>> you have a new book out, what are you hoping readers will find out? >> these are things we need to think about what we are considering not the space of america --. >> you are also a lawyer. are those two specialties what brought you to examine aiding this topic. really, it is about five or six years old. can you walk us through the protest that wrote the russians -- the crescendo of 2020? erin: americans toppled the first equestrian monument we got. put up the statue of king george and that only lasted for about 70 years before soldiers of the new army -- independence and pulled it down. these issues -- both rock to folk is use of monument -- the white worldview. there is a lot of debate on whether monuments in public spaces should be taken down. nothing compares to the summer of 2021 after the death of george floyd, millions of americans marched to protest rachel -- racial disparity, black lives matter. lots of these rallies focused on monuments as a symbolic meeting place for showing who was honored in america. whose lives mattered and whose lives did not. since february 2020, dashed monuments have come down. 80% of those came down through official actions. through local officials saying we are going to take the statue and relocated to somewhere a little less prominent like a graveyard. we are not going to put it in storage and decide what to do about it later. host: this issue really became a touch point in the 2020 election. let's watch that and come back to you. [video clip] >> in the city of richmond and -- they tore down the statue of christopher columbus. the man who freed the statues, it is racist. in dallas, they tore the rangers statue down after more than 50 years. they did the same thing in philadelphia. same in albany. in oregon, the statue of thomas jefferson was torn down. in san francisco, euless -- francis scott key and use lucy's as grant were toppled. on the pedestal of the key monument, they spray-painted, killed colonizers, kill whites. just in case you missed the point. one thing all of these now canceled americans have in common not one of them fought , for the confederacy. pulling down their statues has nothing to do with the civil war. not the first civil war that took place 150 years ago. host: erin thompson, what is your reaction after listening to that report? erin: first i want to say, for the book, one of the chapters is based on an interview i did -- -- i did with an indigenous activist in the twin cities who took responsibility for toppling a statue in minnesota. and he explained it to me that he has tried for decades to have the statue removed. or to have it questions or have signage added. he was assured there was a process through which he could file petitions. but shortly after the statue came down, the government admitted there was never any process for those petitions to be heard. it's not surprising to me that if people have no hope, their -- have no hope that their voices will be heard and their objections to the shared public space will be listened to, you will see acts of civil disobedience. i do not think that there should be violence, i think there should be ways for objections to be heard. what we have seen alongside the removal of any statues in the last few years is it is also an attempt in many state legislatures to strengthen the protection and make it harder for them to be removed officially and make the penalties for pulling them down more difficult. so we are at a crossroads. can we have a discussion about how we are going to represent ourselves? or will statues be nailed to the pedestals by people currently in control? susan: we will have a chance to dig into a couple more of those topics. why are they so many emotions around objects made of stone? ms. thompson: it seems strange sometimes. like only pigeons cared about them before and now people are willing to die or kill to take them down or protect them. but if you think about the role that art plays in human life, it is not surprising. we learn to love, hate, through images. we perceive the world through images before we understand speech or read. they tap into a different part of the brain. monuments are designed to arouse emotions. think of how often something is celebrated by a beautiful body. you have an allegorical figure representing the ideals of the confederacy or of america. you are supposed to be attracted to that body. beautiful equals good. but just like beautiful people, monuments can hide a more complex reality behind the surface. susan: tucker carlsen said this is part of cancel culture. what do you have to say to people who say that is canceling history? ms. thompson: a lot of people are worried that taking down a monument erases history. but monuments are not history lessons. they show a very careful, narrow view of history. you can think of statues as selfies for the nation. showing history from the very best angle without complexity or pain. they do not tell the facts of the past. so to remove a monument is to remove a form of honor, but not to erase history. susan: does removing statues change our society? ms. thompson: yes and no. one story i tell in the book is about a community in new jersey that protested the removal of a monument of columbus after they had been asking for the removal for a decade. what they wanted was not for it to disappear, they wanted to have a rally or parade to celebrate the removal and make public the reasons why they thought columbus was a problematic figure. they did not want it to just disappear. so they camped out in front of the trucks that were there to take it away for a couple of days until they could have the parade. so taking away the monument without having a conversation about why it went up is worse than useless. so in some ways it is frustrated to me -- frustrating to me that the process of removal is bogged down by law processes and debates but in another way, it is a good way to have the discussion about who we want to see in public spaces. susan: you wrote in your acknowledgments that you had to learn to deal with waves of negative reactions directed at you. what was that light, and were you surprised -- what was that like, and were you surprised? ms. thompson: i was a little surprised that people thought i could control the fate of monuments. tucker carlson said i was leading of nihilists. the only nihilists i know where my children and they don't even listen to me about bathtime. i am not the mastermind or -- mastermind of statue removal or that tucker carlson thinks i am. but i was glad that my thoughts on statue removal got so much attention, even negative, because