On Valentine’s Day, we thought it would be a great time to share a different side of Indiana culture during the tumultuous years of World War I, in the form of valentine cartoons. John T. McCutcheon was one of Indiana’s most celebrated cartoonists from the era, and his “wartime valentines” help us understand how the home front viewed this integral time in world history.
John T. McCutcheon was a Pulitzer-Prize winning cartoonist for the Chicago Tribune, where he worked for 43 years. Born in South Raub, Tippecanoe County, Indiana on May 6, 1870, McCutcheon grew up “in the rural areas surrounding Lafayette.” He attended Purdue University where he was “a founding member of the University’s first fraternity, Sigma Chi” and the “co-editor of the University’s first yearbook, the Debris.” After graduating college in 1889, he worked as a cartoonist for the Chicago Morning News andRecord-Herald until he moved to the Tribune in 1903. His artistic style mirrored his experiences growing up the Midwest; he developed a character called “A Boy in Springtime” who would appear in front-page pieces having small-town fun with friends and his dog (the dog first appeared in a William McKinley presidential campaign cartoon, and became much beloved by readers). As R. C. Harvey of the Comics Journal noted, McCutcheon’s cartoons were “the first to throw the slow ball in cartooning, to draw the human interest picture that was not produced to change votes or to amend morals but solely to amuse or to sympathize.”
Paralleling his more personable cartoons, McCutcheon partnered with another Hoosier author, George Ade, to create a series of valentines for charity during World War I. The idea originated from the Indianapolis Branch of the American Fund for French Wounded and its contributors were a who’s who of Indiana arts, including Ade and McCutcheon as well as Meredith Nicholson, Kin Hubbard, and William Herschell. As reported in the South Bend News-Times on January 28, 1918, “Prominent Indiana artists and authors this year have been making comic valentines . . . and are guaranteed by those who have seen them to send grins and cheer to soldiers at home and abroad.” The article also outlined the American Fund for French Wounded, noting that “the proceeds will go for furthering the work in France among wounded soldiers and destitute families, which is the committee looking after the funds is carrying on.” Ads even ran in the Indianapolis News to promote the Valentines, published by Charles Mayer & Company, once they were available.
The first valentine in the digital collection, entitled “From Her Mother”, shows a concerned mother writing to a “Mr. Soldier Man” while a variant of McCutcheon’s iconic dog looks on in the background. The photos on and above the desk in the cartoon are important to context, as the photos of the mother’s daughter and her soldier beau face each other longingly, while a portrait of the mother sternly oversees over both of the photos. In the cartoon, the mother’s letter reads:
Mr. Soldier Man.
Dear Sir:
I can not send what my daughter wrote,
It might set fire to the darned old boat.
Yours truly,
– The Night Watch.
The mother’s face shows a concern not only for her daughter’s overly passionate words. McCutcheon’s style of strong lines and warm, humane features also comes through in this valentine.
George Ade and John T. McCutcheon, “Her Choice This Year.” IMCPL/Digital Indy.
Another great valentine in the collection entitled, “Her Choice This Year”, ties the romantic love normally associated with Valentine’s Day with love of country. Ade’s poem reads:
Columbia wants you to know,
That you’re her particular beau.
She’s likewise “particular.” So
That’s why you’ve been picked as her beau.
The young woman, aptly named Columbia, holds the hand of her uniformed soldier as he looks at her lovingly. She’s also dressed in a shirt and skirt of the red, white, and blue with a pair of roman sandals. And of course, McCutcheon’s iconic dog looks up at them in the foreground. This valentine exhibits the strong patriotic fervor during the period, but in a charming, homespun way.
George Ade and John T. McCutcheon, “Some One Has Not Forgotten.” IMCPL/Digital Indy.
The next valentine captures a woman’s longing for her partner who is off at war. Named “Some One Has Not Forgotten,” it depicts a young woman knitting in a chair while thinking of her partner trekking across Europe in a snowstorm. Here’s Ade’s text with the valentine:
My heart to-day
Is far away
Across the rolling brine.
So while I sit
And knit and knit
You’re still my valentine.
This depiction of men and women evokes a more traditional assumption of gender during the period than say “Columbia” and her beau above. The woman’s thoughts of her partner, floating above her head and colorless, attempt to convey the arduous and grim task of war. In contrast, McCutcheon’s drawing of the young woman is clear and with beautiful coloring. Ade and McCutcheon’s valentine cleverly renders the feelings of many young women while their partners were at war.
The final valentine in the digital collection is called, “To You Somewhere,” and it depicts one of Valentine’s Day’s most enduring symbols, Cupid. In this version, a nude Cupid braves the cold weather to deliver a valentine to a soldier in the snow. The message reads:
I don’t know just where you are to-day,
I don’t know how many miles away;
Whether you’re out where the bullets fly,
Or safe and sounds at the good old “Y.” [Y.M.C.A]
I have no message from o’er the sea
To let me know that you think of me,
But I’ll make an oath and my name I’ll sign,
That you are my only Valentine.
The soldier’s delight at receiving the message from a saluting cupid is evident. He even has his gun down and his hands up, perhaps in surprise that the symbol of love is in a war zone, or perhaps the soldier is in the act of accepting the valentine from Cupid. Of the four digitized valentines, this is the only one without a female main subject, despite the text being from the soldier’s love. It shows the perspective of the soldier receiving a valentine, rather than a woman creating or imagining one.
George Ade, courtesy of Indiana State Library Rare Books and Manuscripts Collection.
Kentland, Indiana native George Ade is best known as an author who came to prominence during the Indiana Golden Age of Literature. He was a columnist for the Chicago Tribune, authored over twenty books, and even penned several successful Broadway productions. But in Newton County, he was known as “just plain George Ade, everybody’s friend.” In the early 20th century, Ade returned to Newton County and built what would become a cultural mecca – a source of support in hard times and a place of celebration in the good.
Even in an age of notable Hoosier authors, humorist George Ade stood out. Compared to contemporaries like Lew Wallace, Meredith Nicholson, and Booth Tarkington, he employed more of an “every man’s” style, peppering his work with vernacular and popular references. This made his work relatable to the masses in the early 20th century, but a bit difficult to decipher today, as seen in the excerpt below.
Excerpt from Fables in Slang, “The Fable of the Slim Girl who Tried to Keep a Date That Was Never Made,” courtesy of HathiTrust.com.
Ade began writing his “Stories from the Streets and Town” column for the Chicago Record in 1893, inspired by the daily goings-on he witnessed as a reporter on the streets of Chicago. By 1896, the column became popular enough to warrant a selection to be published as the book Artie. Subsequent collections Pink Marks (1897) and Doc’ Horne (1899) soon followed and further boosted the column’s popularity. It was Ade’s “Fables in Slang” that rocketed him to national fame, though.
1900 Satirical ‘More Fables’ by George Ade – (1899 Fables in Slang sequel), is courtesy of etsy.com.
Ade’s first fable, “The Fable of Sister Mae, Who Did As Well As Could Be Expected,” was published in the Record on September 17, 1897. “A Fable in Slang” came a year later and was the true beginning of the column, rocketing him to national fame. These humorous stories, each of which concluded with a satirical moral, such as “in uplifting, get underneath,” earned him the moniker the “Aesop of Indiana.” When the collected Fables in Slang was published in 1899, it became his most successful work up to that point.
With the dawn of the new century, Ade made a career move from columnist to playwright with the opening of The Sultan of Sulu. This first Broadway success was followed by others in quick succession. The County Chairman (1903), The Sho-Gun (1904), and The College Widow (1904) all garnered critical acclaim and helped to establish the musical comedy genre.
Not yet 40 years old, Ade had earned a fortune and retired from the hustle and bustle of life in Chicago to a sprawling fourteen room Tudor-style mansion near Brook, which he dubbed “Hazelden.” Here, he continued to write while he hosted political rallies, such as the 1908 Taft Rally, entertained local and national celebrities, and treated the residents of Newton and surrounding counties to lavish parties. The Muncie Star Press noted that Ade “wasn’t a swimmer and he didn’t dance, but on his farm place . . . he built a dance pavilion and a swimming pool.” Along with the dance pavilion and swimming pool, Hazelden featured a pool house, greenhouses, barns, and, by 1910, a golf course and country club.
