Truth and Reconciliation Across Generations

This is Fresh Air. I'm Tanya Mosley today , a story about how American racism tore a family apart and how Pope Leo XV was the catalyst for bringing them together . Last spring, when the news broke that the newly elected pope had crele roots in New Orleans and that his own grandparents had quietly become a white family in Chicago. Journalist Susan Saulney recognized the story immediately . Her family had lived a version of it. Her grandfather, George, was a black brick layer who raised his children in New Orleans. His brother Edward was black too, but a shade lighter. Light enough to leave for Chicago in the early nineteen twenties, remake himself as a white man and never come back. Susan grew up with just one picture of him, a young man barely nineteen , propped on her grandfather's China cabinet. Five words in Creole did all the work of explaining Edward Pass Blanc white passing . A century later, Susan set out to find the white family Edward built in Chicago and to see whether what racism had broken could be put back together . Her piece in the New York Times is called A Family Secret No More Susan Saulney, welcome to Fresh Air Oh thank you and it's a pleasure to be here. Take me to the moment you saw the headline about the new Pope . I was at home in Washington DC and I saw this news and like a lot of America, I was stunned I'm in touch with a lot of people in New Orleans over different social media channels or text threads and immediately I saw an eruption of excitement and I figured that's completely normal for a city as Catholic as New Orleans, you know? But what I began to see is that hey everybody, he's got roots here . He's creel . And I thought, Tony, you know the amount of misinformation . But that same night, a historian in New Orleans, a very well known researcher who helped me on the story, who went on to do that, and the Archdiocese of New Orleans confirmed that news. So it was an amazing feeling. Here's what you also recognized instantly and I find this really fascinating. The pope's family , they didn't just have roots in New Orleans , they moved to Chicago and so did your great uncle Edward . Why do you think you never went looking before the Pope headline for this particular story about your family? You know my gra,ndfather kept Edward's secret right from the very beginning out of a sense of protectedness for him. He knew that this was a very dangerous and risky thing that Edward was doing. And when Edward left, he was just a teenager or a very young man in his twenties . My grandfather was the oldest and I think felt a real sense of well, protection toward him. And that's the feeling that he passed down to all of us. We don't talk much about Edward . We don't want this to get out. We protect Edward because black men who were found to be posing as white could face all sorts of violence , even death in the Jim Crow er a. So to my grandfather, this was a matter of life and death and he passed that feeling on to my mother's generation and then they passed it on to me. So when I lived in Chicago , I was very busy with other things news related and finding that's a point. I just want to step in just for a moment to say, you lived in Chicago, the same city where your relatives were living several years ago. And so you kind of knew about this, but go ahead, continue from there. Yes, I knew about it, but I didn't look into it at the time because I think I had a little bit of my grandfather's voice still in my head saying, Leave well enough alone. But what made this moment different, it's the confluence of a lot of things. It's my mother's age and that she never knew what happened to Edward . And she's eighty five and she's losing her memory. And I wanted her to know what happened to her uncle and the pope's announcement and the fact that generation of Chicago cousins, this third generation , they have a new attitude and a new spirit. And I had a feeling that they might be open to hearing this information. And sure enough, my hunch was right. That's one of the more fascinating parts of this story that we're going to get to, but I want to know a little bit more about the protective nature that your grand father had for his brother , how you saw it , because you would sometimes be in conversation with him, can you describe how he would actually say this thing blanc and Cele La Ville. Was it sort of a resignation? Was it bitter? Was it resigned? My grandfather was someone who sort of he didn't do a lot of complaining. He took what gave him and tried to do the best he could . He walked a lot with me and other grandchildren because he never owned a car. He never learned how to drive. So I have lots of memories of walking around different parts of New Orleans with him. And one walk that we liked to make was toward Bayou Saint John to see the water. And I remember on one of these days I just asked him, there were so many people in my family. Everyone had brothers and sisters, and there's so many aunts and uncles that said, you know, somebody like Grandpa, why don't you have any brothers and sisters? And he said, I do. And that was a surprise to me. And he said , he often spoke in little French or crele phrases, little catchphrases . And the one he said then was Pass Blanc and Celevi As a child, how did you interpret that? It was often frustrating , but he had his reasons I understand now . And I think back and I wonder how would the truth have helped a little black girl that he's trying to raise with pride and ambition . I think he was trying, just like he was trying