Julian Shakespeare Carr and his half brother John O'Daniel
Turner discusses community reactions to the racial intermingling of prominent Durham families, focusing particularly on her knowledge of Julian Shakespeare Carr and his relationship to his half-brother, John O'Daniel. According to Turner, it was common knowledge in the community that the white Carr family shared heritage with the African American O'Daniel family from the late nineteenth century into the early twentieth century. In addition to drawing on community knowledge, Turner offers as evidence letters between Carr and O'Daniel that she received from O'Daniel's grandson, who she once dated. Shortly after this passage ends, Turner argues that this family dynamics were common and widespread throughout the South.
Citing this Excerpt
Oral History Interview with Viola Turner, April 17, 1979. Interview C-0016. Southern Oral History Program Collection (#4007) in the Southern Oral History Program Collection, Southern Historical Collection, Wilson Library, University of North Carolina at Chapel Hill.
Full Text of the Excerpt
- WALTER WEARE:
-
We were talking about white folks. Sometimes it gets a little ambiguous
as to who's white and who's black. There's all this folklore, and I know
it's more than folklore, about Julian Shakespeare Carr.
- VIOLA TURNER:
-
When I read in your letter that that middle name was Shakespeare—I'd
never known that before. Julian S. Carr. I never had even questioned it
in my mind.
- WALTER WEARE:
-
Do you remember him at all? Had he died?
- VIOLA TURNER:
-
I believe he had died when I got here. I say it like that, because the
estate was still intact, and stayed so a good long time, so that I knew
all the things, almost, that he wrote about in his letters. What he was
sending home and that sort of thing. But I believe he had died. I don't
believe he was still living when I got here, in '24. But even the
furnishings, and that sort of thing, was in their place. I've been other
places and seen pieces of the furnishings that came out of that
house.
- WALTER WEARE:
-
So the story is that Julian Shakespeare Carr—what? His half-brother? You
know the story.
- VIOLA TURNER:
-
Yes. John O'Daniel. Oh! You want to hear that? You want me to tell it?
Oh. Well, as I heard the story, and saw many things as evidence that it
was true, and there was no pretense of denial. But, Julian Carr and John
O'Daniel were half-brothers, And John O'Daniel worked for Julian Carr.
And I knew the O'Daniel family. As a matter of fact, I went with the
grandson of John O'Daniel. The story went—and I think that's one that
could be documented—that the O'Daniel family and the Carr family had
sons, or children, almost at the same period. Identically. There's be a
John Carr, there'd be a John O'Daniel. Or a Willy Carr, there'd be a
Willy O'Daniel. Those are actual names. John,
Willy. And I knew some more. I hope I haven't forgotten them; but I
guess I have. But any rate, there were several sons. And they seem to
have been born very similarly—have very similar birth dates. And they
were named with the same names. So there'd be one in each of these
families. And of course the talk in the town—and I guess both in the
white community and in the black community; I learned they both gossiped
about the same—all agreed that they were the half brothers. These two
men were half-brothers and these were their separate families.
- WALTER WEARE:
-
John O'Daniel and Julian S. Carr shared the same father, is that
right?
- VIOLA TURNER:
-
I don't think anybody ever said in my presence. They simply said that
they were half-brothers. I don't think anybody ever said who was their
father, to me. Maybe it was the talk that these were so-and-so's sons,
but I don't know that. But the talk when I came was that they were
half-brothers. Now why I considered it so authentic was two things.
First this number of family sons. I don't know if there were any
daughters. The sons are the ones that I knew, because I knew most of the
O'Daniel sons. And the Carr sons. And then, Mr. O'Daniel had died when I
got here, and they were talking about the funeral. And at the funeral,
the pall-bearers had been a Will O'Daniel and a Will Carr, a John
O'Daniel and a John Carr, and a so-and-so O'Daniel and a so-and-so Carr.
And the other names—I don't know why they're escaping me right this
minute, because I knew three sons: Willy, John, and another one. No,
that's a grandson named Thurman. But whoever Thurman's father was, was
another son.
- WALTER WEARE:
-
Did you know any of the sons on the white side?
- VIOLA TURNER:
-
No. I didn't ever know them personally.
- WALTER WEARE:
-
Did you ever see them? In fact, did they look alike?
- VIOLA TURNER:
-
Well, I don't know about that. They could have.
