'The Problem We All Live With'—A Little Girl's Giant Steps

 Sometimes the most powerful revolutions begin with the smallest steps. In 1960, a six-year-old girl named Ruby Bridges took such steps—walking through a screaming mob to attend her first day of school. Her courage was so profound that it moved a nation and inspired one of America's greatest artists to capture her story in a painting that would hang in the White House decades later.

Ruby Bridges was born on September 8, 1954—the same year the Supreme Court declared school segregation unconstitutional. Yet six years later, when a federal judge ordered New Orleans schools to integrate, Ruby found herself walking alone into history. She was one of only six Black children who passed the tests to attend the previously all-white William Frantz Elementary School. While other families chose different paths, Ruby's mother made a decision that would echo through generations: "This is important—not just for Ruby, but for all the children who will come after her."

On November 14, 1960, Ruby put on her new outfit and walked to school, surrounded by four federal marshals. The crowd outside was so large and loud, but Ruby walked on. As federal marshal Charles Burks later recalled, "For a little girl six years old going into a strange school with four strange deputy marshals, a place she had never been before, she showed a lot of courage. She never cried. She didn't whimper. She just marched along like a little soldier."

What Ruby found inside the school was almost as challenging as what she faced outside. The building was empty—all the other children had been pulled out by their parents. Only one teacher, Barbara Henry from Boston, agreed to teach her. For an entire year, Ruby sat alone in a classroom, learning as if she were a whole class of students. Every day, she walked past walls covered with thrown vegetables and racial slurs. Every day, she needed federal marshals to escort her safely to and from school.

Ruby's family paid a heavy price for their courage. Her father lost his job at the gas station. Her sharecropping grandparents were forced off their land. Even the grocery store refused to serve them. But they persisted, understanding that some battles are worth fighting not for immediate reward, but for the promise of a better tomorrow.

The breakthrough came slowly. First, a white Methodist minister named Lloyd Anderson Foreman walked his five-year-old daughter through the mob to join Ruby at school. Other parents followed. By Ruby's second grade year, more African American students had joined her. The wall of segregation had been cracked by the persistent footsteps of a little girl who refused to give up.

The Problem We All Live With, by Norman Rockwell

This remarkable story might have remained a local news item, but it caught the attention of Norman Rockwell, America's most beloved illustrator. For nearly fifty years, Rockwell had painted covers for The Saturday Evening Post, creating images of an idealized America—wholesome, simple, and almost exclusively white. His paintings showed families gathered around Thanksgiving tables, children at the barber shop, and small-town life at its most charming.

But Rockwell had grown increasingly uncomfortable with this limited vision of America. The civil rights movement was exposing harsh realities that his Post covers couldn't acknowledge due to the magazine's policies. In 1963, he made a bold decision: he left The Saturday Evening Post and joined Look magazine, which was willing to tackle the racial realities of the time.

In 1964, Rockwell painted "The Problem We All Live With"—a work so different from his previous art that it shocked viewers. Gone were the warm, cozy scenes of American life. Instead, he showed Ruby Bridges walking between federal marshals, with racist graffiti and thrown tomatoes marking the wall behind her. The painting was stark, powerful, and unflinching in its honesty.

What makes Rockwell's painting so remarkable is not just its subject matter, but its perspective. He could have painted the angry mob or the federal marshals. Instead, he chose to focus on Ruby herself—a small figure in a white dress and white socks, walking with quiet dignity through a storm of hatred. By showing her from behind, Rockwell invites us to walk with her, to feel what she might have felt, to understand that courage often looks like simply putting one foot in front of the other.

The painting's title, "The Problem We All Live With," is equally profound. Rockwell wasn't just documenting a moment in civil rights history—he was holding up a mirror to America, saying that racism wasn't just the South's problem or Black America's problem. It was everyone's problem, and everyone had a responsibility to solve it.

The painting's power was recognized when President Obama requested it for the White House in 2011. Ruby Bridges herself was there when it was unveiled, no longer a six-year-old girl but a woman in her sixties who had spent her life working to end prejudice.

Ruby Bridges' story offers profound lessons for our own time. Change happens one step at a time. Ruby didn't integrate all of American education in a single day. She simply went to school, day after day, learning her lessons while teaching the world about dignity and perseverance. Her persistence created cracks in the wall of segregation that others could widen.

It demonstrates the power of individual choice to create collective change. Ruby's mother could have chosen safety over struggle. Norman Rockwell could have continued painting comfortable scenes instead of confronting difficult truths. But they chose courage, and their choices rippled outward, touching millions of lives.