Glenn A. Black (1900-1964), native of Indianapolis, became one of Indiana’s leading archaeologists in the midst of the Great Depression. He was essentially self-taught, having only a small amount of formal training with Henry C. Shetrone of the Ohio Historical Society (now Ohio History Connection). Black’s work redefined archaeological field methodology, and brought systematic excavations and innovative technology to the field.
Black began his archaeological career by serving as a guide for Warren K. Moorehead and Eli Lilly in May 1931. Impressed with Black’s knowledge, they encouraged him to become an archaeologist. Lilly funded Black’s work with his own money initially, and later arranged for him to be paid through the Indiana Historical Society’s archaeological department. Lilly also helped Black with his formal training, sending him to Columbus, Ohio from October 1931 to May 1932 to train with Henry C. Shetrone. During this training, Black married Ida May Hazzard, who joined in his digs. He became especially close with Eli Lilly, forming a bond that would last for the rest of his lifetime.
Black and Lilly worked together on many projects, but one of their more controversial projects concerned the Walam Olum, a historically disputed story of the creation of the Delaware tribe. Lilly and Black “had a hunch that the Walam Olum may possibly have in it the key that will open the riddle of the Mound Builders.” In short, they were “trying to connect the prehistoric people who had built the great mounds of the Ohio Valley with the historic Delaware tribe.”
The Walam Olum story was first told by Constantine Samuel Rafinesque in 1836. Rafinesque announced that he had acquired some “tablets” that depicted the “ancient record of the peopling of North America that had been written by the early Lenape (Delaware) Indians and passed down in the tribe for generations.” He had translated the tablets into English, and called it the “Walam Olum” or “painted record” in Lenape. In the years following his death, notable historians, linguists, and ethnologists believed that it “contained crucial evidence for prehistoric Amerindian migrations and the identity of the mysterious Midwestern Mound Builders.” Lilly and Black believed in this theory, and began analyzing the Walam Olum with a team of experts. Their report, published in 1954, claimed “all confidence in the historical value of the Walam Olum.” More recently, historians believe that the Walam Olum was a hoax created by Rafinesque to prove his belief that the Indians came to North America from the Old World.
In 1934, Black was asked by the Indiana Historical Society to excavate the Nowlin Mound in Dearborn County. Ida joined him on this dig, as she was “deeply interested in delving into the archaeological as her talented husband.” It was here that his intensely methodical process of excavating is evident. In his report on the mound, he wrote, “If the results of any excavation are to provide an unimpeachable historical record of a prehistoric work, too much stress cannot be placed upon methodical technique and exactness of detail, no matter how trivial the feature may be.” He felt very strongly about following a methodical excavation system, believing that it would lead to improved results and a better historical record.
“if the description of the methods used in staking and surveying the mound seems unnecessarily extensive, it should be remembered that a mound once dug is a mound destroyed; if the story it has to tell be lost on the initial attempt it is lost forever.”
In 1938, the Indiana Historical Society purchased Angel Mounds with the help of Eli Lilly. Lilly contemplated purchasing the site since 1931, but when the site was in danger of being incorporated by the City of Evansville in 1938, he acted. The Works Progress Administration (WPA) conducted excavations from 1939-1942, and IU’s field program excavated beginning in 1945 (work temporarily ceased during WWII). Black held his students in the field program to very high standards.
In a letter to his students, Black wrote:
You will be living for ten weeks in very close association with your fellow students and you will be expected to get along with one another in an agreeable manner. This is one of the very few field camps which accepts mixed groups. As such we are under constant surveyance by those in this neighborhood and at the University who do not believe in girls attending field schools. I do not subscribe to this thesis but that I may be proved right, and my critics wrong, I am dependent on you. I expect the girls be ladies and the boys gentlemen and all of you to be discreet and orderly at all times. It is requested that you do not wear shorts on the dig—they are neither practical or appropriate.