- WALTER WEARE:
-
Were the O'Daniel sons light-colored?
- VIOLA TURNER:
-
[laughter] I just got through telling you,
mister, all whites look alike to me. And the O'Daniel sons were just as
white as the Carr sons. So I imagine if you took a real good look at
them, they did look alike. But I don't know. I never had seen that. What
did I start to say about them? This was the conversation I heard when I
got here—talking about the pall-bearers being O'Daniels and so-and-so's.
But I had been in the O'Daniel home many times, which was right across
the street from Mr. Sapulding, and where I lived. This great big,
two-story house. And when you would go in there, like Southern homes
everywhere, I guess, there's this wide hall. And after you got into the
entrance, they had a parlor. Well, I guess you'd call it a living room
on one side and a parlor on the other. But the two, like so many people
have in these big houses, one was the living room and the other was the
parlor, across. And then there was this wide staircase that you went up.
And when you got upstairs that hall went all the way down. And, while I
can't tell you in detail any more, because at that time I was not that
interested. When I did become interested, it was too late. But down that
hall, on either side, there were portraits of—what I believe I'm correct
in saying—O'Daniels and Carrs. But there were portraits on both sides of
that hall, going down, and big ones like that. So, that was enough to
sort of authenticate what you heard. But, then, in later years, the
grandson, who I used to go with, came over to where Betty and I were
living right across the street, one evening. And brought several
letters—three or four or five letters. And they were letters that Carr
had written to John O'Daniel. When his wife died, he took a trip around
the world. From the various countries he
visited, and different places where he stopped, he wrote to John
O'Daniel, these beautifully written letters. Old-fashioned,
, flowery, flowing letters. The writing. And then
the wording was beautiful, too. Old-fashioned, you know, very flowery.
If he was going to say ‘sunset’, he'd have to say something about the
golden sunset against the heavenly blue—all that sort of thing. But it
was perfectly beautiful. He would write to John. ‘Dear John’, then he
would go on to long, two or three pages of the beauty where he was and
what he was seeing. And also would be in there how this or that
particular thing brought back the memories of his beloved wife. And he
would go into a great deal of description on that. And then he would go
to the shrubbery or the flowers or the trees of the section of the
world, or the country, or wherever he was, and what he was going to
purchase and send home. And from all around the world, he sent shrubbery
and trees, things of that kind, and then he would tell John how to
handle them, what to do with them. And always the letters were with deep
affection: ‘Dear John’ this and ‘Dear John’ that. ‘My dear John, be
careful. Don't overtax yourself. Let. . .
[laughter] Let the poor niggers do that.’ Oh yes. He's
worried about it. He'd tell John not to do anything to overtax himself.
Then he'd go: ‘And now, dear John, my mind turns to Durham. And it
should be the beginning of the winter season. And I'm thinking of the
poor niggers and how they will suffer from the cold. I want you to go
out to Farm, and bring in—’ I hope I'm getting
this straight now; the only thing I can remember, and I think that's
right: —the last corn meal, flour, and meat. See that they get that and
see that they get coal and wood so they will not be suffering from the
cold.' Now after he's taken care of the poor niggers, then he turns:
‘And now I'm thinking about my good friends Shepard, C.C. Spaulding,
and Charlie Amey, and Dr. Moore.’ And he might
have some particular comment, tell them this, or tell them I'm thinking
about that. Or he might make some specific comment on one of them. Now
that's an entirely different person, you know. In another different
classification, in his own mind, and everything. He refers to them as
good friends and ‘you tell them what I'm doing’, or ‘you tell them I
said this’, or so-and-so and so-and-so. Then he goes back to ‘Dear
John’, and all of that part again is solicitous. Solicitous that he take
care of himself, that he gets these things done that he wants done, but
have it done. You're not to do any heavy work on it, but oversee it.
Then he'd close that, and the next letter would be just about. . .that
was the pattern of them. And I had those blooming things in my hand and
could've kept them. But I don't think John Allen had any particular
value attached to them—certainly I didn't. All I did: they just tickled
me to death. I fell out and laughed over them you know, or maybe I'd see
something I didn't like, or anything. But any rate, more or less I was
just entertained with them. I guess, really, when I began to realize, oh
that was a mistake, that family began to. . .well, disintegrate isn't
the word. Disappear, I guess, is the word I mean. You know how you think
something's going to be there forever.