to protect Edward. He was trying to protect me. So you did this thing that you had not necessarily been avoid ing, but you hadn't come to yet in your mind on actually covering and digging yourself . And you turned your reporter's tools toward this story, this family, and you didn't just find your missing great uncle. You went back generations starting with one of the early settlers of your family, a French wine merchant who steps off a boat in New Orleans in eighteen thirty four . Who was that first degrange that you found Jacques Degrange came from the alpine region of what is now southeastern France , and he prospered almost immediately selling wine in New Orleans . And prior to this reporting, I didn't know much about him . What we found was he came to America and did well and almost immediately enslaved women and children . And his son went on to be one of the first men to volunteer to fight in the Civil War. So what I learned that I hadn't known was that my family on the French side, they were die hard defenders of the Confederacy . They weren't just in New Orleans and sort of going along for the ride, they were very much a part of the active fight for the South . And the extent of that had never been clear to me. The colonel, your great grandfather. He was one of the first men to volunteer, as you said, in the Confederacy. And by the end, he had like a house that was eight thousand square feet, right? Back then. House. Yes. And his hands were kind of in just about everything in New Orleans. Who's true? Who was he behind all of that? He was a force in the city. He had amassed a lot of wealth and a lot of economic and cultural power. If you name a board or an organization from that point of time, you can almost be sure that he's on it. You know, whether it was the library or the volunteer firefighters or the French opera , different Mardi Grac crews , people who throw the parades . He was just everywhere and in everything. And it seems as though from reading newspapers of the times he was very well known in the city. People followed him socially, wrote about when he went abroad and when he went on business trips. People were very much interested in his life . I think to some of the Confederate sympathizers who were still in New Orleans, they looked up to him in some way. He had a very complicated life , and I'm sure a very complicated relationship with his son once he realized his son was having an open relationship with a black woman And that's your great grandfather, Ned Yes. He starts a relationship with a black woman, which is almost unthinkable at the time an open relationship , as you said . And what surprising details did you learn about that relationship, that family that he essentially built? That's your grandfather's family. Yeah, I think we know from history that a lot of white men had secret families or a second family or perhaps a mistress. But that's not the relationship he had with Minerva based on all of the evidence that I found . He had a very open relationship with her , they were public. That's what was different about this relationship . And when they had kids, he didn't hide them. He brought them around town in his buggy. He even brought them to places where his father was a patron, like he exposed them to opera. My grandfather had a lifelong love of opera that comes from the exposure he got back then . Ned and Minerva had something special that I don't think I can even understand now . They were both Catholic, they were both French speaking. And I think that having those two things in common might have helped bridge some of the social gulf between them because even if she was educated and a woman of some means , they were not on equal social footing just by law in New Orleans. So what they were doing was still somewhat risky and courageous. What did you find out about Minerva? Minerva's father was enslaved on a huge plantation south of New Orleans called Bellevue. It was a sugar plantation. And after the war, after the Civil War , the widow who was running this plantation, I'm guessing it was just too much for her. So she started selling off parcels of the plantation to people who had worked on it, including some of the formerly enslaved, Minerva Davis' dad, smart man, bought a piece, on credit, bought a piece of prime river fontr property . So he became a landowner in eighteen sixty eight and I have the records to prove it. That is to me extraordinary. And imagine if that had happened across the board . Now I'm imagining he didn't have the cash outright , but the person who owned this plantation sold it to him on credit and said, I'm sure the land will produce and you'll be able to pay it off. And he did, and so by the time Minerva was born , she grew up in a family that owned its land outright instead of having to be sharecropping or, you know, or worse . So had the benefit of some education and a solid foundation, some stability in life when she decided to move to New Orleans where she met Ned Degrange. Minerva does not live very long. She dies at the age of forty one of pneumonia. And Ned takes his children after he can't take them to his home of his white father to an orphanage. And what does that set in motion? A terrible turn of events for these children who had been a happy family in Chermay at their mother's cottage on North Robertson Street, knowing their mother and their father. Yeah, Minerva's death caused everything to spiral. Ned was all of a sudden alone with four black children in a city with segregated housing. And his family is around nineteen twelve and his family