In the spring of 1939, Black moved to a house on the Angel Mounds site and began supervising the excavations. He and Lilly used the WPA to supply workers to excavate from 1939-1942. Two-hundred and seventy-seven men and 120,000 square feet later, Black and the WPA recovered and processed more than 2.3 million archaeological items. From 1945-1962, students worked at the site in the summer to extend the work of the WPA. The years 1945-1947 were used as “trial runs” of the program, and the first official class began in June 1948. Stemming from this work, an organization was created in 1948 called The Trowel and Brush Society. This society limited membership to students enrolled in the Angel Mounds Field School, but created an honorary category for those who were unable to join formally, but had “contributed to American Archaeology in general and Indiana Archaeology in particular.” The purpose of this society was “to promote good techniques in archaeological research; to maintain contact between students who attend Indiana University’s Archaeological Field School.”
Through his excavations, Black concluded that Angel Mounds existed long before the discovery of America, and was most likely still a “lively community during and after the period of DeSoto,” and does not have evidence to suggest that the site was visited by white men. He believed that Angel Mounds was the site of the “farthest north existence of an agricultural Indian folk who were a part of the long settled tribes of southern and southeastern United States.” An encyclopedia entry about Angel Mounds estimates that the community flourished between AD 1050 and 1450 and that the settlement was geographically and culturally central during Angel Phase, the portion of time from AD 1050-1350 characterized by the Mississippian culture’s use of ceramic, of which there is plenty at Angel Mounds.
Even after concluding this from his excavation, Black said in 1947 that “There’s plenty here to keep me busy the rest of my life.” In 1958, Black became interested in locational devices to detect features of the mounds. He saw that the use of a proton magnetometer was announced in Britain by the Oxford University Research Laboratory for Archaeology and the History of Art. Reportedly the device was successful in locating features at Roman sites. Black began looking for one to use at Angel Mounds. In September 1960, the Indiana Historical Society purchased a magnetometer instrument for use at Angel Mounds. The purpose of this project was “to evaluate the application of the proton magnetometer to the problem of locating subsurface features on archaeological sites in this part of the world, and to extend the work begun by the Oxford Group.”
In 1946, the site was transferred to the State of Indiana. After Black’s death in 1964, the Indiana Historical Society and the Indiana Department of Natural Resources transferred the site to Indiana University in an attempt at “making Indiana university the archaeological center of the state” and to use the site as a research and teaching facility. In 1964, Angel Mounds was registered as a national historic landmark. Today, the Indiana State Museum and Historic Sites Corporation manages the site.
Black’s other notable achievements included: vice-president and president of the Society for American Archaeology; Archaeology Divisional Chairman for the Indiana Academy of Science; member of the National Research Council; awarded an honorary doctorate by Wabash College.
Glenn Black died September 2, 1964 in Evansville, following a heart attack. Lilly used the Lilly Endowment to create the Glenn A. Black Laboratory of Archaeology after his friend’s death, dedicating it on April 21, 1971. When Black died, he was almost done with his report on the Angel Site. Former student James A. Kellar and editor Gayle Thornbrough finished it. The Indiana Historical Society published it in 1967 in two volumes, titling it Angel Site: An Archaeological, Historical, and Ethnological Study. The sections that Black completed before his death include the “historical background, chronological account of its excavation, ethnological relationships, and the ecology of the area.” After his death, Kellar wrote the section that dealt with material that had been recovered from the site. Indeed, plenty at Angel Mounds to keep him busy for the rest of his life.
Learn more about Lilly and Black’s investigation into the Walam Olum, see Walam Olum, or Red Score: The Migration Legend of the Lenni Lenape or Delaware Indians: A New Translation, Interpreted by Linguistic, Historical, Archaeological, Ethnological, and Physical Anthropological Studies.
Check back for information about IHB’s forthcoming marker dedication ceremony honoring Glenn A. Black.
After a period of hitchhiking their way towards the West Coast, camping, and living on cold food, the twenty two-year-old burgeoning poet Kenneth Rexroth and his new artist wife Andrée, arrived in San Francisco in the summer of 1927. Rexroth biographer, Linda Hamalian, referred to them as “forerunners of the flower children who flocked to Northern California during the fifties and sixties.” In San Francisco they found exactly what they had been hoping for: a rich cultural environment without the pretense they sensed in the East Coast artistic community.
