Review of ‘Overground Railroad: The Green Book and the Roots of Black Travel in America’

As a member of the Society of Automotive Historians, I am sometimes asked to provide a review of a book nominated for the prestigious Cugnot Award for the organization’s bi-monthly SAH Journal. One of the books under consideration in 2021 was Overground Railroad: The Green Book and the Roots of Black Travel in America by Candacy Taylor. I was introduced to The Green Book through Cotten Seiler’s seminal text Republic of Drivers: A Cultural History of Automobility in America while a graduate student at Eastern Michigan University; the publication came into the public consciousness with the release of the Oscar winning film of the same name. I welcomed the opportunity to read and review the most current examination of this influential and important publication. It proved to be an interesting and enlightening read. For those who may be curious about the book, I have included my review below.

Overground Railroad: The Green Book and the Roots of Black Travel in America
By Candacy Taylor
Abrams Press, NY (2020)
360 pages, 6 ½: x 9 ½” hardcover, dustcover 
150 color and black-and-white illustrations
Price: $35
ISBN: 9781419738173

The Green Book – a travel guide for black Americans produced from 1936-1967 –  is the subject of two exemplary publications released in 2020. Driving While BlackAfrican American Travel and the Road to Civil Rights was reviewed in the March/April 2021 issue of the SAH Journal and was the recipient of a 2021 Cugnot Award of Distinction. Author Gretchen Sorin focuses her account on the history of African-American car ownership and travel, particularly how the Green Book served as an impetus for black Americans to break the societal constraints of mobility placed on them since the days of slavery. Candacy Taylor, in Overground Railroad: The Green Book and the Roots of Black Travel in America, takes a somewhat different, yet equally impactful, approach. Relying on historical documents, photographs, oral histories, family stories, as well as personal visits to remaining businesses and building sites featured in the travel guide, Taylor provides a chronology of the Green Book within the context of historical events that made its publication valuable if not vital to the black community. 

The Green Book was created to address the need and desire of black Americans to engage in safe travel during the Jim Crow era. The publication’s byline – ‘Carry Your Green Book With You – You May Need It’ – underscores the difficulties African-Americans faced when journeying away from home through unfamiliar areas. Yet as Taylor argues, the Green Book’s influence and impact was twofold. Not only did the annual publication serve as an essential travel guide, but as an effective and indispensable marketing tool for black-owned businesses as well. Through advertising, grassroots promotion, and word of mouth, the Green Book assembled an impressive list of hotels, restaurants, entertainment venues, recreation areas, stores, service stations, salons, and vacation spots that offered safe and welcoming accommodations for black travelers. Taylor’s examination of the Green Book is unique in this regard. For while she offers historical and first-hand accounts of the dangers of driving while black in America, she also suggests that the very need for a travel guide provided recognition as well as financial support for the many black-owned business establishments featured in each issue. This shared emphasis weaves throughout each chapter, as Taylor combines historical data and personal accounts of black travel with descriptions and photographs – many taken by the author – of the sites frequented by black individuals and families as they made their way across American roads. Taylor also includes a chapter on how the Green Book served as a source of empowerment for black women, who through advertising in the publication were able to experience a measure of success running businesses that included hotels, beauty shops, tourist homes, and sex clubs. Another chapter is devoted to the Green Book’s role in the Great Migration, and how it provided information not only on safe stops along the way but also on welcoming locations in which to relocate. 

Taylor holds a master’s degree in Visual and Critical Studies and is widely recognized as an award-winning author, photographer, and cultural documentarian. Like much of her previous work, Overground Railroad is part of a broader project which includes the book, a traveling exhibition by the Smithsonian Institution, as well as a children’s book, board game, and walking tour mobile app. In the book’s afterword, Taylor includes a Green Book Site Tour, the Green Book Cover Guide, as well as recommendations for local and national activism supported by a who’s who list of prominent African-American scholars, journalists, and legal experts. Taylor’s overarching goal in this project is not only to examine the Green Book’s influence on black American travel and black-owned businesses during the era framed by Jim Crow and the Civil Rights movement, but also to inspire readers to challenge the social and legal inequalities that exist in the present day. 

While The Overground Railroad is well-researched, it is more experiential than academic, often relying on recollections of family members and black business owners, as well as  observations from Taylor’s 40,000 mile road trip in which she visits and documents nearly 3,600 remaining Green Book establishments and former building sites. The book’s less scholarly, more familiar language and tone makes the book accessible to a wider, and perhaps more inclusive, audience. That being said, the Overground Railroad project has been awarded numerous fellowships and grants from prominent educational and cultural institutions and was named a New York Times Notable Book of 2020.

