He takes time to pursue interesting digressions – jazz musicians, the painter Edgar Degas – but the second half of the book focuses largely on the consequences of his ancestors’ actions, and the people affected. These are not cursory mentions: Ball creates detailed and loving portraits of people such as Janel Santiago Marsalis, who is initially wary of Ball in New Orleans. She’s a Creole artist who paints her own ancestors. Some of her family died at the hands of Lecorgne’s fellow Klansmen. Through her art and in the book she, as Tulane’s students might hope, lifts Black voices mightily.