They quickly met other artists and writers and found jobs painting furniture. They moved into an apartment on the Montgomery Block, often called the Monkey Block, that had long housed artists and writers, including the Hoosier author Ambrose Bierce. Rexroth wrote that they had little money, but “limited needs” and were able to live “the kind of life that I’ve lived almost always since, a sort of semi-monastic life devoted to writing and painting.”
The young couple also spent time enjoying the lush and varied natural environment surrounding San Francisco which Rexroth wrote “kept me in California all these years.” They swam and hiked and noted the unique flora and fauna. This love for nature deeply influenced Rexroth’s writing and he worried about destruction of the natural world by developers. In later years, he described himself as a sort of early environmentalist writer:
My poetry and philosophy of life became what it’s now fashionable to call ecological. I came to think of myself as a microcosm in a macrocosm, related to chipmunks and bears and pine trees and stars and nebulae and rocks and fossils, as part of an infinitely interrelated complex of being. This I have retained.
By the 1930s, in the midst of the Great Depression, Rexroth was employed by the Work’s Progress Administration (WPA) contributing to the “American Guide” series of handbooks for each state. Rexroth and several other local poets and writers created the California guide and were able to inject information on natural conservation and into the otherwise standard guidebook.
While he had contributed scattered “cubist poetry” to what Hamalain described as “ephemeral publications” upon his arrival in San Fransisco, by the 1930s he was regularly writing and publishing work in journals and small volumes of poetry. Much of this poetry combined natural imagery with his radical leftist political beliefs and strong anti-war sentiment. For example, his poem “At Lake Desolation,” published in the magazine The New Republic in 1935, contrasted the stillness of nature with the horrors of war. The poem begins:
The sun is about to come up and the regiments lie
scattered in the furrow their large eyes
wet in the pale light and their throats cut
He explored similar themes in his poetry throughout the 1930s and became a staunch pacifist. In 1937, the New Republic journal published Rexroth’s poem “Requiem for the Dead in Spain,” lamenting the horrors of the Spanish Civil War. He began the work by describing his walk through the beautiful Sierra Mountains under the stars, the tone changes as he suddenly feels sick thinking about the war. He laments:
I see the unwritten books, the unrecorded experiments,
The unpainted pictures, the interrupted lives,
Lowered into the graves with the red flags over them.
I see the quick gray brains broken and clotted with blood,
Lowered each in its own darkness, useless in the earth.
Alone on a hilltop in San Francisco suddenly
I am caught in a nightmare, the dead flesh
Mounting over half the world presses against me.
That same year, the influential independent publisher James Laughlin included Rexroth’s work in his second annual New Directions in Poetry and Prose, a publication the Academy of American Poets referred to as “pivotal.” In 1940, Macmillan published Rexroth’s first major collection, In What Hour. The work was considered wholly original and cemented his place at the forefront of the San Francisco literary movement. A reviewer for the Oakland Tribune wrote: “Rexroth is wholly and essentially a poet in the new manner. Usually a poet’s first work, and this is Rexroth’s first book, enables the acute reader to name his literary progenitors. But Rexroth’s poetical parents, if he has any, are not known.” The critic continued, “Despite this break with tradition, or it may be, as the apostles of the modern poetry claim, because of this independence, Rexroth’s book is important and tremendously interesting.” Hamalain wrote that the poems that make up In What Hour “demonstrate his remarkable ability to render plausible the possibility of spiritual presence and a sense of unity in the natural world” despite the threats of the modern age.
While his writing career was taking off, his marriage was dissolving. Rexroth moved out and began a relationship with Marie Kass, a “whipsmart” nurse, who would become his second wife in 1941. While he was happy with Marie, he was devastated when Andrée died October 17, 1940 from a seizure. He wrote of Andrée in a poem published in The Phoenix and the Tortoise:
I know that spring again is splendid
As ever, the hidden thrush
As sweetly tongued, the sun as vital —
But these are the forest trails we walked together,
These paths, ten years together.
