[An essay that appeared in Chronicles in May, 2003. I thought I would take it out of mothballs in honor of the current, weird controversy over NFL players taking a knee during the national anthem.]
I live in flag country. Here in
east-central Illinois, amid the corn and soybean fields, the well-maintained
blacktops connecting whistle-stop towns, the Stars and Stripes are as common as
blue jeans. The banner flutters from angled rods on the pillars of wraparound
porches, flies from big poles in front of white two-story farmhouses. On the
Fourth and Veteran’s Day it multiplies like dandelions around the old squares
and along the parade routes. Driving up Illinois 130 to Champaign, my wife and
I pass a barn whose owner sometimes displays an Old Glory two stories tall. We
always wonder where he could have gotten such a thing.
But
if your needs are more modest, you can buy flags at Rural King or Walmart or
truck plazas over on the Interstate. You can buy flag license plates, flag
jackets, flag backpacks, or packages of miniature flags on toothpicks for your
kid’s birthday cake. Flag drapes and bedspreads are not unheard of. Pickups
sport flag decals in the back windows, right beneath the gunracks, leaving
space on the bumper for more explicit
slogans: “God, Guns, and Guts Built America—Let’s Keep All Three.” More often
than you might expect, you drive past some old house and note two flags
flying: Old Glory, and the Confederate battle flag.
Somehow
I never quite get it. As far back as the fifties, when I learned the Pledge as
a first-grader in Albuquerque, New Mexico, I can remember a sensation of uneasy
puzzlement in regard to the flag. If I was loyal to the country itself—“the
Republic of Richard Stans,” as supposedly a child once transcribed it—why
should that bit of colored cloth matter? Was not being loyal to the only
country I knew really either an option or a danger? Wasn’t the whole thing a
little screwy? More than four decades later, driving through fields of glinting
corn in an air-conditioned car, I appreciate my great good luck in being an
American, but still can’t say quite how the flag figures into it. A flapping
talisman, an idol we thank for blessings explicable on other grounds, it brings
in an uncomfortable note of the primitive.
A
paradox of flag country is that it makes so poor a microcosm of the thing
signified—America, that “teeming nation of nations” sprawled across eight time
zones. Here in Coles County we are about 90% white, at least 95% Christian, 60%
Republican. The terrain is regular as wallpaper, and I know people who have
never crossed the Mississippi or the Appalachians. Dwellers on the coasts refer
to us, unkindly, as “flyover country.” So why, you wonder, should we feel so
keen to affirm our solidarity with them? The paradox can grow sharper when you
ask your patriotic neighbor who “loves America” how he feels about any part
of it—whereupon he gives you an earful concerning those rich liberals in New
York, those tree-hugging loonies in California, those racist Neanderthals down
south. Only the larger construct, “America” as a mystic totality, is
sacrosanct; everything smaller seems to be fair game for a little healthy
slander.
But
probably none of this is as strange as I am making it. Unity, in our robust
American practice, is not the absence of discord but the very thing that makes
discord possible. We Americans are like members of a big backwoods family,
competing and quarreling day and night, but only until some outsider affronts
one of us: then we close ranks in a tight phalanx. It is because your
brother is your brother that you can tell him he is dumber than mud, useless as
tits on a bull. The flag seems to serve as a wordless reminder of bottom-line
loyalties, pulling together at least a few of the contradictions we live by. At
sporting events we sing to the banner before the combat starts, not
after.
So
if we in flyover country show the colors more than our colleagues on the
coasts, it is not from any one-sided affection, but a fairly sober intuition of
our circumstances. Though we may like it here, we understand our slightly
marginalized, provincial status, and we don’t like that. On some level
we are like the kid in high school who always shouted the loudest at pep
rallies, trying to gain status by the slightly paradoxical strategy of
emphasizing group identity, group sameness.
Finally, though, and most of all,
the flag is our license to be as different and disagreeable as we like.
Dangling there at the corner of your porch, it forestalls any ultimate
misunderstandings, so you feel free to lean back, spit, and vent your true
opinions about those fools in Washington or California. That flag really does
make you feel free. No wonder you love it.
*
Draped
as bunting near the lattice on a widow’s porch, set low among the tombstones in
a country cemetery, the flag can seem humble, reverent, submissive. And yet it
is patently a badge of aggression, a flung glove, a line drawn in the dirt. The
banner itself no longer features a coiled serpent with the legend, “Don’t tread
on me,” but the message is still there, and the most vivid icons of the cult
are all martial, as in the national anthem and the Iwo Jima memorial. The gaudy
colors suggest territorial display, like the bright plumage of male birds, and
on occasions like the Fourth the display escalates to “threat behavior,” with
fireworks and military parades.
Superficially
strange, this fusion of opposite messages—hostility and amity, union and
discord—relates I think to a corresponding, familiar duality in group dynamics.
Judith Harris and others have argued forcefully that “groupness”—that basic
tendency to form up into cliques or teams that then compete for
dominance—ranks among the most ineluctable of human drives, bred into the
species during eons of prehistoric clan warfare. Groups of every kind are glued
together internally by mutual love and esteem, but only so that they can
project fierce competitiveness (and worse) toward rival groups. In such
contexts hate and love are really the most intimate of symbiotes, each requiring
and fortifying the other; “team spirit” means loving your brother so that the
two of you can efficiently bash someone else. Small wonder, then, that the
flag, denoting one of the most fundamental of group identities, should also
express an uneasy blend of opposite emotions. It summons fantasies of combat
that seem weirdly prettified because they have been warped into love messages,
expressions of sublime devotion rather than the gritty self of violence. It
invites and enjoins direct expressions of that love (“God bless America!”), but
these tend to have an uncomfortable overtone of jingoistic ill will.
