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title: Harper Lee New Book: Atticus Finch Confronted What the South Couldn&#x27;t
description: In &#x27;To Kill a Mockingbird&#x27;, Harper Lee recognized the way white southerners face harsh truths—In &#x27;Go Set a Watchman&#x27;, she did not
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author: TIME
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article:published_time: 2015-07-20T13:47:21.000Z
article:modified_time: 2026-02-22T09:21:48.391Z
article:section: Ideas
og:title: Atticus Finch Confronted What the South Couldn&#x27;t
og:description: In &#x27;To Kill a Mockingbird&#x27;, Harper Lee recognized the way white southerners face harsh truths—In &#x27;Go Set a Watchman&#x27;, she did not
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og:image:alt: Harper Lee&#x27;s &quot;new&quot; novel &quot;Go Set a Watchman&quot;.
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twitter:title: Atticus Finch Confronted What the South Couldn&#x27;t
twitter:description: In &#x27;To Kill a Mockingbird&#x27;, Harper Lee recognized the way white southerners face harsh truths—In &#x27;Go Set a Watchman&#x27;, she did not
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![](https://static.time.com/v3/assets/bltea6093859af6183b/blt8c3645b5720b368a/69885b74a988ca445a6b382d/go-set-watchman-cover.jpg?branch=production&width=828&quality=75&auto=webp&crop=16:9)


# Atticus Finch Confronted What the South Couldn't


by 

[W. Ralph Eubanks / Zocalo Public Square](https://time.com/author/zocalo-public-square/)


## W. Ralph Eubanks / Zocalo Public Square


Jul 20, 2015 1:47 PM UTC

![Harper Lee's "new" novel "Go Set a Watchman".](https://static.time.com/v3/assets/bltea6093859af6183b/blt8c3645b5720b368a/69885b74a988ca445a6b382d/go-set-watchman-cover.jpg?branch=production&width=3840&quality=75&auto=webp&crop=3:2)

Harper Lee's "new" novel "Go Set a Watchman".

Harper Lee's "new" novel "Go Set a Watchman".Portland Press Herald/Getty Images

by 

[W. Ralph Eubanks / Zocalo Public Square](https://time.com/author/zocalo-public-square/)


## W. Ralph Eubanks / Zocalo Public Square


Jul 20, 2015 1:47 PM UTC

While there are many noble characters in the pantheon of Southern fiction, few have the iconic standing of Harper Lee’s Atticus Finch. Since the publication of _To Kill a Mockingbird_ more than 50 years ago, this fictional character has become profoundly real to many Southerners, and not just because of the way Gregory Peck brought him to life on film. For former United Nations ambassador and Georgia native Andrew Young, Atticus Finch represented “a generation of intelligent white lawyers who eventually, in the ’50s and ’60s, became the federal judges who changed the South.” Tennessee native and journalist Jon Meacham once said, “We all like to think Atticus Finch was our father or grandfather.”

Now Harper Lee’s _Go Set A Watchman_, which is set some 20 years after _Mockingbird_, presents a less than noble Atticus, one you may not want to think of as your father or grandfather. The man who performed the valiant job of defending a black man falsely accused of rape in _Mockingbird_ is now, in the pages of _Watchman,_ attending Ku Klux Klan meetings, joining the White Citizen’s Council, and advocating eugenics. This new depiction of Atticus will certainly change the legacy of a seminal figure in Southern literature.

The South came to idolize Atticus Finch because he confronted the issue of race in a way that white Southerner liberals and moderates in the ’60s wish they could have had they lived back in ’30s. At the same time, Atticus gave them permission to stand up against the gross inequities of Jim Crow laws, which were still in effect when the book was first published.

_To Kill A Mockingbird_ is not a book I read in school, but was one I read on my own. I am a child of the _Brown vs. Board of Education_ decision, but few public schools in Mississippi’s post-1970s court-ordered integration era were willing to take on Lee’s novel. Race was not discussed at school, even though the issue hovered throughout everyone’s life in the small town where I grew up. Consequently, _Mockingbird_ was a book I discussed outside of class with like-minded classmates, both black and white. As my children grew up, _Mockingbird_ had become required reading in seventh grade at their Washington, DC, public school and they were able to have discussion on race in the classroom I could never have.

A few years ago, when I was invited to read at the Alabama Literary Festival, I witnessed first-hand how Lee’s hometown of Monroeville—and indeed all Southerners—had come to embrace the novel. After watching a re-enactment of _Mockingbird_’s courtroom scene from the “colored” balcony at the town’s courthouse and gathering by the monument to Atticus with a group of fellow writers, I noticed how we all spoke of him as if he were someone we knew, not someone we read about in the pages of a novel.

