March: Book Three

by John Lewis and Andrew Ayden

Art by Nate Powell

ISBN 978-1-60309-402-3

“For so many months I’d kept my emotions bottled up to be strong for those counting on me to lead, but there I was alone in the dark with it all.”

Politician and civil rights leader John Lewis has been representing Georgia’s fifth congressional district for the past three decades. Before that, he enjoyed a long career as a civil rights activist and organizer, and served on the city council in Atlanta. The script for the March graphic novel was written with his congressional aide, Andrew Aydin, who wanted to capture some of the memories Lewis had shared with him in their time working together. This is the third and final volume in the trilogy. Catch up with March: Book One and March: Book Two here.

March: Book Three opens where March: Book Two left off, with the bombing of the Sixteenth Street Baptist Church in Birmingham, Alabama on September 15, 1963. The third volume is by far the longest in the trilogy, and has the most ground to cover, not necessarily in terms of time, but in terms of significant events in the civil rights movement, when participation and media attention gained critical mass. This installment includes the assassinations of John F. Kennedy and Malcom X, the Freedom Summer voter registration project, the Selma march, and the passage of the Civil Rights Bill and the Voting Rights Act. The frame narrative that anchored the first volume has mostly slipped away, with only occasional references back to the inauguration of Barack Obama. It concludes on a meta note, with Lewis and Aydin discussing the idea of turning Lewis’ memoirs into a comic book.

Book three continues to chronicle the violence faced by peaceful protestors, particularly in Mississippi and Alabama as the civil rights movement gained steam. Scene after scene shows demonstrators beaten by police, or police standing by while they are attacked by white supremacists. Volunteers knew they might face violence when they signed up to register black voters in the South, but no one expected three volunteers to be intercepted and murdered before the Freedom Summer even began. Nate Powell’s black and white art chillingly depicts dredging the Mississippi swamps in search of the bodies of the three missing young men. Over and over, it shows the terrible price paid to bring in the Civil Rights Bill and the Voting Rights Act.

In addition to teaching the history of the civil rights movement, Lewis also provides a behind the scenes perspective on the growing pains of a swelling movement, and the ideological differences that arose. He highlights disagreements about the role of white people in the movement, and the role of gender equality as more women began participating. Different organizations often had profoundly different ideas about how to approach their advocacy, which Lewis presents in a diplomatic fashion. We also see Lewis beginning to move in powerful circles, not just the leadership of the student movement, but also among other civil rights organizations, and even meeting the president. This might be a little inside baseball for some readers, but it does drive home the amount of behind the scenes work and debate involved in bringing about change.

Throughout March, Lewis emphasizes action over legislation, highlight the fact that while laws are important, they mean nothing without practical enforcement or compliance. Even as it concludes at a triumphal moment, with the inauguration of the United States’ first black president, there is a note of sadness and caution. One of the last scenes depicts Lewis listening to his voicemail. “I was thinking about the years of work, the bloodshed…the people who didn’t live to see this day,” Ted Kennedy says as Lewis listens in the dark, head in his hands. March is dedicated to “the past and future children of the movement.” And the next day, Congressman Lewis is back at his office, planning to educate those future children about what was lost, what was gained, and the work yet to be done.

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