We thought the years would last forever,
They are all gone now, the days
We thought would not come for us are here.
This idea, that love and nature could serve as spiritual refuge in troubled times, became even more significant with the outbreak of World War II and the entry of the United States into the conflict in 1941. Rexroth maintained his pacifist stance and applied for conscientious objector status February 19, 1943. Throughout the war, Rexroth worked with pacifist organizations such as the Fellowship of Reconciliation, the American Friends Service Committee, and the local branch of the National Committee for Conscientious Objectors. He wrote that at one point he received a notice from his draft board that his status had been changed from 4-E, conscientious objector to 1-A, available for armed service. He wrote, “I immediately appealed. The process dragged on for over a year while the FBI investigated the claim as by law they were required to do . . . There was no question that I was a bona-fide Conscientious Objector.”
After the Japanese attack on Pearl Harbor on December 7, 1941, some Americans began questioning the loyalty of Japanese Americans, a large number of whom lived on the West Coast. In February 1942, President Roosevelt issued Executive Order 9066 which relocated Japanese Americans, including native born citizens, inland, away from the coast (which had been identified as the Pacific military zone) and confined them to internment camps. Thousands were forced to leave their homes and businesses. However, some Americans, including Rexroth, opposed internment as racist and unconstitutional.
Rexroth wrote in his autobiography that even before the U.S. declared war on Japan, that he worried Japanese Americans would face persecution. He wrote a letter and sent it to various pacifist groups and religious groups, stating that when war was declared, “the persecution of Japanese and Americans of Japanese ancestry, because they are marked by their color and features, will be worse than that of the German-Americans of the First World War.” He wrote in his autobiography, “I managed to persuade them to set up a committee with the absurd title of the American Committee to Protect the Rights of Americans of Oriental Ancestry.” When Rexroth and other members of the Friends Service Committee got word from a “contact in the White House” about the order for internment, they “immediately got on the phones,” and urged each person they called to call five more people. They also called university and political contacts and civil liberties organizations. While perhaps an aggrandizement, Rexroth credited this work with mobilizing opinion in the Bay Area against internment.
Rexroth took more direct action as well. Again according to his autobiography, Rexroth explained a scheme that saved several Japanese-Americans, including a personal friend, from internment. He contacted the Midwest Art Academy in Chicago, which he called a “phony correspondence school” that advertised scholarships “in cheap pulp magazines” for classes on “photo retouching, art, dress design, and knitting.” He convinced the school to sign registration papers for Japanese American students for a fee. He then contacted the “colonel in charge” of evacuation in San Francisco who agreed to provide educational passes for such students despite the school’s organization being “kind of a racket.” He located funding through Jewish residents of San Francisco and worked with Quakers to “set up a student relocation program.” In this way, Rexroth wrote, “we started shoveling people our of the West Coast on educational passes.” The poet Robert Duncan wrote that both Kenneth and Marie were also “working in the camps . . . taking messages back and forth.”
Rexroth’s practice of Buddhism, Taoism, and yoga also influenced his pacifist views and actions. He incorporated this worldview, along with a belief of the transcendental power of love, into his writing. In 1944, New Directions Press published Rexroth’s The Phoenix and the Tortoise, a rumination on history and humanity’s major failings: war and its threat to the natural landscape. In this lengthy poem, there is still hope for humanity in nature and through love. While the tortoise represented the earthly and the mortal, the phoenix represented the transcendent, sublime, and immortal power of love. Likewise, the ocean symbolized nature’s power to transform and serve as sanctuary in a world threatened by war. Literary critic John Palattella explained, “Nature’s indifference to human death is not a threat but a source of consolation, since the ocean’s one unchanging characteristic is that it changes everything.”