won't open the door to take in these children despite having eight thousand square feet of face, I might add . Once Ned's family rejected the idea of taking in the children and he was a white man alone with four black kids , he turned to an order of Catholic nuns in the French Quarter who ran orphanages, and he proposed they take the children as boarders. Now, I can't imagine the tears, the trauma, the screaming that must have been involved . When these kids who had lived a happy family life with their mother and sometimes their father at a cottage in Treme were suddenly handed over to an orphanage . And the youngest two were quite little, the youngest , maybe just a little more than two . So to be institutionalized at what was called an orphan asylum , just the cruelty of it, the awfulness of it. Honestly, once I realized what the place was called, that it was the Lafanan Orph Asylum for Colored Boys, my stomach turned. How did your grandpa did he ever talk about his childhood when you were a kid? So not in these terms he told me that after his mother died , he went to live with the sisters and he put it in very gentle terms . And being a kid, I thought, Oh , with the sisters like in the sound of music or something like that . That couldn't have been far ther from the truth, right? The orphanage was pretty grim . He didn't tell me the full story . No one did . And again, I think this was an effort on his part if I can, speculate for a moment , to not pass on his pain and trauma to a new generation . You know, I'm having this conversation with him. I'm somewhere between seven or eleven years old, and I'm guessing that he thought to himself What good would it do her to know about all the pain I've been through right at this moment in time ? So on one level he was honest with me said his mother died and he went and he lived with the nuns and he made it sound as though you know they saved him in a way . After your great grandpa puts his children in this orph anage . He dies really shortly after it's around like nineteen twenty , and in his will , he leaves his four children nothing. What did you find out about the contents of that will and actually what happened? Right. Well, just finding the will was a shocking thing in itself and to read the words he was leaving in his estate to his father , Colonel Joseph DeGrange , was just a punch in the gut . I have no way of knowing how that will came to be, so it's hard to make any concrete judgment . I just know that that's the will and reality played out from there for destitute children . When George got out of the orphanage , just so I have this correctly. He went to his grandparents' house, right? Hoping that they kind of their feelings of rejection towards him would have eased. And can you talk about what happened those early days when he was trying to find his footing? And he actually went there to try to get help from them. Yeah. So what I've been told by the older people in the family, his oldest daughter, my aunt, Evelyn, was that he was absolutely destitute , and he thought that since so much time had passed since Minerva died and Ned died, that maybe his grandfather's attitude would have softened toward him, that maybe he would open the door and say, You know what ? Let me give you a hug. So glad to see you. You remind me of my son or something. I guess he had his hopes set really high and thought that this could be a moment for some sort of reconciliation , but that didn't happen at all. In fact, it was just the opposite that happened. My aunt said that he was told in those uncertain terms to never show his face around there again and, you know, to get off the property. So you've got these two boys, your grandpa, George, and his brother Edward in the same building, and they have younger siblings who are in another building , another orphanage . In the Times article , it's very visual because there are these pictures side by side of your grandpa, George, and then his brother. And it is so clear that they're siblings. I mean, the only difference is that they're kind of a few shades apart, which of course , the country sorts them differently solely based on their skin color. That's the fork of the whole story. Take me to the story you've been able to construct about how Edward ends up on a train to Chicago where he ends up living the rest of his life as a white man . I wanted to show that these two men were basically the same in terms of upbringing and DNA , right? But for a bit more time in the sun, the difference of color that for anyone might just be a dark sun tan , they had complete ly different lives because one could be classified as white and the other as black. And I was hoping that by laying out the very stark contrast the arcs that their lives took , I could help show how arbitrary and absurd it is to sort people by race and color. I now want to talk to you about what is such an interesting step that happened next. You finally do the thing that you've circled twenty years . You find Edward's family set up a dinner in Chicago and you write that right up until the last minute, you weren't even sure you could go through with it You even brought with you to this meeting notes on a piece of paper on how you were going to talk to them. Tell me about what happened when you saw them, when you first laid eyes on them. Right. Well, I was nervous going into that because you know, I was raised by Grandpa George and that little voice was still in the back of my head leave well enough alone. But I thought, you know, if I could talk to you, grandpa, I would tell you that