,

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<v Speaker 1>with editing and sound design by Morgan Fous and Erica

0:34:04.400 --> 0:34:07.960
<v Speaker 1>Wong and thanks to Blue Dot Sessions for music. Special

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<v Speaker 1>thanks to Betsy Bradley at the Mississippi Museum of Art,

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<v Speaker 1>as well as Leida Gibson at the Center for Bioethics

0:34:13.640 --> 0:34:16.760
<v Speaker 1>and Medical Humanities at the University of Mississippi Medical Center.

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<v Speaker 1>Visit Jackson and Jay and deny Stein,