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Just two months after the U.S. entry into World War I, Ade wrote a plea to his community:
It seems that every part of the country, including Newton County, will have to take an important part in the great war now raging. . . Some can give more than others, but every man that can give something and fails to do so, will have to carry in his soul a reasonable doubt as to his good citizenship. Give to the Red Cross this week.
And what George Ade had to give, other than money, was Hazelden. The estate assisted the war effort in small ways, serving as the meeting place for the Newton County Red Cross Executive Committee, and hosting knitting bees, which made socks for soldiers. But in July 1918, Ade pulled out all the stops for Red Cross Day. A dozen airships, carrying military personnel from the Chanute Air Force Base near Rantoul Illinois, were early on the scene for the festivities. Thousands came from as far away as Indianapolis, South Bend, and Chicago to enjoy the grounds on a day with what newspapers of the day called “George Ade Weather.” Fundraisers included a golf tournament, where fans could bid for the chance to caddy for their favorite player and golf balls were auctioned off afterwards. Proceeds from the day totaled over $5,000 (nearly $100,000 today).
George Ade, courtesy of Alchetron.com.
Described in the Chicago Tribune as a “two fisted drinker,” and “one of the most gregarious men who ever lived,” Ade wasn’t afraid of a good time, and after the war years, he turned his attention to just that. On July 4, 1919, an estimated 15,000 revelers flocked to Brook, effectively doubling the population of Newton County for a day. Attendees brought picnic lunches, were treated to music by Bensons Orchestra, brought in from Chicago, and played a few games of “Cage Ball,” a mix of American football and soccer that became popular during the war. The evening was topped off with a fireworks display.
Perhaps the most beloved event on the Hazelden calendar was the annual Children’s Picnic, which featured activities such as baseball games, tug-of-war, dancing, and daylight fireworks. For one day each summer, all children under twelve years old from Newton and surrounding Counties were invited to take in the sprawling grounds. If a child’s family could not afford clothes and transportation to the event, Ade would furnish a new outfit and send a car to get them. The Lafayette Journal and Courier described the 1926 event:
There were clowns, imported for the occasion, magicians, organ grinders and monkeys, fancy divers and swimmers, vaudeville artists and Punch and Judy shows. Each of the 600 children present received a fancy paper cap to wear, and all feasted on ice cream and lemonade.
Annual Children’s Picnic, 1928, Indianapolis Star, September 28, 1930, 10.
For forty years, from when the home was finished in 1904 until Ade’s death in 1944, the humorist presided over scenes such as that described above time and time again. Local obituaries nearly without exception included reminiscences about the community gatherings hosted amongst the lavish gardens on the manicured grounds of Hazelden. But after Ade died following a heart attack, the estate sat empty for nearly two decades until it was acquired by the George Ade Memorial Association. It was subsequently renovated and added to the National Register of Historic Places in 1976.
Inside Hazelden, courtesy of Indiana Landmarks.
Today, Hazelden continues to serve as a gathering place for Newton County residents. The George Ade Historic Preservation Commission oversees operations of the estate, which is available to be rented out and often hosts graduation parties, birthday celebrations, and even weddings. The Commission is in the planning stages of a renovation of the mansion, carriage house, and grounds so it can better meet the needs of the community. If you are interested in learning more about this project or would like to rent out the home, contact Commission Chairperson Krissy Wright.
Note: This post was written using the marker notes for the Indiana state historical marker for George Ade, which can be found here.
Courtesy of the Fort Wayne News-Sentinel, caption: Pianist Charles Allen, left, and singer Steve Black were part of the entertainment scene in the late ’60s, when bars replaced coffeehouses as the centers of musical activity.
Legendary choreographer and “unsung gay hero” Charles Allen sat with a tape recorder in his Fort Wayne house, a veritable art museum awaiting curation. Sipping gin and orange juice from an empty peanut butter jar, he began to document his life. Notorious for self-mythologizing—once claiming to have killed a man using “voodoo and black magic”—some of the anecdotes he fed the tape no doubt were embellished.[1] These would prove unnecessary, however, as his legacy speaks for itself. Not only did Allen give “birth to generations of dancers and . . . change the way people looked at the world around him,” but he inspired and empowered LGBTQ+ Hoosiers, perhaps unintentionally. Upon Allen’s 1980 death, Jerry Jokay wrote in TROIS, Fort Wayne’s gay newsletter, that “Although he probably wouldn’t have seen it this way, one of his greatest contributions was that he was a gay hero. And he is a gay hero simply because his gayness was a trivial issue in his life even in spite of the oppression it caused him.”[2] Allen, on the other hand, would probably consider his greatest contributions to be advancing performing arts and instilling a love of storytelling and self-expression in Hoosiers.
Gene Stratton Porter, courtesy of the Indiana State Museum, courtesy of KPC News.
Born in 1912, Allen was likely raised by his aunt and uncle in Mongo, Indiana. Depictions of Allen’s childhood are characteristically colorful and include a traipse through Tamarack Swamp with famed author and naturalist Gene Stratton Porter in search of insects and plant specimens.[3] Allen “recalled dyeing his hair pinkish-brown as a child, catching blue racer snakes, putting them around his neck, and startling passersby on highway 20 near his home. A barefoot, innocent, wild-haired child of the swamp.”[4] The spirited child attended school in Kendallville and spent free time in LaGrange, where he learned to play piano at Wigdon Theater. Fully enamored with artistic expression, he devoured performances delivered by a travelling company. The News-Sentinel reported “there was a troupe of four or five men, who did a two-reel silent movie, and set up an impromptu stage with an indian scene. There was singing, and two of the men did female impersonations. When he left the show, his life had changed. . . . He’d fallen in love.”
The production continued to call to him, long after the caravans departed. He left school, took a train to northern Michigan, where the travelling company had migrated, and became its new pianist. As despair deepened during the Great Depression, the public increasingly took solace in travelling shows. These provided Allen with opportunities to try his theatrical hand and hone his skills as a performer. The News-Sentinel noted, “People were doing almost anything for money. He fell in with a freak show,” dubbed the Palace of Wonders, for which he mesmerized crowds as the Human Pin Cushion. During this period, Allen learned how to perform the “half-man, half-woman” act, styling his feminine half after screen siren Marlene Dietrich. When he returned to Fort Wayne, he would perform this routine at local tavern, Henry’s, and played piano at bars like This Old House, Trolly Bar, and the Caboose.[5] Allen insisted that friends stay at his house once the bars closed down for the night, hating solitude.[6]
The eclectic career he had forged for himself was abruptly derailed by the conformist ethos of the 1940s. At a time of global upheaval, Americans held evermore sacrosanct heteronormativity. The News-Sentinel reported that during this “less enlightened age,” a judge sentenced Allen to six years in a Michigan City Prison after “an affair with a soldier led to a charge of sodomy.”[7] Allen recalled in the Fort Wayne Free Press that the judge declared ironically “we’re going to send you where you’ll be happy; locked up with a lot of men!”[8] This prediction proved correct, as he spent time with paramours in a makeshift room fashioned out of old pianos and curtains. On weekends, he played piano for the men waiting in line to watch a movie. While it played, a band mate would take his place at the piano, so that he could go hold hands with his companion. During his few years in prison, Allen made friends, assembled a band—for which he played the sousaphone—and learned how to dance.[9]
A sketch of Etheridge Knight in prison by Terrance Hayes, accessed theparisreview.org.