those arguments people were having about my point of view showed me, ok, this is what i need to address in my books. this is what people believe, and these are the gaps in understanding i think i can fill in. i am not the czar of monuments and my book does not give you a list of which ones should stay or go. but i knew the types of information people should fill into their understanding to make decisions. susan: many contested statues have been confederate war memorials. you said the first 20 years after the war was very different than the next 40 or so. ms. thompson: we think of confederate memorials as something immediately celebrating the war. but for the first few decades, there were relatively few confederate moments that went up. they were mostly in graveyards and had imagery of morning -- mourning. they were personal monuments for people who had lost members of their family. but in the turn-of-the-century, those monuments started to move out of graveyards and into the public sphere and became more militaristic, featuring generals, portraits of stonewall jackson, robert e. lee, but more often featuring a portrait of an unnamed low ranking soldier standing at attention in a posture known as parade rest. they were meant to be seen by all. they were in front of court -- courthouses and post offices and in the town square. the war memorials were also in -- on the union side with very little difference. many people say they are about heritage, not hate, that they are not trying to oppress anyone but they are celebrating those who fought in the civil war. and i started to wonder, if this is true, what exactly the statues are celebrating. if you wanted to honor a low ranking soldier, you could show his courage charging into battle, or show his sacrifice wounded or dying, but why do the monuments just show a soldier standing there? i looked into military manuals and found that this parade rest posture is used during training as they receive instructions from drill instructors. they were standing to demonstrate obedience. and i found that when the statues went up at the turn-of-the-century, they were often paid for by people who wanted to be obeyed by the descendants of the low ranking soldiers like factory workers and those who worked in mines. you can read the dedication speeches that talk about the factory owners praising the obedience of confederate soldiers, saying their glory was their duty and sacrifice and being a cog in the wheel. so i wondered why all the factory owners were praising obedience? they often go up at the same time that there is labor unrest and the efforts to unionize our interglacial efforts. -- efforts to unionize our interracial union efforts. so a lot of these confederate monuments went up at a time when factory owners were trying to break interracial organization among their workers. so it is essentially an appeal to confederate heritage to say, your duty is to support the race lines that your ancestors died trying to uphold rather than work together to improve your lives in the present with a living wage. this is what i am trying to do in the book, dig into history to show the real motivations behind the statues. susan: why would civil war monuments be going up in the northern part of the country at the same time? ms. thompson: the union monuments are more often closer to the actual conflict in the late 19th century. what is interesting about them is who is represented as fighting. about 80% of northern black men between 15 and 50 served in the union army along with 17% of southern black men who escaped slavery and went back to fight for the freedom of others. so despite the large presence of black soldiers in the union army, there are only a few representations in 19th century and early 20th century public monuments of black soldiers fighting. it is most often a white soldier, either low ranking or a portrait of a general. you often see confederate and union generals shaking hands or reconciling in these union monuments. so i think there is a way in which the north and southern monuments are trying to make arguments about who should hold power in the country after the civil war, trying to in a way yank back the promise of equality and say that although black people fought for their own freedom, they were not really deserving of full of quality in the political and social life of the country. they can just say they received freedom as a gift instead of having to fought for it. susan: in your introduction, you deal with one of the most iconic statues in the country, on top the u.s. capitol. the name of the statue is freedom. the origin story involves jefferson davis, clerk mills, and philip read. what is important to know about freedom's origins? ms. thompson: freedom is an allegory of liberty that went atop the the capitol dome in 1863 but had been underway for a long time before that. the statue was first designed by a sculptor who fought with -- who's boss was jefferson davis. the future president of the confederacy was the secretary of war and in charge of decorations for the capitol building and the sculptor thomas crawford gave him a sketch to say this is what i think that sculpture should look like. jefferson davis objected to the hat being worn. the hat is known as the liberty cap and has been known as a symbol of liberty since ancient rome. they would get that type of hat to newly freed slaves. so jefferson davis said no, this type of freedom is not appropriate for america. he wanted the sculpture of freedom to celebrate the lives of those who had been born free. he was fiercely defending the institution of slavery and did not want anyone to think about the possibility of emancipation, the possibility that those enslaved could one day be free. so the artist change the headgear. freedom is wearing what looks like an eagle plopped on her head with feathers everywhere like a vegas showgirl. that model was made in plaster and then another sculptor cast it in bronze to go on top the capitol building. the workshop for casting the sculptures had employee who was a slave and part of the working family. i tried to find out as much as i could about his life and what his work would have been and how he would have contributed to making this sculpture, freedom. he spent more than a year every day controlling minor spires under bits of old. so they had to take the plaster statue and impress it into a mixture of sand and loam to make a mold in which the metal was poured but first the mold had to dry and he was in charge of making sure it dried. he was paid $1.25 per day by the government but he could only