the world is a different place and that this might be the time to do this. I have a feeling it is. So I walked into the restaurant and I looked around . I asked the hostess if the Degranges were there and I'm trying to figure out who they are . And I see three women who are already like zeroed in on me . They're looking like they recognized me before I recognized them . And once I laid eyes on them, I knew immediately as well. One of the cousins sitting there says, Oh , she's with us. And she tells the hostess , because there was something about us that just seemed cousinly for lack of a better word. I mean, it's interesting you guys look so much alike , even down to the skin tone Yeah . They reminded me of people I knew from home. Like every one of them had a twin back in New Orleans . And one of the women at the table we have the same height and body type. I mean, it was just physically it was a moment . Let's take a short break. If you're just joining us, my guest is journalist Susan Solmy, her New York Times piece , a Family Secret No More traces what happened when a single decision a century ago split her family in two. We'll be right back after a short break. I'm Tonya Mosley, and this is Fresh Air . You were searching for them , and you also found out though in a way that they were searching for you and your family too. Right. That was a revelation because I thought going into this that I had some information and I was going to be sharing it with them . But what really happened is that information flowed in both directions and I learned things about my own side that I had misunderstood. So it was just new understanding all around . But what I learned specifically from them is that they had inkling suspicions longstanding, and they were hoping to know more. They were asking their parents questions that their parents wouldn't answer. So they hit certain walls in trying to figure out their past. They weren't told an accurate story, and they had a feeling it wasn't accurate , but they were some atwhat of a loss to figure it out because Edward passed away in the seventies and a lot of the people who knew the real story weren't around anymore. Let's break this down a little bit though. So what's the story first off that they're dead in Grand dad, Edward , told them about his origins . He told them that he was from New Orleans , that he was the son of a French doctor who had, you know, a relationship with someone but then had to leave for France . And some had him coming from Montreal , you know, different cousins on the Chicago side had different versions of story. None of it fit together to make any kind of sense. That's what it had in common across the many cousins . They knew there was some connection to New Orleans, and Christine, one of Edward's grandchildren in my generation , she actually tried to reach out sometime around Hurricane Katrina , but she had an uncle who was disapproving of this connection who shut that down. He made it clear that he did not want her to do that. The white DeGranges have a fascin ating story all on their own because your great uncle, Edward's wife, Laura , she was also passing. So they were kind of partners in this cover story ? Yes, they were bonded by marriage and their cover stories. Now, I don't know if they met in the South or amongst the many considerable number of white passing creoles in Chicago , but found each other somehow and they were both doing the same thing , passing as white . And they didn't let their children know . And when I thought about doing this story , I really wanted to go beyond just saying passing happened because as a historical fact , we know that, right? It's already been well documented . What I wanted to do was show the psychological toll of that decision on Edward's line and on George's line . And I thought if I could do that and to show the real lived experiences of an actual family , then maybe I'd be adding something to the conversation . And someone might assume, oh, well once Edward left, it was all sunshine and rainbows for him. When he succeeded, it wasn't that way at all. And there was a lot of trauma and stress in the family that got passed straight through his children, right to the grandchildren . So when I think about who suffered in this story, everyone suffered . Everyone suffered because of racism. White or black. If you go back to my great grandfather, everyone suffered because of racism and that's so sad . It's really astounding to read especially the fact that the white side of your family in Chicago just always knew that they were not being told a complete story. They may have looked white , but one detail that I thought was actually sort of funny was the cooking told another story . So they're passing, but Laura, what have the sons told you that she was quite a good gumba cook apparently , and it stayed with him, the taste of that gumbo long after she had passed away. He told me that he went from restaurant to restaurant looking for the taste of his mother's gumbo. I mean, doesn't that just hit you? He was unaware . When he was growing up eating that gumbo, he thought his mother was a white woman from Chicago that found a good recipe, I guess. To know how to but he said he found the taste of her gumbo once on a camping trip along the Gulf of Mexico and he had no way of knowing at the time, but he was very close to where she was actually born . Gosh , I mean, and obviously that was an imprint. It's not just that, oh, this is so this is so close to my mom. It stayed with him all these years because there was something in