Abstract The National Memorial for Peace and Justice in Montgomery, Alabama, commemorates victims of lynching in a three-part experience featuring 800 coffin-size monuments that appear to be suspended in the air. While providing a space for Black grieving, the memorial's design also creates an experience that invites white Americans to feel-with Black grief-yet-hope. This felt experience may produce discomfort for white visitors, as well as white acknowledgement of generations of white supremacist violence against Black Americans. Such an experience is possible because the memorial generates rhetorical quiet or the creative, artful, and public expression of interiority—an attempt to share that which is deeply felt but which often eludes efforts to be adequately communicated through traditional rhetorical/verbal forms.

Abstract This article examines the public controversy surrounding the National Park Services decision about how best to recognize the site of the nations first executive mansion—the Presidents House—in Philadelphias Independence National Historical Park. The first of the houses two presidential occupants, George Washington, kept nine slaves in the mansion while circumventing a Pennsylvania law that could have given the slaves their freedom. The National Park staff’s resistance to acknowledging Washingtons actions led to an ongoing and lengthy public debate that eventually resulted in the decision to build an installation that recognized all of the occupants of the house. Advocates for building such a site invoked two types of vernacular discourse—a counternarrative ("Liberty has been incompletely enacted") and a representative anecdote ("Excavating buried history")—that embraced the traditions of storytelling at Independence National Historical Park.