The News-Sentinel noted that in prison Allen “kept following his insatible [sic] desire to learn. Where he could find no one else to teach him, he taught himself. The creativity could never let him rest. It would be that way to the end of his life.”[10] This cultivation of self-expression paralleled the journey of African American poet, Etheridge Knight. While serving eight years at the Indiana State Prison in the 1960s, he discovered the restorative power of writing, culminating in his revolutionary Poems from Prison. Knight later stated that “Poetry and a few people in there trying to stay human saved me . . . I knew that I couldn’t just deaden all my feeling the way some people did.”[11]
So, too, did music and dance sustain Allen during his incarceration. Upon release, he returned to Fort Wayne, opening the Charles Allen Dance Studio.[12] According to the Journal-Gazette, he was the city’s only choreographer and, through his trips to New York and Chicago, “single-handedly” invigorated the city’s theater scene. Something of a cultural conduit, Allen traveled to Vera Cruz, Mexico to research indigenous dances. He studied dance at the University of Guatemala and the Palace of Fine Arts in Mexico, imbuing midwestern students with unique material and perspectives.[13]
In life and work, Allen gravitated towards those on the fringes, perhaps identifying with their struggles or the stigmatization they endured. He reportedly taught exotic dancers how to improve their performances and played piano at “houses of ill repute.”[14] In his TROIS article, Springer wrote that Allen played piano and felt a “kinship” with Black Americans because “like him, they were among the outsiders of society.”[15] Though he was exacting and sometimes cruel, the News Sentinel reported that “he would work with beginners no one else had time for, work tirelessly because he felt a love of what he was doing.”[16] Janice Dyson recalled this experience, after her mom “scrimped grocery money to help pay” for lessons for her and her sister, Bernice. She recalled that Allen “was a real taskmaster. . . . Bernice was intimidated by him and quit after about a year. I wasn’t afraid of him, but I learned pretty quickly that when he said practice or else, he meant it.”[17] Perhaps he hoped to provoke the same grit he’d developed through surmounting the many hardships imposed by society.
While he worked with Fort Wayne performers, Allen reportedly knew the jazz greats, like Billie Holiday and Louis Armstrong, and one friend noted that “a lot of famous people used to come here and have him fix their acts. Polish the acts. Reblock them or rechoreograph them.'”[18] Legend has it that one winter Allen sold his horse to pay the train fare to see Holiday perform in New York City. Due to a snow storm, he was the only person to show up at the theater. The usher relayed his presence to Holiday, who performed only for him, after which they went out for a drink. She reportedly drove him to the train station and ran alongside the cars, waving as the train departed. Allen was so moved by the experience that he wept while watching the train station scene in “The Lady Sings the Blues.”[19]
Family Theatre Festival (1975-1976), OnStage On Campus Collection, mDON: mastodon Digital Object Network, Helmke Library, Purdue University Fort Wayne.
Purdue University Fort Wayne (PUFW) recognized the ingenue’s talent, hiring Allen to teach courses like Stage Movement.[20] He felt immense pride about being self-taught. A man who embodied resistance towards oppression and convention, his influence intersected fortuitously with the cultural revolution of the late 1960s and 1970s. Friends and colleagues seem to agree that he was not an activist in the traditional sense, but he always answered when called to provide insight about homosexuality or the burgeoning “homophile” movement. He recognized that, as one of few men in the area living openly, if he did not engage in public discourse that no one one would. When asked by WANE-TV to serve as one of five panelists about homosexuality Allen agreed, saying “‘I’m all right here, I don’t have any problems because I’m not scared. But a lot of people are scared; they’re scared they’ll get arrested.”[21] He appealed to dozens of people to serve as panelists, but only two agreed. Those who declined feared that their parents would disown them or that they would lose their job, as had one of Allen’s friends who served in World War II. Others claimed the panel was unnecessary or worried that it would upset the “status quo,” which had provided a modicum of safety. To this reasoning, Allen said, “‘I thought if everything is so fine, why can’t they get on the air and say it’s fine. It’s because it isn’t fine.”[22]
Allen spoke about homosexuality at PUFW campus teach-ins and college classes, and wrote editorials for the student paper, The Fort Wayne Free Press, under the pseudonym “Claude Hawk.”[23] He wanted audiences to understand that sexuality was not a choice, noting that “My own doctor tells me that one gene or chromosome determines sexual preference—not butchness, effeminancy, athleticism, not militancy, but whom you want to go to bed with.”[24] He added that this knowledge, while “comforting,” doesn’t help if you get fired or the “bartender breaks your glass after each drink, etc., etc.” His efforts shifted the perspectives of students like Linda Lamirand and Katharine Stout, who attended a teach-in with the “brave man” who “sat up there and told it like it is.”[25] The authors were enlightened by Allen’s revelations that he knew he was gay at the age of four and that scientific studies suggested that biology dictated sexual preference.
Courtesy of The Fort Wayne Free Press, 3, iss. 16 (July 27, 1972): 9, accessed mDON: mastadon Digital Object Network, Helmke Library, Purdue University Fort Wayne.
In one Free Press editorial, Allen addressed those who had come to terms with their sexuality, but faced the question “where do you go?” to meet someone. Of the dilemma, he wrote:
You can’t find someone at an office party or at a neighborhood bar because someone would ‘find out’. So you experiment. You drink too much or get so horny that, without experience, you get your teeth bashed in saying something dumb to to the wrong person; or the right-wrong person who relieves you of your watch, wallet, and rings. Or sometimes you are picked up by a nicelooking, intelligent, young man with long hair and bare feet, who turns out to be fuzz and you are entrapped, fined, and-or jailed.[26]
He advised readers to find a “gentle, gay” friend, who can help navigate the covert social world, or a relatively tolerant restaurant or bar. A “third salvation,” Allen noted, was to “know an art or theater crowd who don’t give a damn. Not about you, but about it.” The theater provided a world in which he did not have to explain himself or act as a local spokesperson for homosexuality. He wrote that the “freedom, acceptance, and love” afforded by the theater community created “a place to breathe in this pollution of brotherhood. Since one doesn’t have to hide, or lose his job in these fields, these are the more obvious” ones in which to work.[27] In fact, Allen noted that living as a gay man paralleled life in the performing arts, writing:
“You are forced to think and live like a male and play the game so well that you are never uncovered. And this becomes an art, gives you a facility for understanding objectively what’s going on. It’s like a play, and while others are doing it naturally you’re listening for clues, and if well rehearsed, arrive at a happy ending.”[28]
The Fort Wayne Free Press 4, iss. 3 (January 25, 1973): 6, accessed mDON: mastadon Digital Object Network, Helmke Library, Purdue University Fort Wayne.
While TROIS writer Jerry Jokay considered Allen “Fort Wayne’s unsung gay hero,” he noted that “his fortitude laid in the fact that he didn’t dwell upon his difference . . . Allen was preoccupied with being so much more, as his best friends attest.”[29] Preoccupied, he was. Allen informed Free Press readers about his life, writing in 1971 that “I ran my own school, taught at Purdue, played piano in bars, was connected with Ft. Wayne Civic Theater, Kenosha Little Theater, Theater Alanta, had choreographed a Broadway show, was a Japanese paper folder, an Arabian knot tier.”[30] He had traveled the globe in search of inspiration and imbued new generations of performers with it. The News-Sentinel wrote that “he became unique, in a world of his own creation. His art became his life, his life his art.”[31]
His life, his art. Perhaps it was his cancer diagnosis that inspired him to detail them on tape, stories that writer Dan Luzadder suggested “may have been plucked from the intensity of his nether world.”[32] We don’t know what stories he told, as he ran out of time to complete the recordings,* but perhaps he described the demands of caring for his pet python or recited original sonnets, haikus, and Limericks, “both clean and questionable.”[33] We can be certain that his life and art profoundly influenced those around him. This is evidenced by the obituaries written upon his death in 1980 at the age of 68. Luzadder wrote in the Fort Wayne News-Sentinel:
There was loneliness and insecurity. There were things that drove him. And there was tremendous courage to live through the times of his life, to aspire to art, to survive with nothing more than intelligence and faith in himself, to go hungry, to be alone, to see the world in its intolerance and still love it.[34]
Dell Ford, “Artists’ Artist Charles Allen Dies,” Fort Wayne Journal-Gazette, March 20, 1980, 1C, 2C, ISL microfilm.