The reason the Atticus of _Mockingbird_ is iconic and the one in _Watchman_ feels alien is because as Lee reworked _Watchman_ into _Mockingbird,_ she tapped into a key component of Southern culture: the need for folk heroes and mythic figures. It is through the folklore of the South that the region places a mirror up to its virtues and failures. Robert Penn Warren created Willie Stark in _All the King’s Men_ as a means of looking at stories surrounding Southern politicians like the populist (or demagogic, depending on your view) Louisiana governor and U.S. Senator Huey P. Long—who is said be the basis for Stark. William Styron’s _The Confessions of Nat Turner_ drew on both narrative accounts of a slave uprising and the folklore surrounding the leader of the rebellion, Nat Turner. It was in this tradition that Lee created Atticus Finch.


Without a doubt, Harper Lee recognized that folklore and myth stand as pillars of the way Southerners both face harsh truths and—as we have seen recently in the debate over the Confederate flag—cover them up. Southerners, particularly white Southerners, needed a figure that represented the tradition of the progressive in the history of the region, protagonists like turn-of-the-century New South advocate Henry Grady, whose speeches Atticus advises his son Jem to read in _Mockingbird_. Atticus Finch became that figure. Segregation painted even progressive Southern whites in a corner that became violent and ugly, and Atticus Finch revealed to them a way out. As Southern historian C. Vann Woodward has noted, irony and the South have never been strangers.

If there is one mythic theme that has the strongest hold on the mind of the South, it is equality and its connection to the past and present. The very idea that a separate social system under Jim Crow could be considered equal is an example of this myth’s primacy. What Lee sought to do in _Mockingbird_ was to reveal holes in the myth of equality in the South, but in a way that both Southerners and Northerners could understand. Atticus was the convener of this discussion: Like any Southern liberal of his generation, Atticus does not challenge the foundation of Jim Crow privilege, even though he is actively defending a black client and trying to show his fellow white citizens to learn how to walk in another man’s shoes. He knows that he cannot convince a jury to treat Tom Robinson as an equal. So, Atticus Finch was a man of his time rather than a man before his time.


It is difficult to see how the Atticus of 1935 in _Mockingbird_ would have evolved into the intolerant old man depicted more than 20 years later in _Watchman_. The older, more infirm Atticus lacks the moral center that drove him in _Mockingbird_. The book itself does not indulge in that bigotry—the adult Scout is physically repulsed by her father’s attitude. But this doesn’t work as well as it should because the adult Scout—now called Jean Louise—is preachy and self-righteous. And now, there’s no one to cheer for. It is clear why Lee’s editor Tay Hohoff asked her to rework the narrative.

Lee’s original creation may have lacked the complexity of the way William Faulkner wrestled with race in his fiction, but the simplicity of the storytelling allowed Atticus’s message of racial justice to reach a broader audience. Unfortunately W_atchman_ does not embrace that complexity either and also lacks power in its storytelling.


Lee has created two separate but unequal fictional universes. Yes, they are part of a continuum—and they also represent some kind of corruption of Atticus that we can’t forgive because he devolves rather than evolves. In _Watchman_, Atticus becomes part of the forces in the South that Lee wrote _Mockingbird_ to counteract.

I am with the group that feels _Go Set a Watchman_ should have been left in that safe deposit box in Monroeville, to be discovered and studied by scholars as an artifact after Lee’s death rather than published for millions to read. It is more compelling to see how a writer’s work evolves rather than to publish an earlier draft, no matter how well written it is. And we all know it is a sin to kill a mockingbird.

_Ralph Eubanks is the author of_ [Ever is a Long Time](http://www.amazon.com/Ever-Is-Long-Time-Mississippis/dp/0465021050) _and_ [The House at the End of the Road](http://www.amazon.com/House-End-Road-Generations-Interracial/dp/B003MAJNNU/ref=sr%5F1%5F1?s=books&ie=UTF8&qid=1436992973&sr=1-1&keywords=house+at+the+end+of+the+road+eubanks&pebp=1436992975685&perid=1JXDJ4JNTQXW4FGZM9C6)_. A native Mississippian, he now lives in Washington. He wrote this for_ [_What It Means to Be American_](whatitmeanstobeamerican.org)_, a national conversation hosted by the_ [_Smithsonian_](americanhistory.si.edu) _and_ [_Zocalo Public Square_](zocalopublicsquare.org)

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