the knowing that he knew he didn't know. That's what it sounded like to me. Yes , yes . And Edward and Laura, it seems that they were only able to be themselves fully in the kitchen . And their children and grandchildren remember them spending long hours in the kitchen together and they would make things like red beans and rice and bread pudding and all these southern specialties . How does a white woman in the Midwest know how to cook like this ? Yes You know, the thing about holding a secret like this is that sometimes genes tell the story. So I mean two lights skinned white passing people can't really guarantee that their children will come out looking white. And that was the case for at least one of Edward 's children, specifically Charles . What did you find out about him? Yes, people described Charles to me as having moderately brown skin without being in the sun, you know? So as a result of that, he hardly ever wanted to be in the sun and would wear long sleeves and long pants and hats . And among his own children, most had fair skin, but he had one daughter with especially curly hair. And I guess he didn't like that. So as a chemist by profession , he started mixing his own concoctions and different potions that he thought could straighten her hair . And even as a little girl, he would put these things, these mixtures on her hair and try to make it straighten and slick it back into a ponytail and the other members of her family told me they watched this and just shake their head in horror . Like her hair was first of all beautiful as it was and they could see that there was something painful going on inside of him that was causing him to react this way . And it was another one of those moments that led to a deep sense of suspicion that they didn't know the whole story. Let's take a short break. If you're just joining us, my guest is journalist Susan Salney. Her New York Times piece, A Family Secret No More traces what happened when a single decision a century ago split her family in two. We'll continue our conversation after a short break. This is fresh air . Susan, how do you hold the fact that these people that provided lives for you and I'm thinking about you and your newfound cousins , they held so many secrets. They held so much back from you while also trying to provide a good life for all of you. I try to not be judgmental about what they did in the past, right? Different time, different place, harsher, much harsher circumstances than I've ever faced . And what I appreciate that my grandfather did, he modeled a kind of composure and grace and dignity that we don't see enough of these days . He could have been bitter and angry . He could have taught us to hate , but he was just a very humble working class man. He came home tired and dirty with brick dust all over him , but I don't know if you saw the picture of him walking my mother down the aisle in the article in a tuxedo, he looked absolutely regal to me . So I think the lesson he tried to teach the family was It matters what society takes from you, but they cannot take away your dignity . He lost brothers and sisters, lost his parents, grandfather rejected him They never took away his spirit , his ability to create a loving family or his dignity. And that's what I choose to focus on. Yeah, I mean, there's a way of seeing passing kind of not as betrayal, but if you could see a way out for someone you loved in the most brutal stretches of our history of this country , maybe why wouldn't you want that for them? Right. I think the story struck a chord because it's about universal themes of longing for a better life, longing for a more prosperous future for your children , longing for home and identity , it hit all of those things and you can see how each character in whatever flawed way they may have attempted , they were forced by a society that was incredibly unfair to them to make some really hard choices to try to provide those things that we often take for granted today. So yeah, I'll say again, I don't look back with judgmental eyes at all and I wish that the world had been a better place for them. Now that the story has been out, what have you heard from people from both sides as far as how they're thinking about this and their own lineages? It's been incredible to see people encouraged by this to ask their own hard questions and to look at their family trees at the blank spots or the gaps with critical eyes or more loving eyes. You know, I think attempt to heal has shown the possibility of it . You know, I through my cousin's eyes now and they're white midwestern eyes. And when I talk to them, I try to explain the way I look at things through my black Southern eyes. And you know what? Everyone is seeing more clearly now . What we've done. Give me an example of that. Yeah. We talked about something that's really hard. You know, we talked about white privilege one day and what it meant to have it, what it meant not to have it. And I think the first generation of kids from George and Edward , you can see the difference most clearly there. Let me explain this. Edward Jr. went to college and law school and became a partner in Chicago, a law partner. George J un diroorpped out of school at thirteen to help his father lay bricks to support the family. So look at the different life trajectories between George who was black and his son and Edward who, was passing for white and his son . By the third generation , we got together and we look at each other and you're a professional person, I'm a professional person. It seems like we're living really