On March 21, hundreds of people from all walks of life—including actors, dancers, bartenders, city officials, and editors—stood shoulder-to-shoulder at the Performing Arts Center to pay their respects to the man “whose life had taught them the meaning of art.”[35] His memorial served as a final standing ovation, with Civic Director Richard Casey reading from “Hamlet,” poets performing spoken word, and dancers delivering a finale performance of “Mr. Bojangles.”[36]
Allen provides us with a window into the experiences of those who lived openly in Indiana prior to the liberating events of the 1980s and 1990s. Before a sense of community was fostered by the formation of groups like Fort Wayne Gay and Lesbian Organization (GLO), Pride Week celebrations, and the publication of gay newsletters, Allen drew upon a deep reservoir of self-assurance and creative impulse to fashion a fulfilling life.[37] In his 1980 tribute, Steve Springer described Allen as “an individualist. Society had its standards of behavior and Allen had his own.” And although he had suffered because of these standards, Springer insisted that “Long after Anita Bryant and her hordes of intolerants are forgotten, the legend of Charles Allen will live on.”[38]
* The author has been unable to locate these recordings. If you know of their location please contact npoletika @library.in.gov.
[1] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, Indiana State Library (ISL) microfilm.
[3] “Arts Center Site for Allen Service,” (Fort Wayne) News-Sentinel, March 20, 1980, ISL microfilm.
[4] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.
[5] Dell Ford, “Artists’ Artist Charles Allen Dies,” Fort Wayne Journal-Gazette, March 20, 1980, 1C, 2C, ISL microfilm.
[6] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.
[7] Ibid.
[8] Claude Hawk, “Boys Will Be Girls!,” The Fort Wayne Free Press 2, iss. 1 (January 1, 1971): 3.
[9] Ibid.
[10] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.
[11] Nicole Poletika, “Etheridge Knight: ‘can there anything good come out of prison,'” May 3, 2017, accessed Untold Indiana.
[12] Steve Springer, “Chas. Allen,” The Communicator, March 27, 1980, reprinted in TROIS (Three Rivers’ One in Six) (May 1980): 5, 7, Northeast Indiana Diversity Library Collection, accessed Indiana Memory.
[13] Dell Ford, “Artists’ Artist Charles Allen Dies,” Fort Wayne Journal-Gazette, March 20, 1980, 1C, 2C, ISL microfilm.
[14] Ibid.; Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.
[15] Steve Springer, “Chas. Allen,” The Communicator, March 27, 1980, reprinted in TROIS (Three Rivers’ One in Six) (May 1980): 5, 7, Northeast Indiana Diversity Library Collection, accessed Indiana Memory.
[16] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.
[17] Janice Dyson, “Studio Marks 65 Years of Dancing,” KPC News, December 28, 2017, accessed kpcnews.com.
[18] Dell Ford, “Artists’ Artist Charles Allen Dies,” Fort Wayne Journal-Gazette, March 20, 1980, 1C, 2C, ISL microfilm.
[19] Steve Springer, “Chas. Allen,” The Communicator, March 27, 1980, reprinted in TROIS (Three Rivers’ One in Six) (May 1980): 5, 7, Northeast Indiana Diversity Library Collection, accessed Indiana Memory.
[20] “Family Festival Slated,” Fort Wayne Journal-Gazette, April 28, 1976, 6C.
[21] “It Isn’t Fine,” The Fort Wayne Free Press 2, no. 17 (September 9-23, 1971).
[22] Ibid.
[23] Claude Hawk, “Wherever You Are!,” The Fort Wayne Free Press 1, iss. 10 (October 7-21, 1970): 4.; Claude Hawk, “Out of the Closet,” The Fort Wayne Free Press 1, iss. 11 (November 2-18, 1970): 3, 6.; “It Isn’t Fine,” The Fort Wayne Free Press 2, no. 17 (September 9-23, 1971).
[24] Claude Hawk, “Wherever You Are!,” The Fort Wayne Free Press 1, iss. 10 (October 7-21, 1970): 4.
[25] Linda Lamirand and Katharine Stout, “Dear Freep,” The Fort Wayne Free Press 2, iss. 7 (April 22-May 6, 1971): 10.
[26] Claude Hawk, “Wherever You Are!,” The Fort Wayne Free Press 1, iss. 10 (October 7-21, 1970): 4.
[27] Ibid.
[28] Claude Hawk, “God Love Us All,” The Fort Wayne Free Press 2, iss. 8 (May 6, 1971): 9.
[30] Bob Ihrie and Charles Allen, “Holiday on Ice,” The Fort Wayne Free Press 2, iss. 2 (January 18-February 2, 1971): 3.
[31] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.
[32] Ibid.
[33] Dell Ford, “Artists’ Artist Charles Allen Dies,” Fort Wayne Journal-Gazette, March 20, 1980, 1C, 2C, ISL microfilm.
[34] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.
[35] Dell Ford, “Funeral Celebrates Dance, Poetry, Drama, Music,” Fort Wayne Journal Gazette, March 22, 1980, C1, ISL microfilm.; Steve Springer, “Chas. Allen,” The Communicator, March 27, 1980, reprinted in TROIS (Three Rivers’ One in Six) (May 1980): 5, 7, Northeast Indiana Diversity Library Collection, accessed Indiana Memory.
[36] Dell Ford, “Funeral Celebrates Dance, Poetry, Drama, Music,” Fort Wayne Journal Gazette, March 22, 1980, C1, ISL microfilm.
[37] Nicole Poletika, “From ‘Gay Knights’ to Celebration on the Circle: A History of Pride in Indianapolis,” October 5, 2021, accessed Untold Indiana.
[38] Steve Springer, “Chas. Allen,” The Communicator, March 27, 1980, reprinted in TROIS (Three Rivers’ One in Six) (May 1980): 5, 7, Northeast Indiana Diversity Library Collection, accessed Indiana Memory.
Purdue’s “World’s Largest Drum”, made by Indianapolis’ Leedy Manufacturing Company in 1921, has been involved in many rivalries over its size. Learn more about its unique history from our latest video.
Music: “Regimented Instinct” by Teknoaxe, “Jumpin’ Boogie Woogie” by Audionautix, “Anchors Aweigh” by US Marine Corps Band, “National Emblem” by US Naval Academy Band, “Low Tide” by Silent Partner, “Jazz Bar” by Doug Maxwell, Media Right Productions, “Hail, Purdue” by Purdue All-American Marching Band
Since at least the late-19th century, art galleries and critics have focused most of their attention on young, emerging artists. This strategy has paid off for savvy dealers and galleries, as these rising stars of the art world have brought in large amounts of money and produced blockbuster shows. The downside of this trend for the artists themselves, is that it can be difficult to find places to exhibit and sell their work as they get older. This is especially disappointing, as many artists peak later in life and produce their best work in their golden years. In this way, an artist’s best work might go largely unappreciated. [1]
Georgia O’Keeffe, From a Day with Juan II, 1977, Museum of Modern Art, www.moma.org.
There are signs that this reign of young artists may be coming to an end. For example, the Tate announced that artists over the age of 50 would now be eligible for the coveted Turner Prize, awarded to a British artist each year for innovation in the arts. This shift recognizes that older artists can also be innovators. [2]
Meanwhile, the Museum of Modern Art [MoMA] recently featured an exhibition titled The Long Run, which featured artists who were at least 45 years old when they made the exhibited piece of artwork. Most were much older, like Georgia O’Keeffe, who painted From a Day with Juan II at 90. The MOMA explained:
Innovation in art is often characterized as a singular event—a bolt of lightning that strikes once and forever changes what follows. The Long Run provides another view: by chronicling the continued experimentation of artists long after their breakthrough moments, it suggests that invention results from sustained critical thinking, persistent observation, and countless hours in the studio. [3]
The Carter Burden Gallery, which like other New York City spaces sells its artists’ works for thousands of dollars, is different in one significant way. All of its exhibited artists are 60 or older. The gallery’s director Marlena Vaccaro told NPR:
Older adults do not stop being who they are because they hit a particular age. Professional artists never stop doing what we do, and in many cases we get better at it as we go along. [4]
Frank M. Hohenberger, “Will Vawter at Work in His Studio,” photograph, n.d., Frank M. Hohenberger Photograph Collection, Lilly Library, Indiana University.