Prior to the release of the popular motion picture The Green Book in 2018, most Americans were unfamiliar with the publication from which it took its name or the need for its existence. Overground Railroad is both a timely and necessary follow-up to the Oscar-winning film. Throughout its adeptly researched and photo-rich chapters, Taylor not only documents the injustices and real-life dangers black Americans faced while on the road, but provides the impetus to create change through political activism. As Taylor writes, “I wanted to show [the Green Book] in the context of this country’s ongoing struggle with race and social mobility.” For the problems black Americans face today, Taylor continues, “are arguably just as debilitating and deadly as the problems the Green Book helped black people avoid more than 80 years ago” (22). Overground Railroad is recommended not only as a unique examination of a dark era of American history, but to demonstrate how, as Taylor asserts, “real change can come from simple tools that solve a problem. That is why the Green Book was so powerful” (295). 

New Car Resolutions

Jalopnik recently posted an article requesting its readers to submit Automotive New Year’s Resolutions. As Jalopnik articles often do, this one got me to thinking about my own car-related plans for the coming year. As it turns out, my 2022 car resolutions can be divided into two categories. One is concerned with my car-related scholarship, the other with my actual cars. Both areas, as it turns out, are due for some much needed attention.

I had a pretty good year in terms of publishing and promoting my work on women and cars. My article on women and cars in film is featured in latest issue of the Journal of Popular Culture, and my car advertising exploits made the cover of the most recent Automotive History Review. I also completed and contributed a chapter on the history of all women-racing to a yet-to-be-published history-of-motorsports collection. In terms of presentations, I was a featured speaker for the Motor Cities National Heritage organization, was invited to expound on my AHR article at the Automotive Hall of Fame, and presented an idea for a new project on Barbie cars at the Popular Culture Association Conference that was pretty well received. I also attended a couple of autocross events and interviewed a few women for a prospective project on women who compete in the sport. And I managed to crank out at least two blogs a week on new and recycled topics.

Alas, other aspects of my life caught up with me in the fall; consequently, I have accomplished little real work during the last few months. My goal for the coming year, therefore, is to pick up where I left off, adding some new projects along the way. Items to check off are the completion and submission of the Barbie car paper, the continuation of interviews for the autocross project –  so that an article can be completed by the end of the year – and the commencing of new projects to include a study of women who own jeeps, an examination of women who work as auto journalists, and a Wikipedia entry focused on little known UAW and NOW groundbreaker Dorothy Haener. It is quite an ambitious list, but I am only getting older and would like to move forward as quickly and aggressively as possible while my facilities remain intact.

As for my actual cars, my two classics have been greatly neglected during the pandemic. In 2020 car shows were canceled; consequently there was little incentive to get them out and show them off. In the spring of 2021, my husband underwent serious surgery which put a kibosh on classic car activities. The cars – a 1949 Ford and 1967 Shelby Mustang – have been idle for so long that I am afraid I will have forgotten how to drive them – i.e. how many gears are there and what is the shift pattern? Therefore my resolution for this summer is to get the two beauties out early and often and enjoy them, whether at a car event or just tooling around. 

One other car event that will be taking place will be replacing our current cars with new ones. As we are downsizing and moving next year, we will be consolidating our current vehicles and replacing those that are no longer necessary for our new lifestyles. So if the North American Auto Show eventually, finally takes place, we will be there checking out the latest models.

Happy new car year everyone, and may your 2022 automotive dreams come true.

Women’s Classic Connection

Charlotte Vowden riding with her late grandfather in a 1960 MGA Roadster.

In my work on women in various car cultures, I have discovered that women often develop an interest in cars through the help of male family members. Working in the garage alongside fathers, uncles, and brothers creates a familiarity with all things automotive that often grows into a serious involvement with cars in later years. Dads in particular instill automotive knowledge in their young daughters as a means of protection – from unscrupulous car dealers and automotive repair shops. They teach them how to make simple repairs to avoid being stranded on the side of the road. Husbands, on the other hand, often instill a love for cars in the hope that their wives will share their interest and participate alongside them in auto-related activities.

However, many women with a car-crazy family member don’t develop an enthusiasm for automobiles until that individual passes. After inheriting a classic classic car from a father or grandfather, women must decide whether to put the vehicle up for sale or to keep and maintain it. Those who choose the later find they must master the peculiarities of driving an antique machine. In the process, they often become full-fledged enthusiasts, joining car clubs, learning restoration processes, and submersing themselves in automotive history. I met some of these women while conducting research on various women and car projects. A recent article in the Sunday Times features stories of numerous women – many similar to those I encountered – who found themselves the unlikely owners of classic MGA Roadsters, Austin Healeys, and Porsches. 