comfortable lives. What made the difference? And I think my generation had the benefit of things like the Civil Rights Act, of the Voting Rights Act , of programs like affirmative action that were looking for potential in and merit places where they hadn't looked before . And if we gained any ground to be on somewhat equal footing now, I think it's because of a lot of the things that our parents generation fought for my parents generation, black people in the South . And going into this, I didn't see how resonant the story would be with our times right now today in that we're seeing some of these things that made all the difference to my generation being picked apart , being diluted, being attacked most recently the Voting Rights Act, which was the signature achievement of the civil rights movement . You know, my grandfather was disenfranchised. So there are so many things about the twenty twenties that look uncomfortably to me like the nineteen twenties , but I get hope from the fact that we were able to heal this family and the responses I saw across the internet other people who cheered it, applauded it, said we want more conversations like this. We want to do more of this kind of thing over here where I am, over there where you are, there was sort of like I got the feeling that people were ready for something like truth and reconciliation . You know, because that's really what we did with the White Dangegres and Black Degranges. We had a mom ent of truth and reconciliation , and that's something that America as a whole has never done , has never done about its racism problem. You know, the thing that really also struck me so much is just from the outside the White Degranges, as you mentioned, they had a pretty privileged life . And by all accounts, it looks like the American dream. They're a nuclear family, but there was so much l by the fact that they were an isolated island . And they talked to you about that that they actually felt that loss of not having extended family and cousins. Yes . You know, so many people in the aftermath of this story ask me, but no, really, who do you think was better off? Was it worth it in the end? And I say, Okay, first of all, I think it's an unanswerable question . But if someone were to force that , it depends on what standard you're using. What is your measuring stick? Is your measuring stick community and kinship and culture and building a family from nothing . You know, if that's the measuring stick, it might lead you in one direction. If your measuring stick is purely financial success and property accomplishment in business or law, then that's, you know, going to lead you to a different answer. I don't answer that question because I think it's unanswerable . And I think they both had hard times and I think they both had things that they wanted to achieve that they achieved. Now I think George's rich is just because I spent the most time with him and can speak to what I think he thought made his life rich, it was kinship and culture . And it's sort of makes me think that that's why African American kinship and culture is as strong as it is because it augmented some of the poverty of what was there, some of what was taken away, some of it was lost . We doubled down on that and look what it produced. I mean, in New Orleans, it produced wonderful things if you consider the food, the music, the impact on oh gosh, too many things to even name. You end your story with your mother finally being able to speak to her first cousin, Arthur in Chicago . Tell me a little bit about that phone call So from the moment I discovered that Arthur existed , I knew I wanted to get them together . But we're talking about an eighty five year old and a ninety five year old , right ? But it was just so stunning that my mother didn't know she had a first cousin who could have been in her life, you know ? And she was so happy to hear him when I said, Guess what? I found you have a first cousin. One of Edward's children is alive in Chicago and he wants to talk to you. And you know, her face just flushed. And she was like, I have a cousin, you know . And similarly, when I visited Arthur in Chicago, arms were just outstretched toward me and he said I would love to know your mother . And so we thought about having him come to the reunion in New Orleans, but he wasn't doing well health wise, so he couldn't make that trip . But we decided let's get them on the phone facetime and just let them have a conversation . So that was the moment Hello, hello, Linda. Hello, Arthur . And just like little kids who were meeting for the first time, you know, they had just the cutest conversation and I heard the tone of regret almost immediate ly from Arthur when he said something along the lines of I'm sorry this is happening so late in life and I wish we had done this a long time ago . And I know she felt the same way , but you know, that catchphrase that was very popular in the family, I guess that's what came to mind when she said I would have liked that too. But say La Vi beautiful but bittersweet. Yes, yep , yes . Susan Salney, thank you so much for this remarkable story and thank you for your time. Ah, it was my pleasure. Thank you, Tonya. Susan Saulney's piece in the New York Times is called A Family Secret No More . Coming up, TV critic David Bian Cooley reviews the new series from the team behind Stranger Things This is Fresh Air . The Duffer Brothers, the team behind the Netflix series Stranger Things , are back as executive producers of the new Netflix series The Burs . And it too is a show about sinister