Simply put, some artists get better with age. This was true for Indiana artist Will Vawter. He began his artistic career in the 1890s as a talented but unremarkable illustrator for his local newspaper. He gained popularity mid-career for his drawings that brought the children’s books of James Whitcomb Riley to life. Vawter peaked, later in his life, as one of the finest landscape artists ever to work in Indiana. As the current art world shifts to include older artists, it’s worth examining one Hoosier painter who produced his best work in his late 60s. Will Vawter’s late-blooming reminds us to give exhibit space to older artists, not for the sake of inclusion only, but because we don’t want to miss out on the best work of their careers.
The Early Years of Will Vawter
John William “Will” Vawter was born in West Virginia in 1871 and moved with his family to Greenfield, Hancock County, Indiana, by 1880. [5] He worked as an illustrator for the (Greenfield) Hancock Democrat before becoming an illustrator at the Indianapolis Sentinel and the Indianapolis News in 1891. [6] In 1893, Vawter got his big break. The Indianapolis Journal dedicated a full page to an exclusive new poem by James Whitcomb Riley. [7] The Journaldescribed the special edition, produced to coincide with a large national Grand Army of the Republic meeting, as “by far the most expensive and delightful feature ever offered its readers by an Indianapolis newspaper.”[8] The newspaper prominently featured Vawter’s illustrations of the poem.
James Whitcomb Riley, “Armazindy: A Borned Soldier and Hero,” Indianapolis Journal, September 5, 1893, 13, accessed Hoosier State Chronicles.
By the time Vawter started his illustrations for Riley, the “Hoosier Poet” had achieved national renown, and several of his volumes of poetry were best-sellers. [9] Riley was known for using “Hoosier dialect” to create poems “infused with the very spirit of the Hoosier soil from which they sprung.” [10] Likewise, Vawter honed his artistic skills observing life around him for local newspapers. Both men were Greenfield natives and keen observers of the local culture that colored Hoosier life. In this way, Vawter was uniquely positioned to interpret Riley’s work. Thus, the Riley-Vawter pairing, initiated by the Indianapolis Journal, was the beginning of a long creative partnership.
James Whitcomb Riley, Child-Rhymes, Bobbs-Merrill Company, 1898 edition accessed Indiana State Library, 1908 edition accessed Hathi Trust.
The Riley Years
In 1898, Indianapolis publisher Bowen-Merrill Company reissued a collection of Riley poems as Riley Child-Rhymes. Vawter’s illustrations were heavily featured in the book. In an extensive interview with the Indianapolis News, Riley described Vawter’s innate ability to capture the spirit of the folks depicted in the poems. Riley stated:
It is a very gratifying thing to find an artist who is unconsciously aware of the exact situation and who understands his own intimate surroundings. Will Vawter is such an artist. There is no vagueness in his interpretation of the poems of this book. He is a Greenfield boy, and natively an artist . . . He depicted people and things in no patronizing way. They are taken in a realistic spirit; he is of them. [11]
Riley went on to describe the importance of understanding the subtlety of local dialect when dealing with characters like the “town gossip,” for instance. He continued on Vawter’s ability to capture these individuals:
All these characteristics have been unconsciously observed by young Vawter. Now that he comes to sit down and illustrate these scenes and people, he knows his material and surroundings perfectly . . . While he may be criticized for lack of technical finish, it would be dangerous to equip him with an exacting technical art knowledge . . . This would be to the absolute loss of native feeling, of the tone and direct blood relationship that is needed in his work. [12]
Riley’s comments are a mixed bag. He praised Vawter for his talent, but noted his unpolished rendering skills. He admired the way Vawter captured in ink the very people Riley depicted in words, but implied that the artist did so out of naiveté. Vawter captured their essence only because they were just the kind of folks that the simple young man knew and understood. At this early point in his career, Riley did not see Vawter as an artist with a vision of his own. Vawter would prove this assumption wrong much later in his career.
The fact that Riley’s appreciation for Vawter grew over the following years is evidenced by the sheer number of times the author paired with the artist on lushly-illustrated volumes of poetry. Vawter illustrated:
James Whitcomb Riley, Book of Joyous Children (New York: Charles Scribner’s Sons, 1902, accessed IUPUI Digital Collections.
Riley Farm-Rhymes (1901, 1905 editions), The Book of Joyous Children (1902), His Pa’s Romance (1903), A Defective Santa Claus (1904), Riley Songs O’ Cheer (1905 edition), The Boys of the Old Glee Club (1907), Riley Songs of Summer (1908), Riley Songs of Home (1910), Riley Songs of Friendship (1921 edition).
Vawter also created front pieces for Riley’s A Child-World (1897) and Home Folks (1900), and illustrations for short Riley volumes Down Around the River and Other Poems (1911) and Knee Deep in June and Other Poems (1912). [13]
A Golden Age for Greenfield
Vawter illustrated a children’s book for another Greenfield author: his sister, Clara Vawter. “Miss Clara” as the local newspapers called her, was a rising star of the Indiana literary scene. She was writing for “several publications of prominence,” her work was read aloud and praised by the Western Writers’ Association, and publishers had written her “offering to pay her handsomely for her literary work.” The illustrated book by the Vawter siblings, Of Such Is the Kingdomof Heaven (1899, later published as The Rabbit’s Ransom) was widely praised not only for stimulating the imaginations of children, but also for appealing to the nostalgia of older people. Unfortunately, every article that mentioned Miss Clara’s promise as a writer, also noted her “delicate health” and she died in 1900. Of Such Is the Kingdom was her only published work. [14]
Will Vawter, illustration from The Rabbit’s Ransom by Clara Vawter (Brooklyn: Braunworth, Munn & Barber, 1899), accessed GoogleBooks.
Vawter contributed art to other Greenfield authors. He illustrated historian and poet John Clark Ridpath’s Epic of Life (1893) and contributed engravings to William H. English’s two-volume history Conquest of the Country Northwest of the River Ohio, 1778-1783 (1897). And he illustrated a children’s book by Greenfield author Adelia Pope Branham called Grandma Tales and Others (1899) and poet Barton Rees Pogue’s work Fortunes in Friendship (1926). [15] He made art for numerous other Indiana authors outside of Hancock County. [16] And by the turn of the twentieth century, his original book illustrations were exhibited around the country. [17]
The Rise of American Impressionism
By this time, Vawter was an accomplished illustrator, working in a popular style, and highly demanded by publishers. With the drastic increase in number and circulation of illustrated journals across the country, an illustrator like Vawter could stay gainfully employed in that medium. At the same time, American artists were hungry for an artistic style they could call their own. American painters educated in Europe were returning with the influence of French impressionism – broad, quick strokes, a bright palette, an eye for capturing the effects of light, and a desire to paint en plein air, or outside the walls of the studio. For example, Indiana-born painter William Merritt Chase shifted from the darker tones of the Munich school where he was trained as a young man, to the bright, impressionist style of the era’s avante garde painters during his mid and late career. Working out of his studio in New York, Chase and his colleagues helped to define this style of American Impressionism. These artists remained at home, painting scenes of life and landscape in the United States, as opposed to expatriating to European art capitals like their predecessors. While they drew on artistic elements from European styles as they saw fit, their goal was to create a uniquely American style of art. [18]
William Merritt Chase, Ready for the Ride, oil on canvas, 1877, Museum of Fine Arts Boston, accessed collections.mfa.org.William Merritt Chase, At the Seaside, oil on canvas, ca. 1892, Metropolitan Museum of Art, www.metmuseum.org.
