Reviewed by: The Order of Myths dir. by Margaret Brown, and: Descendant dir. by Margaret Brown Gayatri Devi (bio) The Order of Myths. Directed by Margaret Brown, produced by Sara Alize Cross, distributed by The Cinema Guild, 2008. Descendant. Directed by Margaret Brown, distributed by Higher Ground Productions and Netflix, 2022. Before it became the central focus of the new documentary Descendant, the infamous schooner Clotilda, sometimes spelled Clotilde, makes a brief but pointed appearance in Margaret Brown's earlier documentary The Order of Myths. Released in 2008—the bicentennial of the official ban on transatlantic slave trade—The Order of Myths examines the historical and contemporary contexts of segregated Mardi Gras traditions in Brown's home state of Mobile, Alabama. The Order of Myths was filmed at the 2007 Mardi Gras celebrations in Mobile. Twenty minutes into the documentary, the activist Donna Finley recounts the story of Clotilda that brought enslaved Africans from Benin, West Africa, on a "bet" to America after slave trade was officially banned: In 1859, slavery was still going on, but at that point in time the slave trade itself had been abolished and was illegal. The Meaher family that exists today, even here, today, in Mobile, they owned a lot of land. The story has it that old Tim Meaher made a bet that he could go and bring back a ship of slaves. He got the schooner Clotilde and brought the slaves back here into Mobile Bay. Well, because it was illegal, he told the first mate on the ship that he was going into town to collect his bet, and if he didn't get back within an hour to run it aground, set it afire, to get rid of the evidence, and he did not come back within the hour. So, the first mate did just that. He ran her aground and set her on fire. All of the Africans that were on the ship were able to get off of the ship and they went into the woods, what is known today as Africatown. Plateau, Alabama, was what it was named prior to that. And they hid. And that was the last slave ship to enter the United States. (21:02–22:29) [End Page 106] Brown overlays Finley's narration with images of historical depictions of the ship, pen-and-ink illustrations of the vessel and its secret cargo of enslaved humans. Brown closes Finley's oral report with the disturbing image of a junction in present day Mobile: Meaher Avenue and Timothy Avenue, two intersecting streets named after Clotilda's slave trader, Timothy Meaher. Brown then cuts to the routine memorial erected by the state of Alabama: "On This Site Stood One Of The Old SLAVE MARKETS [sic]. Last cargo of slaves arrived on the Schooner Clotilde in August of 1859" (22:29). The official acknowledgement of the trafficked Africans stops there. Sam Jones, the mayor of Mobile, tells Brown that Africatown was the site of several heavy industries including Scott Paper and their chemical plant, even though by law the enslaved Africans should have had land rights in that area. Robert Battles Sr., the executive director of the Africatown Welcome Center, adds that the Meaher family are "the primary property owners in the whole area of Africatown." You could lease land from them, he says, but you could never buy the land. Brown's camera tracks a struggling neighborhood dotted with "For Lease" signs listing contact numbers for the Meaher family. Africatown, evidently, did not really belong to the Africans, but to the Meahers. Oral history, a twisted intersection, ancestral land turned industrial wasteland, weed-eaten gravestones, and an ordinary historical marker: Descendant eventually connects these dots that Brown laid out in The Order of the Myths. But in this first iteration of the topic, the greatest proof that the present has its authentic and ordinary core connecting straight back to the past lies in the story of Helen Meaher and Stefannie Lucas, the 2007 Mardi Gras queens. Helen Meaher, a descendant of the slave trader Timothy Meaher, is crowned the queen of the white Mardi Gras carnival, while Stefannie Lucas, a descendant of Barry Malone, one...