forces, mysterious creatures , and a group of neighborhood misfits who emerge as heroes. Our TV critic David Biancley has this review . Part of the appeal of Stranger Things was that its protagonists were quirky outsiders , unpopular teens for the most part , who found themselves and one another while battling monsters and bad guys in their isolated small town . The burrows plays with that same theme, but on the other end of the age spectrum. Its quirky misfits are all elderly, living in neighboring homes on a cul de sac in an exclusive retirement community. The newest resident is Sam , a reluctant arrival played withad D pean Gruffness by Alfred Melina. He's recently widowed and doesn't want to be there, but there he is. It's a seemingly sparkly and welcoming place, but there may be strange creatures crawling behind the walls , and there definitely are odd and nosy neighbors living next door. Like Art and Judy, a long time married couple played by Clark Peters from the Wire and the Wonderful Alfred Woodard . As Sam is moving in, Judy is on her laptop checking out Sam's past, which Art doesn't like. You gotta stop stalking people . I'm not stalking . I'm investigating . You're not a reporter anymore. Journalist . And that makes it stalking. His wife died of a stroke five months ago . Oh gosh, she was young , not even seventy . He worked for Northrop Grumman thirty five years as an aeronautical engineer . So we know he's smart. Education is not the learning of the facts, but the training of the mind to think. Who said that? Einstein . No, maybe Mr. Peabody , one of the other I remember. All the neighbors in this particular hood have their own defyingly individual personalities and are played by veteran actors who fill them with depth and sadness and humor . It's great to see Peters and Woodard strut their stuff here, and that's just for starters. Other talented veteran cast members include Bill Pullman, Ed Begley , Jr., Jane Casmeric, and Gina Davis, playing a spirited woman named Renee . She meets Sam when unsuccessfully trying to start her loud car engine early in the morning. He comes out with his toolkit, throws open her hood, and fixes it , after which he begins to retreat on foot while she pursues him in her car. I'm Renee, Sam . New guy on the block. I guess try the engine . Just like that? Just like that. All right . Oh , thank you . Hey, I'm trying to thank you. I don't want it. I'm trying to get some sleep. Well, they say you're welcome . Excuse me . Here's a tip When somebody says thank you, you just say you're welcome . The other person will happily go on their way and you can go back to doing what all grumpy old men love to do , be alone . You're welcome . Hi Boy, Sam . And one of my favorite characters and actors here is Dennis O'Hare. He plays a retired doctor Wallie, who has a brazenly outgoing and unfiltered personality. He demonstrates this when first meeting Sam, who has been invited to a party welcoming him to the neighborhood. Sam is reluctant to enter, so he's just standing outside the door when Wallie shows up with a startling opening line. I have stage four prostate cancer. Oh I probably don't have much time left. It seems a waste to spend as standing outside a party. Not that I call six people in a backyard much of a party, but sadly, as close as I get since they banned me from the community center . Cowards. I'm Sam . Wallie . You gonna stand out here all night, Sam? I'm not very good at parties, and my wife was the sociable one. People only liked me when I was with her. Well , I'm beloved . So stick class . I predict you'll warm to all these characters immediately. Sam takes a little longer to warm to them . At first, he's like Bob Newhart reacting warily to all his therapy patients on the Bob Newhart Show. But eventually, Sam embraces and confides in them all . He has to, as it turns out, if they're going to get out of the burrows alive. The plot thickens in an intriguing but predictable way , especially if you're familiar with stranger things , and cocoon, and ghostbusters, and even jaws . But it's all good fun, even when it scores some serious points and has some serious scenes about death and dementia and loneliness. The cast is more than up to it all, and there are younger cast members contributing too, including Jenna Malone and Carlos Miranda. And because it's central to the plot, the Burroughs doesn't skimp on the music soundtrack , especially from the catalogue of Bruce Springsteen . The plot of the burrows is good, the music is better , and the acting from this team of old pros is the best. David Bean Cooley reviewed The Burroughs, now streaming on Netflix . Tomorrow on fresh air, Clark Peters . His breakout role was in the HBO series The Wire as police detective Lester Freeman. In Spike Lee's Defive Bloods, he played a Vietnam veteran. In real life, Peters opposed the war and was arrested at a protest which changed his life. He moved to London, starred m inusicals there, and now stars in the series The Burroughs. I hope you can join us . To keep up with what's on the show and get highlights of our interviews, follow us on Instagram at NPR Fresh Air. Fresh Air's executive producer is Sam Brigger. Our technical director and engineer is Audrey Bentham. Our interviews and reviews are produced and edited by Phyllis Myers, Roberta Shorrock, Anne Marie Baldinado, Lauren Crinsel, Monique Nazareth, Thea Challener , Susan Yakundi, Anna Bauman, and Nico Gonzales Whistler . Our digital media producer is Molly CV Nesper , Teresa Madden directed today's show with Terry Gross . I'm Tonya Mosley