While Rexroth and a small number of avante-garde writers flourished in the San Francisco area for several years, the end of the war in 1945 saw an influx of new artists and writers. Many of these new voices were drawn to the area because they had read Rexroth’s works and heard about the creative coterie he had organized: a group of rebellious writers who were exploring anti-establishment and far left politics in their literature along with other cultural critiques. Rexroth believed it was the war itself that created this cultural climate. He wrote in SanFrancisco Magazine:
Just as London under the buzz bombs enjoyed a literary renaissance and a profound change of social relationships . . . so San Francisco during the War woke up from a long provincial sleep and became culturally a world capital.
Rexroth also maintained what Beat scholar John Tytell called “a sort of western salon, a weekly literary gathering,” where Rexroth introduced poets to each other and hosted readings. Out of this meeting of minds came “an entirely new cultural synthesis,” which produced new movements in theater, art, and poetry. One newspaper described this literary gathering in 1948 as “the San Francisco bay area poetry forum,” but the broader movement became known as the San Francisco Renaissance. Rexroth considered the combination of political discussion, poetry, and jazz to be the foundation of the movement. Over the following decade, this San Francisco Renaissance ushered in the rise of the Beat Generation. Rexroth’s role as bandleader of the San Francisco movement was responsible for his gaining the title “Father of the Beat Poets,” though he would later reject the title and the movement.
According to the Academy of American Poets, “Beat poetry evolved during the 1940s in both New York City and on the West Coast, although San Francisco became the heart of the movement in the early 1950s.” The Beat Generation rejected mainstream culture and politics and expressed themselves through new and non-conventional forms of poetry. Beat scholars point to the salon-type meetings organized by Rexroth as essential to bringing the Beats together. In the gatherings, the Beats would explore and embrace influential themes in Rexroth’s prolific writings like anarchism, pacifism, mysticism, and environmentalism. Beat scholar Ann Charters also credits Rexroth’s writings on Asian philosophy as influencing the Beat writers’ interest in “Buddha consciousness.”
Rexroth also helped establish jazz as an essential element of Beat poetry. During this period, Rexroth gained fame for combining his poetry with the music of local jazz groups. In San Francisco, he often performed at the Cellar, which became known for jazz and poetry performances and at the Blackhawk club with jazz bands like the Dave Brubeck Quartet. Two such performances were released on vinyl in 1957 and 1959.
Rexroth toured the country, performing regularly in New York City. According to the Academy of American Poets:
Rexroth was among the first twentieth-century poets to explore the prospects of poetry and jazz in tandem. He championed jazz and its musicians, publishing appreciations of players like Charles Mingus and Ornette Coleman, defending jazz in print against critics who deemed the music less than serious, and most importantly, he played in a jazz band himself, helping to define a role for the poet in the jazz world and a role for jazz in the poetry world.
In the liner notes for his 1959 recording Poetry and Jazz at the Blackhawk, Rexroth wrote that jazz poetry “takes the poet out of the bookish, academic world” and returns the poetry to the realm of public entertainment. Rexroth believed that combining music and spoken word connected the audience and poet directly (as opposed to the mediation of the written word) and restored poetry to oral tradition.
Mainly, however, it was his rejection of mainstream culture that aligned Rexroth with the Beat movement early on. For example, in 1951, in a syndicated review of Rexroth’s poem “The Dragon and the Unicorn” one critic noted that these rebellious writers were reacting to the post-war period with disgust. He stated that though in their writing style, they break with tradition, but their rebellion makes them part of a long tradition of creativity.
On October 7, 1955, at a poetry reading at the Six Gallery in San Francisco, Rexroth introduced Allen Ginsberg who read his revolutionary poem “Howl.” Scholars often point to this as the culminating event of the San Francisco Renaissance and solidification of the Beat movement. Charters described the movement as “awakening a new awareness in the audience (at the Six Gallery) of the large group of talented young poets in the city, and giving the poets themselves a new sense of belonging to a community.”