keep the $1.25 he earned on sundays. the rest went to his owner. the irony of someone being forced to make a sculpture symbolizing freedom that he did not have. another woman owned by mills had run away and been captured and returned to him a few years before mills started working on freedom. so mills would have been working on this sculpture, this representation of freedom, while living with someone who had tried to obtain her freedom and had been recaptured. we do not know her fate but by the time this sculpture went up, read had been freed by the district of columbia emancipation act and collected about $40 from the federal government. this history is what i wanted the book to reveal. to make us think, is it right to have a sculpture supposedly representing freedom when it is a white version of what freedom is? susan: 12 years ago c-span did a feature video on the u.s. capitol and this is a clip about historians talking about the statue of freedom. >> december 2, 1863 is one of the greatest days in the history of the building. the head and shoulders of freedom were mounted into place on top of the dome. >> the most interesting part of my research so far has been the statue of freedom, which was cast in bronze by an enslaved laboring -- laborer named philip reed. i think it's interesting because it is so ironic that the statue of freedom was cast by an enslaved person who was freed by the time the statue was raised upon the building because of emancipation. susan: do we know how philip reed felt about the contributions? ms. thompson: we don't. that's the difficult part of writing these histories. if people have been silenced in the historical record, you can interpret whatever you want back onto their lives, or you have to be very careful not to do so. but i found when writing the book that speaking for someone still happens. the indigenous activists i interviewed about why he took down the statue of columbus, there had been so much reporting on the action that hardly anyone had bothered asking him why he did it. these debates about monuments often go that way. people assume they know what other people want from monuments but in reality, if you look closer, you will see there are all sorts of strange motivations and histories that can be entertaining or enlightening. susan: the statue went up under the orders of president lincoln. did he ever speak about the statue? ms. thompson: i do not think so. or at least i do not know. lincoln has also become a controversial figure in monuments in the last few years so there have been protests about some lincoln monuments. some of those protests are because of lincoln's actions in approving the execution of indigenous people in the aftermath of the u.s. dakota war. and sometimes they are because memorials to lincoln also include representations of the emancipation that can be insulting, implying that emancipation was given as a gift by lincoln instead of fought for by people who wanted it. one memorial and washington, d.c. has become controversial. a copy in boston has been removed in storage because it shows lincoln handing a scroll symbolizing emancipation to a kneeling black man. he has chains and that chains are broken but he is in a very passive, kneeling posture. it is as if he is still enslaved and had nothing to do with winning the freedom. the face of the kneeling man is modeled after a photograph of a man named archer alexander who was known by the man who commissioned the statue. alexander escaped from his owner in the midwest during the civil war and made it to a free state and then was kidnapped by people who wanted to sell him into slavery and he escaped from them. so the irony of the face of someone who escaped slavery twice being used to represent the face of a powerless man has not escaped notice. susan: i want to spend a couple of minutes on horatio greenough. you called him the father of our monuments. what is important to know about him? ms. thompson: he was the first american to be commissioned to create public art for the capital. before him it was usually italian artists called to come in to make art that americans were not yet experts. he is the first to make a monument of george washington and he also saw it removed two years later. he decided to use a neoclassical style and was commissioned in the 1830's to make the statue of washington. it shows washington in a toga, sitting on a roman throne, naked from the waist up and handing over the sword to the next president. he is raising his hands to the heavens to show the link between washington on god. it is a strange looking statue. the head was placed on a statue that had been carved during washington's lifetime. so his face is old and he has wrinkles and jowls and then from the neck down he is a superhero. the attempt was to show that he was a perfect leader with a perfect body. he was made fun of a lot for the sculpture. congress said it looked like washington stepped out of a bathtub or sitting in an outhouse. if you read between the lines you see what they objected to was the idea that washington was a perfect leader blessed by heaven because how can you be the next president if you need the favor of god instead of just the votes of the people? so it was removed and put in a museum. the removal went basically without comment. that is what is different from today. if people want in power want the monuments gone, it is easy. if you do not have the political capital to get a monument especially removed, it will be messy. susan: the longest chapter in your book is about a sculpture associated with mount rushmore. but you discuss an earlier work, the stone mountain monument. in the stone mountain, georgia. when did you learn? ms. thompson: it is the world's largest confederate monument. it is the largest relief carving. it is a portrait of jefferson davis, stonewall jackson, and robert e. lee riding across a cliff on a mountain. a few miles outside atlanta, georgia. the project began in 1914 when a confederate widow wanted to put up a portrait of robert e. lee on the side of the cliff. she hired dustin, a strange choice because he lived in connecticut and was the son of danish immigrants and head made his name sculpting portraits of lincoln. he even named his son lincoln and wanted to be commissioned to do the lincoln memorial. it didn't work and he was broke and in debt and didn't know what to do next when out of the blue he got this call from georgia. so he went down and said this is a perfect mountain, made of granite, it is in the panama canal and fort knox and it will be a piece of cake to carve it. but you are thinkin