The Aesthetic Pull of Brown County
Another Hoosier painter took this localism further, pushing his cohorts to not just remain in the U.S., but to paint the beauty of their home state. T. C. Steele followed in Chase’s footsteps, studying in Munich before returning to live and work in Indianapolis. Steele found his calling in the Indiana landscape and his muse in the hills of Brown County. Steele’s plein air paintings captured the light and natural beauty of the region and helped establish the reputation of the Hoosier Group, painters of the Indiana landscape that achieved international recognition by 1900. [19]
Indianapolis News, May 4, 1918, 32, Hoosier State Chronicles.
Someone of Vawter’s artistic sensibilities could not help but be influenced by this aesthetic shift, as well as the renown of the Hoosier Group. By 1909, Will and his wife Mary moved to Brown County, Indiana, just south of Nashville on a scenic farm they jokingly called “Rattlesnake Terrace” after some of the local fauna. Vawter set up a studio in an “old clapboard-roofed log cabin” with an expansive view of the property. Reportedly he kept a cow grazing on the property, despite the fact that it gave very little milk, because it added “picturesque interest to the landscape.” [20] While Vawter continued to derive his income from newspaper and magazine illustration, he too was enraptured by the Brown County landscape and began to work in an impressionist style influenced by the Hoosier Group. [21]
Will Vawter, Sunshine and Hollyhocks, 1925, n.d., accessed Fine Art America.Frank M. Hohenberger, “Willa Vawter Painting in Studio,” photograph, n.d., Frank Hohenberger Collection, Lilly Library, Indiana University Image Collections Online.
Vawter was known to be kind and became popular with the locals. A 1917 Indianapolis News article reported on a little girl who came to visit him in his studio, carrying a well-loved doll. Noticing that the doll’s painted face had faded, Vawter “painted a new face with the rosiest cheeks and a beautiful pair of unwinking blue eyes.” The little girl left “bubbling over with gratitude.” Vawter went back to his work, but only for a few minutes. He was interrupted by another little girl holding her doll, and a half hour later, he had a dozen little fans gathered outside the studio. He quit trying to work and “gave up the day to making faces for all kids of dolls, from the old-fashioned rag baby to the most pretentious efforts in wax.” After fixing everyone’s toy over the course of a day, he joked that “this beauty parlor has closed.” [22]
Vawter was just as generous with his fellow artists. After becoming interested in etching in 1919, he opened up the small studio he had moved to in downtown Nashville, Indiana, to his peers. The modest room stood over a grocery store and still displayed the sign of the previous occupant, a realtor. It housed a copper plate printing press, cans of ink, cheesecloth for wiping the plates, a table, and a stove.
The Brown County Democrat reported:
Indianapolis News, June 7, 1919, 18, Hoosier State Chronicles.
It is understood between the few members of a little community etching and printing club that any member is free to use the press, stove, table, etc, but no member must be guilty of using any other member’s printing rags. [23]
In September 1919, Vawter exhibited some of these etchings at the H. Lieber Company art store in downtown Indianapolis, along with oil paintings by Steele and others. [24] While his work gained popularity across the state, Vawter worked to enhance the art scene in Brown County.
Will Vawter, Brown County Landscape, 1920, accessed MutualArt.
By August of 1920, Vawter and fellow artist Adolph R. Shulz, were working to establish an art museum. They found support in unlikely places, both with artists and locals hoping that such an art center would preserve the “nature wonders of a country that is fast losing its old-fashioned atmosphere,” and local businessmen who saw it as a means to increase tourism. [25] Their dream became a reality in 1926 with the opening of a gallery on the public square. The artists and locals supporting the gallery formed the Brown County Art Gallery Association in order to open quality exhibitions to the public. [26]
In 1925, the work of Vawter and his fellow Brown County artists was exhibited at the art galleries of Marshall Field & Co. in Chicago. This exhibit, known as the “Hoosier Salon,” was popular and well-covered by the press, thus establishing Vawter permanently in the canon of great Indiana artists. For his oil painting Our Alley, which depicted a winter scene in Brown County, he won the Frank Cunningham prize and one hundred dollars. He continued to exhibit regularly at the H. Lieber gallery in Indianapolis and the Hoosier Salon in Chicago into the 1930s. [27]
The Late-Blooming of Vawter
Indianapolis Star, February 19, 1961, 27, accessed Newspapers.com.
But it was in the last years of his life that Vawter created his finest work. No one was better poised to observe this development than Lucille E. Morehouse, an insightful art critic whose popular column “In The World of Art” ran for decades in the Indianapolis Star. [28] In 1936, she covered the Annual Brown County Exhibit at the H. Lieber Company galleries, as she did every year. Morehouse clearly had a fondness for the Brown County artists but also a certain weariness of their subject matter, the landscapes of the county in various seasons, which had become standard fare by the 1930s. Nonetheless, she covered the show in her usual energetic and descriptive manner, because it was still in demand by the public. She explained that the show’s popularity was owed to Indianapolis residents, who vacationed in Brown County and looked to the paintings as reminders of their scenic vacations.
She explained that the public appreciated that Brown County Artists hadn’t changed their style, that they resisted modernism, and made pictures that could “smooth away the cares of the day.” [29] On the other hand, Morehouse wrote: “Sometimes we wish they would paint new subjects or would interpret the old ones in a different angle.”[30] Vawter did just that. Unlike his colleagues, Vawter began to travel in his later years and it refreshed his work. Morehouse especially praised Vawter’s recent painting Blue Pool, which was “one of the fine things from the group of New England coast scenes and Marines.” [31]
Besides exhibiting his reinvigorated work alongside the Brown County artists, Vawter showed his marine paintings in a one-man show at the H. Lieber Company gallery. Morehouse praised his bold paintings in a lengthy article. [32] Comparing his marinescapes with an earlier, popular Brown County fall landscape, she wrote:
When a Hoosier from the Brown county woods goes East to paint New England coast scener[y], one might expect him to go about it timidly. Not so Will Vawter. He makes his brush slash into the ocean just as if it were putting “the glory of autumn” on canvas. [33]
For Morehouse, who had long been familiar with Vawter’s work, these paintings of coastal scenes were like seeing his work fresh for the first time. She wrote:
But I never have been able to throw off my early feeling of wonder when I back away from a broadly-painted canvas and see form emerging from massively-painted surfaces over which the brush had evidently moved with more or less of inspiration. [34]
Detail of Vawter’s Along the Coast showing the abstraction of the work up close as opposed to the impressionist style of the larger work as noted by Morehouse.
She continued to praise the spontaneity of the work and the “striking evidence of genius” in his mastery of form and “expression of light and atmosphere.” [35] The works were vigorous, alive, and fresh, proving the innovative spirit of the older artist.
In 1938, Vawter again held a solo show. This time he combined his seascapes with other scenes from his travels, including hilly landscapes painted on the East Coast. In a show of maturity as an artist, he also included new, but traditional views of Brown County. He could both try new things and showcase his mastery of the light and scenery of his home county. Morehouse took note:
Indianapolis Star, December 26, 1939, 10, accessed Newspapers.com.
What a heritage Will Vawter will leave to Hoosierdom! The longer he paints, the more beauty he captures from nature and transfers to canvas. Because the present exhibit is so all-inclusive, representing every phase of his work. [36]
Morehouse described his Brown County landscapes as “lusciously painted,” his flower still lifes as “vigorously alive,” and again praised his adventuring beyond his home state for new subject matter. [37] She concluded that Vawter’s 1938 exhibit “surpasses all previous showings by this gifted Hoosier painter of landscape.” [38] At 67 years old, Vawter was reaching his artistic peak.
Indianapolis Star, December 8, 1940, 76, Newspapers.com.