Rexroth championed many of the new writers in a 1957 article for The Nation, including high praise for Ginsberg. He described the scene at the height of the movement:
Poetry readings to large and enthusiastic audiences are at least weekly occurrences – in small galleries, city museums, community centers, church social halls, pads and joints, apartments and studios, and at the very active Poetry Center at San Francisco State College, which also imports leading poets . . . Poetry out here, more than anywhere else, has a direct, patent, measurable, social effect, immediately grasped by both poet and audience.
Rexroth argued that the Beat movement started as a radical literary movement, but quickly turned into a “hipster lifestyle,” that is, the pursuit of fashionable trends and not larger truths. He soon distanced himself from the movement because he felt the East Coast Beats, and especially Jack Kerouac, were opportunists seeking fame and mainstream acceptance. Rexroth was quoted by a reporter in 1958 as saying, “This beat thing, which is a publicity gimmick in the hands of Madison Avenue, will die away.”
Regardless, Rexroth had directly influenced the Beat movement probably more so than any other poet. In 1958, one reporter astutely wrote that Rexroth “seems to fix the entrance requirements.” Charters explained that Rexroth was one of a handful of writers who had “sown the seeds” for the flowering of the Beat movement. She refered to Rexroth as a “mentor” for the younger Beats and “the dominant force in the cultural life of San Francisco for more than half a century.”
Although the Beat movement melted into the counterculture movements of the sixties and rock and roll became the dominant outlet for rebellious youth, Rexroth remained a central figure in American literature. He continued to write poetry and extensive cultural and literary criticism. In addition to his original contributions, his translations of foreign poetry and his writings on literature such as his “Classics Revisited” column in the Saturday Review increased his importance to the literary world.
Writing for the Chicago Review, Rexroth scholar Ken Knabb looked back on the over 800 columns that Rexroth wrote for the San Francisco Examiner, the San Francisco Bay Guardian and San Francisco Magazine during the 1960s and 1970s. Knabb wrote in admiration of the diversity of topics that Rexroth covered: reviews of jazz and classical concerts, operas, films, Chinese theater, performances of Shakespeare; discussions of art, literature, fishing, architecture, drugs, wine, Civil Rights, war, and politics; observations from his world travels; arguments for the women’s liberation and ecological movements; and criticisms of the past cultural movements through which he lived and participated. Knabb concluded that “as an ensemble . . . they add up to a social document and critical commentary of remarkable range.”
While Rexroth had begun translating poetry from other languages in the 1950s, he dedicated more and more of his time to the task later in life. He paid special attention to translating the work of women poets starting in the 1970s in works such as The Orchid Boat: Women Poets of China (1972) andThe Burning Heart: The Women Poets of Japan (1977). By this point, his own work incorporated imagery and meter learned through decades of translating Chinese and Japanese poetry.
In his review of Rexroth’s collection The Morning Star (1979), critic Emiko Sakurai praised these poems especially as “extraordinary poems, rich and sensuous, always immediate, febrile and powerful” and called Rexroth “a poet of the first rank.” However, Sakurai had a hunch about Rexroth. He noted that “The Love Poems of Marichiko” were “ostensibly” written by a young Japanese woman. Indeed, they were actually written by Rexroth from this imagined perspective. Critics noted the transformative power his work as a translator had on his own original work and his ability to write convincingly from the a feminine perspective of his invented character.
Upon Rexroth’s death in 1982, the New York Times described this “poet, author, critic and translator of Chinese, Japanese and classic Greek poetry” as greatly influential on later generations of writers. The Times obituary noted that he received acclaim from both radical literary and political circles as well as “honors and awards from more orthodox literary corners,” such as Guggenheim fellowships and a prestigious grant from the National Institute of Arts and Letters in 1964.
Although he came to despise being called “Father of the Beats,” Rexroth created a cultural movement that influenced the voice and worldview of some of America’s best poets. Frankly, there would be no Ginsberg or Kerouac without Rexroth. However, it is his own unique voice that will forever hold his place in this country’s literary canon. Perhaps the best summary of his significance comes from poet and publisher James Laughlin, who described his friend Kenneth Rexroth aptly as “an American cultural monument.”
Linda Hamalian, A Life of Kenneth Rexroth (New York and London: W. W. Norton & Company, 1991).