Contentment and resentment, love and hate, submission and testy pride all blend
together in that gummy, improbable, unfocused, but basically sincere emotion we
call “patriotism.”
Nation
states, it has been said, are the natural children of war, pressed into
existence by the exigencies of mass combat in the gunpowder era. Ersatz
constructions, defensive alliances on a staggering scale, they lack intrinsic emotional
resonance, given that our instincts are designed to function at the tribal
level. But somehow over the millennia we have learned to displace the passion
of groupness to progressively larger constructs—tribe, village, fiefdom,
nation—learning to feel remarkably personal attachments to peoples unseen,
regions unvisited. The flag seems to be a key piece of equipment we use to
accomplish this marvel of psychic engineering. Rendering “country”—that
unimaginably vast construct—at least somewhat immediate, it gathers the group
emotion to itself, then redistributes it across the continent. In the process,
as an altogether lucky fringe benefit, it seems to give us a better grip on the
dark side of the instinct. Waving the flag at imagined enemies, we can experience
something like a wartime strengthening of group feeling without the great
inconvenience of actual war. Saluting the flag, serenading it, marching it up
and down Main Street while strings of Black Cat fireworks explode behind the
bushes—these look like civilized, immensely preferable alternatives to darker
possibilities, like pogroms, lynchings, and war itself.
So
of course no actual combat is in prospect, in those well-kept parks
where we gather on the Fourth, well after sundown, to swat mosquitoes and wait
for the fireworks. The mood remains supremely peaceful, because all the
hostility has been deflected toward an entirely theoretical enemy who—what
luck!—never shows up, a ritual surprise that renders our mock mobilization a
pure (if rather dull) celebration of brotherhood.
Still
it should not seem strange if the hand a first-grader holds over his heart as
he recites the Pledge, believing himself the only one who doesn’t quite
understand, trembles a bit. Like it or not, the message is largely one of group
coercion, and in the background loom bloody possibilities, memories of all the
bad things that can happen if your group loses, or if (worse yet) you have no
group. If you feel slightly bullied, that is exactly the point.
*
Every year as the Fourth approaches,
a country song by Lee Greenwood plays incessantly on the radio:
And I’m proud to be
an American,
Where at least I know
I’m free;
And I won’t forget
the men who died
Who gave that right
to me.
No
fan of country, I grit my teeth at the water-torture tempo, the tuneless tune,
the hammering obviousness of the sentiment. But just as I reach for the “Scan”
button, I focus on that strange “at least.” At least what, at least why? It is
as if the speaker, so full of proud amor patria, suddenly confesses the
opposite feeling, a shamefaced inferiority. Patriotism likes to imagine itself
on the defensive, and on one level we seem to be harking back (improbably
enough) to a nineteenth-century sense of America as Europe’s struggling younger
brother. Given the country twang in the speaker’s voice, though, “at least” can
suggest not his embattled state qua American, but qua
Appalachian, Southerner, or grass-stem-chewing native of flyover country. And
then suddenly he seems not to be celebrating America but to be complaining
about his place in it, hinting at inequities and injuries even as he bravely
affirms his devotion. A little master stroke of passive aggression, “at least”
lets him have it both ways, like my neighbor flying both Union and Confederate
flags, identifying with both the victor and the vanquished.
Meanwhile
it is impossible to say just who “the men who died ” might be: the
Revolutionary War seems too distant, and no other soldiers of American wars can
be said with much plausibility to have given civil rights to the rest of us.
But of course that is the point: the image of prettily dying men (not
women) is detached, universalized, theoretical, referring less to any actual
past than to the broad principle of masculine sacrifice. “I won’t forget” means
not that the speaker can tell you the dates of the battles (count on it), but
that he, too, will fight if necessary. Feminists, I suspect, must feel that he
is paying himself rather well for deeds as yet undone, subtly claiming warrior
status in the act of paying homage.
Thus
deconstructed in my head, “Proud to Be An American” begins to seem a shrewd
little piece of social engineering, an honorable rendezvous with the least
common denominator. Bad taste and a certain cluelessness may be part of the
machinery of empire, necessary adjuncts of citizenship in anything as large and
unlikely as America. The ugly American, that witless Philistine who so baffles
(and sometimes terrifies) our European cousins, may be just another mask of the
competent Yankee who remains in charge. You do not cobble together an empire of
eight time zones and countless ethnicities by insisting on fine distinctions or
indulging chancy departures from the official line. What you want, if you are
the psycho-political engineer assigned to the task, is a maximum of fervor, a
minimum of substance. You want a flag—the flag—with its mysterious power
to mobilize emotion on behalf of the unspecified. Not a slogan, not a program,
but a mute physical thing, standing only for “America”—a place always yet to be
discovered.
It
turns out that not getting it is getting it. When we stand at the
beginning of a ball game and sing the anthem that commemorates a battle not one
in a hundred of us can name, fought over issues no one can explain, vagueness
is the point, the whole essence of the ritual. To be pliant, vague,
indeterminate, and a little confused, even as the putty of your indecision is
about to harden into the flinty resolve that is the famous other side of the
national character—this is the height of Americanism. Patriotism is being for
whatever it is we are for, with real passion, before we are even for it. But it is also the
obdurate fractiousness that keeps consensus always dissolving and re-forming.