In 1940, just two months before his death, Vawter held what would be his last one-man exhibition. It surpassed all previous exhibitions, even the acclaimed 1938 show. Vawter showed nineteen paintings, including tranquil seascapes, the Great Smoky Mountains in early fall, the New England coast in spring, and Brown County landscapes from all seasons. For Morehouse, even his paintings of traditional flower still lifes felt fresh and vibrant. She explained that Vawter didn’t just reproduce the appearance of the plants, but that “he interprets the souls of flowers, makes us feel their personality.” In fact, Morehouse regretted that she couldn’t do Vawter justice by describing his paintings; you just had to see them. She wrote that he depicted something “spiritual that can be expressed only in terms of paint, and not in words.”
Vawter passed away in 1941 after a forty-eight year long art career. But before he died, he mastered not just the technical aspect of art, but found in the heart of his life’s work a spiritual connection to nature so powerful it could be sensed secondhand by the viewer. Will Vawter remains an example to artists everywhere to keep working, despite obstacles the art world places before older artists. By considering the long career of a late-blooming artist, we see that artists can do their best work in their autumn years. Hopefully, art museums and galleries will continue to make more space for this mature, yet still innovative and evolving work.
Will Vawter, A Sunny Day in Springville, n.d., accessed Fine Art Dealers Association.
Notes: All newspapers accessed Newspapers.com unless otherwise noted.
[1] Susan Stamberg, “This New York Gallery Has an Unusual Age Limit: No Artists Younger Than 60,” Morning Edition, January 11, 2018, NPR.
[3] The Long Run, MoMA, November 11, 2017-May 5, 2019.
[4] Stamberg, “This New York Gallery . . .,” NPR.
[5]“The Eclectics,” Indianapolis News, May 14, 1879, 4, accessed Hoosier State Chronicles; “Seriously Hurt,” (Greenfield) Hancock Democrat, July 24, 1879, 3; 1880 United States Census (Schedule 1), Enumeration District 194, Greenfield, Hancock County, Indiana, Page 15, Line 27, June 5, 1880, accessed AncestryLibrary.com; “Eclectic Physicians in Council,” Indianapolis News, November 17, 1880, 3. Newspapers and the 1880 census show Will Vawter’s father Lewis working as a physician in Greenfield by 1879. The 1880 census confirms the family’s move.
[6] (Greenfield) Hancock Democrat, March 5, 1891, 1; (Greenfield) Hancock Democrat, April 9, 1891, 1; “Notes of Newspaper Men,” Indianapolis News, December 5, 1891, 7.
[7] James Whitcomb Riley,“Armazindy: A Borned Soldier and Hero,” Indianapolis Journal, September 5, 1893, 13, accessed Hoosier State Chronicles.
[8] “That Girl Wuz, and Is, I know, A Borned Soldier and Hero,” Indianapolis Journal, August 30, 1893, 4, accessed Hoosier State Chronicles.
[9] Advertisement, Indianapolis News, October 14, 1893, 9, accessed Hoosier State Chronicles.
[11]“A Co-Worker with Riley,” Indianapolis News, reprinted (Greenfield) Hancock Democrat, December 8, 1898, 5.
[12] Ibid.
[13] Most of Riley’s books featuring Vawter’s illustrations are accessible via Livin’ the Life of Riley Digital Collection, IUPUI University Library. Most other Riley books are accessible via Hathi Trust. First editions are accessible through the Indiana State Library. Vawter’s illustrations for Riley Songs of Cheer are accessed through Newfields.
[14] “New Authoress Rapidly Coming to the Front,” Hancock Democrat, September 21, 1899, 5; “Of Such Is the Kingdom,” Indianapolis Journal, December 11, 1899, 4; Book Buyer 19: 2 (September 1899), 83, accessed HathiTrust; “Miss Clara Vawter Dead,” Indianapolis News, October 12, 1900, 14.
[15] John Clark Ridpath, Epic of Life (New York: Hunt & Eaton, 1893), accessed HathiTrust; “Mr. English’s New Book,” Indianapolis News, December 14, 1895, 5; William Hayden English, Conquest of the Country Northwest of the River Ohio, 1778-1783 and, Life of Gen. George Rogers Clark (Indianapolis: Bowen-Merrill Company, 1897), accessed Archive.org; Advertisement, (Greenfield) Hancock Democrat, June 1, 1899, 1; “Greenfield Genius,” Hancock Democrat, June 8, 1899, 8; Adelia Pope-Branham, Grandma Tales and Others, (Greenfield, Indiana: Harold Pub. Co. Press, 1899), accessed Archive.org; “Greenfield Now at the 5,000 Mark,” Indianapolis News, November 30, 1901, 3; Charles H. Bartlett, Tales of Kankakee Land (New York: Charles Scribner’s Sons, 1904), accessed HathiTrust; “C. H. Bartlett’s New Book,” South Bend Tribune, April 9, 1904, 6; John William Vawter, Sheet of 15 Illustrations to Barton Rees Pogue’s ‘Fortunes and Friendship,’ pen and ink over pencil on paper, n.d., Prints, Drawings, and Photographs Collection, Indianapolis Museum of Art.
[16] Robert J. Burdette, Smiles Yoked with Sighs (Indianapolis: Bowen-Merrill, 1900), accessed HathiTrust; “Recent Literature,” St. Louis Globe-Democrat, June 30, 1900, 13; Advertisement, Indianapolis News, November 14, 1903, 6, accessed Hoosier State Chronicles; Wallace Bruce Amsbary, The Ballad of Bourbonnais (Indianapolis: Bobbs-Merrill Company, 1904); “The Ballads of Bourbonnais,” Indianapolis News, May 7, 1904, 16; “Among the Books,” Topeka State Journal, June 4, 1904, 13.
[17] Advertisement, (Rochester, New York) Democrat and Chronicle, October 29, 1898, 8; “Exhibit of Paintings by Indiana Artists,” Indianapolis Journal, April 24, 1904, 16, accessed Hoosier State Chronicles; “Exhibit of Original Drawings for Novels,” Indianapolis News, March 20, 1905, 8. Vawter’s illustrations from Riley’s Child Rhymes were exhibited in Rochester, New York in 1898. In 1904, his original illustrations were exhibited at the H. Lieber Art Gallery in Indianapolis and the St. Louis Exposition; in 1905, at the Indianapolis “city library.”
[20] (Greenfield ) Daily Reporter, October 9, 1908, 2; (Greenfield) Daily Reporter, April 7, 1909, 2; (Greenfield) Daily Reporter, May 11, 1909, 1; (Greenfield) Hancock Democrat, May 13, 1909, 1; “Vawter’s Brown County Home,” (Greenfield) Daily Reporter, August 8, 1909, 1; “Rattlesnake Terrace, the Vawter Home,” (Greenfield) Hancock Democrat, August 12, 1909, 6, accessed Newspapers.com; N. L., “A Day in the Artists’ Arcadia in Brown County,” (Muncie) Star Press, September 5, 1909, 14; (Greenfield) Hancock Democrat, October 28, 1909, 8.
[21] William Forsyth, “Art in Indiana,” Indianapolis News, September 27, 1916, 12, accessed Hoosier State Chronicles; “Paintings of Local Artists Exhibited,” Indianapolis News reprinted (Greenfield) Hancock Democrat, December 27, 1917, 4; “Brown County Pictures,” Indianapolis News, September 17, 1919, 26, accessed Hoosier State Chronicles; William Herschell, “Will Vawter’s Home in Brown County,” (Greenfield) Daily Reporter, August 5, 1920, 1; “Art Notes,” Indianapolis News, December 4, 1920, 5; John William Vawter, Barnes Cabin on Owl Creek, Brown County, circa 1920, Oil on Canvas, Indianapolis Museum of Art; Will Vawter, Sunshine and Hollyhocks, 1925, Oil on Canvas, Private Collection, published in Lyn Letsinger-Miller, Artists of Brown County (Bloomington and Indianapolis: Indiana University Press, 1994), 41.
[22] “Little Stories of Daily Life,” Indianapolis News, May 3, 1917, 24, accessed Hoosier State Chronicles.
[23] “Produced in Brown County Etching Club Shop,” Indianapolis News, June 7, 1919, 18, accessed Hoosier State Chronicles; “Brown County Etchers’ Club,” Brown County Democrat, June 12, 1919, 5.