Ann Charters, ed., The Portable Beat Reader (New York: Penguin Books, 1992).
See Part I to learn about Roberta West Nicholson’s efforts to educate the public about sexual health, her Anti-Heart Balm Bill, and the sexism she faced as the only woman legislator in the 1935-1936 Indiana General Assembly.
Unless otherwise noted, quotations are from Nicholson’s six-part interview with the Indiana State Library.
At the conclusion of Nicholson’s term in the Indiana House of Representatives, the country was still in the grip of the Great Depression. Nicholson recalled witnessing a woman standing atop the Governor Oliver P. Morton Statue at the Statehouse to rally Hoosiers from across the state to press Governor Paul McNutt for jobs. She was struck by the fact that the woman was wearing a flour sack as a dress, on which the Acme Evans label was still visible.
To see for herself if conditions were as dire as she’d heard-despite some local newspapers denying the extent of the poverty-Nicholson took a job at a canning factory. There she learned that the “economic condition was as bad or worse than I had feared.” She hoped to ease this struggle as the Director of Women’s and Professional Work for the Works Progress Administration (WPA).
As Director, she got further confirmation about the impoverished conditions of Hoosiers during a visit to a transient shelter on Capitol Avenue. She reported:
I couldn’t tell you the dimensions of it, but there were fifteen hundred men on the move that were in this one room and there wasn’t room for them to sit down, much less lie down. They stood all night. They just were in out of the weather. You see, these men were on the move because one of the things about that Depression was that there was lack of real communication, and rumors would go around for blue collar work and they’d say, “They’re hiring in St. Louis,” which proved to be incorrect.
In her role at the Indiana WPA, Nicholson managed all jobs undertaken by women and professionals, which included bookbinding and sewing. She also helped supervise the WPA’s Writer’s Project, consisting of a group of ex-teachers and writers who compiled an Indiana history and traveler’s guide. This project was led by Ross Lockridge Sr., historian and father of famous Raintree County author, Ross Lockridge Jr. Nicholson noted that Lockridge Jr.’s book “had more to do with making me fall in love with my adopted state than anything I can tell you.”
One of Nicholson’s largest tasks involved instructing WPA seamstresses to turn out thousands of garments for victims of the Ohio River Flood in 1937. The workers were headquartered at the State Fair Grounds, where the flood victims were also transported by the Red Cross during the disaster. Nicholson noted that many of the women of the sewing project worked because their husbands had left the family as “hobos,” traveling across the country to look for work; in order to support their families the women made clothes for the “next lower strata of society.”
First Lady Eleanor Roosevelt visited their WPA Project, headquartered at the RCA building. The 1500 women continued their work as though nothing were different. Mrs. Roosevelt’s approval seemed to validate the project, especially since the women “were constantly being made fun of for boondoggling and not really doing any work and just drawing down fifty dollars a month.” Nicholson spoke with the First Lady throughout day, concluding “I’ll never forget what a natural, lovely and simple person she was, as I guess all real people are. I was pretty young and it seemed marvelous to me that the president’s wife could be just so easy and talk like anybody else.”
In the early 1940s, Governor Henry F. Schricker appointed Nicholson to a commission on Indianapolis housing conditions. The reformer, who grew up “without a scintilla of prejudice,” concluded that the real estate lobby was at the center of the disenfranchisement of African Americans. As she saw it in 1977, the lobby prevented:
[W]hat we now call ‘upward mobility’ of blacks. I don’t think we would have this school problem in Indianapolis we have now if the emerging class of blacks with education and with decent jobs had not been thwarted in their attempts to live other than in the ghetto. They were thwarted by the real estate laws.
She added that black residents were essentially prohibited to live “anyplace but in the circumscribed areas which the real estate lobby approved . . . And now we have school problems and I think it’s a crying shame that we put the burden for directing past injustices on the backs of little children.”