The women interviewed in “Women with Drive” speak of how taking the wheel of an old MG Midget or VW convertible provides a connection to a family member who has passed on. They admit to how the mechanics of these aging vehicles originally terrified them; the women wondered how they would ever conquer such complicated and unfamiliar machines. Yet, they found that spending time in the automobile, discovering all of its idiosyncrasies, and emerging victorious after months of intensive driving provided a means to confront their grief and move past a personal loss. It allowed to remain connected in spirit to a dad or favorite grandfather. Remarked the owner of an inherited 1936 Austin Healey, “this car is part of my dad that I still get to hang on to.”

Some of those interviewed for the article spoke of how they discovered a latent love of old cars after a male partner introduced them to the world of classic automobiles. In my own research in women and muscle cars, I note how men often encourage an interest in American muscle – and often acquire and restore a vehicle of their spouse’s choosing – as a way to alleviate guilt [over spending so much time and money on cars!] as well as to strengthen the relationship through a shared interest. While my research took place primarily in Southeastern Michigan, the Sunday Times article includes stories from women all over Europe, demonstrating that a female interest in cars, while often under the radar, is worldwide. 

What the Sunday Times article attempts to convey, and which I have endeavored to promote in my scholarship, is that despite the common perception of female motorists, women with an interest in cars exist in all facets of automotive endeavors and activities. While one may find it surprising that women connect to cars in a multitude of ways, it is only because we have been conditioned to believe that an affinity toward automobiles is present in only half the population. Although women’s relationship to cars may differ from that of men, it doesn’t follow that it is less legitimate. I thank the Sunday Times for this article, and for its dedication to cultivating further discussions about women and cars.

Driving to Congress

A political ad for Valerie Plame

A former coworker of mine – who once worked at the ad agency for Chevrolet – posted this political advertisement on her Facebook page. She commented, ‘Great political ad from an awesome woman. And for my Chevy friends it’s not a bad car commercial either.’ The spot features Valerie Plame, a former CIA officer running for Congress as a Democrat in New Mexico. In the commercial, Plame tells her story: while working as a covert for the CIA, Plame was outed by then Vice President Dick Cheney’s Chief of Staff Scooter Libby, who was later convicted of lying to investigators. Bush commuted Libby’s sentence and in 2018, Libby was pardoned by Trump. Plame’s appeal to voters focuses on her experience with the CIA, her betrayal by Republican politicians, her toughness, and the need to ‘turn the country around’ on national security, health care, and women’s rights. She makes her pitch by driving very fast – in reverse – in a Chevy Camaro.

Whether or not your political leanings side with Plame, the car is an interesting and important component to Plame’s message. While the ‘country going backward’ metaphor may be a little heavy-handed [or heavy-footed, as the case may be], the way in which Plame handles the Camaro provides an insight into her character, ambition, and fortitude. The fact that she is driving a modern and iconic American muscle car reflects on Plame’s past and present dedication to country. And because the muscle car has a long association with masculinity, it announces Plame as someone who can play tough with the big boys. While there may those who suspect a stunt driver was involved, Plame dispels that notion when she declares, ‘Yes, the CIA really does teach us how to drive like this.’ 

As my work focuses on the relationship between women and the automobile, I found Plame’s deliberate use of the car in this non-car commercial to be significant on a number of levels. First of all, the Plame/Camaro pairing disrupts the longstanding notion that women’s interest in cars is centered on practicality. It dispels the myth that high-horsepowered muscle cars are only for men. It calls upon the characteristics of the car – power, performance, boldness, noise, and outrageousness – to define the woman, rather than the man, who drives it. And it suggests that – unlike the popular perception – women may also call upon the automobile as a source of identity, agency, and empowerment.

Do you think cars in non-automotive advertising, or in other media including films and television, have the ability to suggest something about the individual who drives it? Your comments are welcome below.

Published in Journal of Transport History

Born to Drive: Elderly Women’s Recollections of Early Automotive Experiences” has been posted on Open Access with a December 2019 publication date. This was a wonderful project to work on, as the women I interviewed were generous, funny, and had amazing car stories to tell. I am honored to have my work published in this prestigious journal, and I thank the reviewers who offered suggestions, critique, and encouragement in the revision process.

Do you have a mother, grandmother, or family friend now in her 80s or 90s? I invite you to ask those women about their early driving experiences before it is too late. You are welcome to share those stories in the comments section.

“A Woman and Her Truck” goes international

One of the awesome truck-driving-women who contributed to this project.

A dissertation chapter that turned into a conference presentation that evolved into a journal article has finally been published in the European Journal of American Culture. “A Woman and Her Truck: Pickups, the Woman Driver, and Cowgirl Feminism” was inspired by a Chevy commercial and a chance visit to the Cowgirl Hall of Fame in Fort Worth. This article provided me with the opportunity to talk with 25 women from all over the US who are passionate about pickups.

Are you a woman with a pickup? What do you use it for and how do you feel when driving it? You are welcome to share your truck stories in the comments section.