This photo, like so many of those in Michael Eastman’s beautiful, moving, beguiling, maddening collection, transmutes history into timelessness. The house stands alone outside of time. It is a token of the past detached from its actual and ongoing social history.
Because it is about our nation as much as it is about one city, and because Johnson frames it as “the two-hundred-year history of removal, racism, and resistance that flowed through the two minutes of confrontation on August 9, 2014”—the killing of Michael Brown, in Ferguson, which touched off Black Lives Matter—the book is for all of us and for now.
The issue is not whether St. Louis merits a close examination in the context of the American racial tragedy. The issue is whether this is the careful and scrupulous examination we deserve.