While World War II lifted the country out of the Depression, it magnified discrimination against African Americans. After passage of the Selective Service Act, the City of Indianapolis hoped to provide recreation for servicemen, creating the Indianapolis Servicemen’s Center, on which Nicholson served. She noted that they were able to readily procure facilities for white regiments, such as at the Traction Terminal Building, but locating them for black troops proved a struggle.
Although a black regiment was stationed at Camp Atterbury near Edinburg, Indiana, Nicholson reported that:
The only place to go for any entertainment from Edinburg, Indiana is Indianapolis. Well, what were these black soldiers going to do? They couldn’t go to the hotels, they couldn’t go to any eating place. There was no question of integration at that point. It’s difficult to believe, but this is true; because the Army itself was segregated.
She recalled that her task was so difficult because “There was nowhere near the openness and generosity toward the black soldier that there was toward the white, although they were wearing the same uniform and facing the same kind of dangers.” Lynn W. Turner‘s 1956 “Indiana in World War II-A Progress Report,” reiterated this, describing:
[T]he shameful reluctance of either the USO or the nearby local communities to provide adequate recreational opportunities for Negro troops stationed at Camps Atterbury and Breckenridge and at George and Freeman Air Fields.
Upon this observation, Nicholson fought for black servicemen to be able to utilize the exact same amenities as their white counterparts. One of her tasks included providing troops with a dormitory in the city because “there was no place where these young black men could sleep.” After being turned away by various building owners, Nicholson was allowed to rent a building with “money from bigoted people,” but then came the “job of furnishing it.” With wartime shortages, this proved exceptionally difficult. Nicholson approached the department store L. S. Ayres, demanding bed sheets for the black servicemen. According to Nicholson, some of the Ayres personnel did not understand why the black troops needed sheets if they had blankets. She contended “the white ones had sheets and I didn’t see why the black ones should be denied any of the amenities that the white ones were getting.” Nicholson succeeded in procuring the sheets and a recreation facility at Camp Atterbury for African American soldiers.
Never one to bend to societal, political, or ideological pressure, Nicholson encountered vicious resistance in her support of the Parent Teacher Association (PTA), a national network advocating for the education, safety, and health of children through programming and legislation. She noted that support of the organization was frowned upon in the state because:
[T]hese were the witch-hunting years, you know, and anything that came out of the federal government was bad, and in Indiana that feeling was rife. It was a matter of federal aid education and in Indiana there was a great deal of militant resentment of that federal aid education.
According to Nicholson, a coalition of institutions like the Chamber of Commerce and the Indianapolis Star, along with “some very rich, very ambitious women who wanted to get into the public eye” aligned to destroy the PTA in Indiana. Nicholson recalled that her support of the PTA on one occasion caused a woman to approach her and spit in her face. Ultimately, Nicholson’s opposition won, and defeated the PTA. Nicholson noted that as a result Indiana’s organizations were called “PTOs and they have no connection with the national.” At the time of her ISL interview, she lamented that “without that program for schools where disadvantaged children go, a lot of the schools just simply couldn’t function.”
Nicholson also described a brush with the Red Scare of the 1950s. In a series of articles, an Indianapolis Star journalist accused the State Welfare Department of “being riddled with communism and so forth.” Knowing she was affiliated with one of the women in the department, Governor Schricker summoned Nicholson to his office about the allegations. She noted that while the accused woman was “kinda kooky,” Nicholson was able to assure from “my own knowledge that these two women were possibly off in left field, but that I thought the whole operation was just as clean as anything in the world could be.”
In 1952, desiring respite from the city, the tireless reformer and her husband bought a broken down house in Brown County to fix up for weekend visits. After suffering from ulcers, likely from over-exertion, Nicholson officially retired as the first director of the Indianapolis Social Hygiene Association on December 31, 1960 (serving since 1943). Nicholson passed away in 1987, leaving a positive and enduring imprint on the city’s marginalized population.
Regarding her career, Nicholson combated allegations that she only did what she did because she wanted to be around men. Perhaps an apt summation of her life, Nicholson noted “My way was sort of greased-had a good name and had done some things. I had a reputation for being able to get things done.”