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The book recounts four peak periods in the conflict between white Alabamians and the federal government: the wild rush, in the early 19th century, to seize and settle lands that belonged to the Creek Nation; Reconstruction; the reassertion of white supremacy under Jim Crow; and the attempts of Wallace and others to nullify the civil rights reforms of the 1950s and 1960s.

Throughout, as Cowie reveals, white Southerners portrayed the oppression of Black people and Native Americans not as a repudiation of freedom, but its precondition, its very foundation.

Following the election of Ulysses S. Grant in 1868 and the ratification of the 14th and 15th Amendments, the federal presence in the South was finally robust. So was the spirit of local defiance. In post-bellum Barbour County, Cowie writes, “peace only prevailed for freed people when federal troops were in town” — and then only barely

White men did all this in Barbour County, by design and without relent, and Cowie’s account of their acts is unsparing. His narrative is immersive; his characters are vividly rendered, whether familiar figures like Andrew Jackson or mostly forgotten magnates like J.W. Comer, a plantation owner who became, in the late 19th century, the architect of a vast, sadistic and extremely lucrative system of convict labor

The federal government is a character here, too — sometimes in a central role, sometimes remote to the point of irrelevance, and all too often feckless in the defense of a more inclusive, affirmative model of freedom.

the chaos in Alabama offended Jackson’s sense of discipline and made a mockery of his treaties with the Creeks. Beginning in 1832, and in fits and starts over the following year, federal troops looked to turn back or at least contain the white wave. Instead, their presence touched off a series of violent reprisals, created a cast of martyrs and folk heroes, and gave rise to the mythology of white victimization. Self-rule and local authority — rhetorical wrapping for this will to power — had become articles of faith, fervid as any religious belief.

Thus were white men, in the words of the scholar Orlando Patterson, whom Cowie quotes, “free to brutalize.” Thus were they free “to plunder and lay waste and call it peace, to rape and humiliate, to invade, conquer, uproot and degrade.”

When Grant stepped up the enforcement of voting rights, whites in Eufaula, Barbour County’s largest town, massacred Black citizens and engaged in furious efforts to manipulate or overturn elections. As in the 1830s, the federal government showed little stamina for the struggle. Republican losses in 1874 augured another retreat, this time for the better part of a century. In the vacuum, Cowie explains, emerged “the neoslavery of convict leasing, the vigilante justice of lynching, the degradation and debt of sharecropping and the official disenfranchisement of Blacks” under Jim Crow.

Wallace, as Cowie makes clear, had bigger ambitions. Instinctively, he knew that his brand of politics had an audience anywhere that white Americans were under strain and looking for someone to blame. Wallace became the sneering face of the backlash against the Civil Rights Act and the Voting Rights Act, against any law or court ruling or social program that aimed to include Black Americans more fully in our national life. Racism was central to his appeal, yet its common note was grievance; the common enemies were elites, the press and the federal government. “Being a Southerner is no longer geographic,” he declared in 1964, during the first of his four runs for the White House. “It’s a philosophy and an attitude.”

That attitude, we know, is pervasive now — a primal, animating principle of conservative politics. We hear it in conspiracy theories about the “deep state”; we see it in the actions of Republican officials like Gov. Ron DeSantis of Florida, who built a case for his re-election in 2022 by banning — in the name of “individual freedom” — classroom discussions of gender, sexuality and systemic racism.

In explaining how we got here, “Freedom’s Dominion” emphasizes race above economics, but this seems fitting. The fixation on the free market, so long a defining feature of the Republican Party, has loosened its hold; taxes and regulations do not boil the blood as they once did. In their place is a stew of resentments as raw as any since George Wallace stirred the pot.

In other words, the cultural crackup of the last few months only appears to be part of an international conflict. It is, in fact, resolutely German. What is really being fought over here is a hazy, transcendent national concept that, since Oct. 7, has overtaken more firmly constitutional principles of free expression and free association.

The tensions have been building since at least 2019, when the federal Parliament adopted a resolution designating the movement calling for a boycott of Israel as antisemitic, and urging local governments and “public stakeholders” not to fund organizations or individuals that support it. That makes a big difference here, since so many artists, writers and musicians receive generous government aid. The resolution, though nonbinding, led some cultural institutions to rescind invitations to critics of Israeli policy, and many more to take a hesitant approach.

“People in cultural institutions are risk-averse,” said Tobias Haberkorn, who edits the Berlin Review, a new literary publication. “So if they have to decide, ‘Am I going to invite this or that artist with a Middle Eastern background, or not?’ I can very well see them not inviting them. Just to avoid the potential hassle.”

Since Oct. 7, accusations of antisemitism have flown much more broadly. Some are merited. Many others are dubious. Quite a number of those accused of antisemitism have been Jewish, such as Gessen.

“There are many Jewish perspectives, and that is not being honored here in a country where the history cannot be excused,” said Peaches, who is also Jewish. “For any progressive Jewish person who is thinking about what is going on, and understanding the history of what is going on, to be called antisemitic — by Germans — is ridiculous. Never did I think in 2024 that I would be thinking about that.”

Yet it’s worth pointing out how few of these accusations revolve around cultural production. It is rare for Berlin’s theaters or festivals to cancel someone for what they actually sing or paint or film

What gets you now are statements, posts, likes, signatures: the imperatives of social media, which are swallowing culture wholesale. Once debates like this would have played out in Germany’s elite press, where intellectuals clashed over the country’s moral responsibility to the past. Today the national papers, and the institutions too, are playing catch-up to Ruhrbarone, a small website from the provincial city of Bochum that took down Anderson and many others.