[24] Ibid.; “Brown County Pictures,” Indianapolis News, September 17, 1919, 26, accessed Hoosier State Chronicles.
[25] “Will Vawter’s Home in Brown County,” (Greenfield) Daily Reporter, August 5, 1920, 1; “Urge a Museum to Keep Romance of Hoosier Art,” South Bend News-Times, August 12, 1920, 7, accessed Hoosier State Chronicles.
[26] “Brown County Art Gallery at Nashville,” Brown County Democrat, September 2, 1926, 1; “Brown County Art Gallery Is Assured,” Brown County Democrat, September 9, 1926, 1; “New Art Gallery,” Huntington Herald, September 8, 1926, 8; “Artists in Brown County Organize,” Indianapolis Star, September 8, 1926, 1; “Art Gallery Association Grows Rapidly,” Brown County Democrat, September 16, 1926, 1; “Open Art Gallery in Brown County,” Indianapolis Star, October 9, 1926, 5; “Vawter Heads Local Artists’ Association,” October 23, 1930, 1.
[27] “Brown County Artists at Exhibit in Chicago,” Brown County Democrat, March 5, 1925, 1; “Winter Scene Wins Prize for Artist,” Indianapolis Star, March 14, 1925, 11; “Richmond Man Wins Art Prize,” Richmond Item, March 7, 1926, 1; “46 Paintings by Brown County Artists Put on Display at Lieber’s Galleries,” Indianapolis Star, November 16, 1927, 24; “Vawter’s Landscape Wins Prize in Exhibit at Hoosier Salon in Chicago Galleries,” Indianapolis News, January 31, 1928, 7; “Eighth Hoosier Salon Will Be Held in Field Galleries Jan. 23 to Feb. 6,” Indianapolis Star, December 20, 1931, 50. Other newspaper articles on Vawter’s exhibitions available in the IHB marker file.
[28] “Miss Morehouse Dies; Ex-Art Critic,” Indianapolis Star, February 19, 1961, 27.
[29] Lucille E. Morehouse, “In The World of Art: Local Art Exhibitions Scheduled for December Are Distinctly Inviting and of Unusual Character,” Indianapolis Star, December 6, 1936, 75.
[30] Ibid.
[31] Ibid.
[32] Lucille E. Morehouse,”In The World of Art: Brown County Landscapist Turns Marine Painter; One-Man Show at Lieber Gallery for Another Week,” Indianapolis Star, November 22, 1936, 65.
[33 – 35] Ibid.
[36] Lucille E. Morehouse,”In The World of Art: Will Vawter’s Exhibition Tops Previous Shows,” Indianapolis Star, December 18, 1938, 69.
As you’re likely in your second or third week of social isolation, you’ve probably done everything you can think of to occupy yourself. You’ve exercised at home, binged all your favorite shows, cleaned and dusted, and reread your favorite books. What else is there to do?
Puzzles!—a longtime mainstay of home-bodied folks. Whether it’s crosswords or word searches, tabletop jigsaw puzzles or drawing games, puzzles can be a welcome pastime. These three stories from Hoosier State Chronicles, our freely-accessible digital repository of nearly a million pages of historic newspapers, will challenge your mind and warm your heart. The first item comes to us from nearly 100 years ago, in the August 28, 1920 issue of the Richmond Palladium and Sun-Telegram. This puzzle, known as “Pencil Twister,” was printed in the Junior Palladium section of the paper, a four-page insert published on Saturdays.
Do you think you can complete the picture? (You can view the answer here.) You would copy the object shown onto a blank piece of paper and then turn it 90-degrees counterclockwise.From there, you would attempt to complete the drawing based on a clue, which for this puzzle is “Can you change Santa into an Apricot Sundae?” I hope that you got it! This drawing puzzle is a bit different than most of your average brain games.
Next up is an inspiring story from the October 29, 1983 issue of the Indianapolis Recorder. It centers on the life of Bertie Miller, a retired nurse’s aide and secretary who devoted her golden years to jigsaw puzzles—using only one hand to complete them. Years before, Miller lost her right hand to an amputation following a stroke, but that didn’t stop her. Her passion for puzzles started around that time, when her friend asked her to help finish one. “By having use of only one hand,” Miller shared, “I didn’t think I would be much help—I looked past my handicap and helped her.” After that, she was hooked. Over the next seven years, she completed roughly 200 jigsaw puzzles, many of which she had framed for display in her room at the Central Healthcare Center where she lived. She even won a blue-ribbon award at the Indianapolis Black Expo for one of her puzzles.
Alongside her jigsaw joys, Miller kept herself busy with distributing mail to her fellow residents at the Central Healthcare Center, playing bingo, chatting with other residents who were room bound, and attending church. She was also a grandmother to seven and great grandmother to another seven, all of whom she would regularly visit with. The Recorder called her a “truly remarkable and independent lady.”
Mary Jane Allen, activity director for the center, remarked on Miller’s love for puzzle craft. “Among Mrs. Miller’s favorite puzzles to work have been The Lord’s Supper, the Changing of the Guards, animals, flowers, antique cars and a large puzzle of kinds of jellybean candies.” Allen also reflected on how this hobby improved Miller’s life for the better. “She has rehabilitated herself with this hobby and is learning to use her good hand,” Allen said. Miller loved sharing her hobby with others; her completed puzzles adorned the walls of the center and were given to fellow residents as gifts. Bertie Miller “hasn’t let her handicap prevent her from living and [bringing] happiness to others,” the Recorder noted. During your time at home, dust off your puzzles and finish one in Bertie’s honor.
Our final story comes from a May 4, 2001 article in the Indianapolis Recorder that also reports on jigsaw puzzles but focuses this time on their educational value. W. Bruce Adams, an entrepreneur who worked as a salesman for iconic game company Parker Brothers, started his own venture creating African American history themed jigsaw puzzles. “I couldn’t believe that 10 years after I left Parker Brothers there were still no puzzles with African-American themed images on them,” he said. This inspired Adams to develop his own line of African American themed puzzles. “I looked all over and couldn’t find any,” he remembered. “I said ‘this is a perfect opportunity for me to start a business, doing something no one else is doing.’”
Adams’s passion for culturally-relevant products may have started when he worked as an intern for the trailblazing congresswoman and presidential candidate, Shirley Chisholm. Realizing law wasn’t for him during his work with Chisholm, Adams found his calling in sales and worked for Parker Brothers, as well as Gabriel Toys and Bristol-Myers. It was at Parker Brothers that he first discovered there were no African American themed games, so he started developing prototypes in his spare time that he sold at flea markets, yard sales, and trade fairs.
Portraits of African American Inventors, W. B. Adams Puzzles & Games, Amazon.com.
Adams began his own game company around 1998, with his first two puzzles centered around African American history. The first, “Portrait of African American History,” highlighted important figures such as Harriet Tubman, Frederick Douglass, and Dr. Martin Luther King, Jr. The puzzle “The Dream, Martin Luther King, Jr.” focused exclusively on the civil rights leader and orator. Later, he created puzzles focusing on Kwanzaa and Kenyan culture. Adams developed these puzzles and others with African American artists, such as Brenda Joysmith, Synthia St. James, Charles Bibbs, and Paul Goodnight. His roster grew to 20 puzzles by 2001.
“Developing a Winner,” W. B. Adams Puzzles & Games, Art by Brenda Joysmith, Amazon.com.
Customers at flea markets and trade shows were thrilled with Adams’s puzzles, citing their educational value. Adams recalled:
When I was doing flea markets, African American parents would always come up to me and ask, ‘Do you have any African-American educational puzzles?’ Puzzles are very educational because they teach eye hand coordination skills, they help your memory, and I noticed that a lot of African Americans bought puzzles.
His success with the company led to retailers like Walmart and Toys “R” Us carrying his products, which sometimes sold out too quickly for his small sales staff to keep up with. In an effort to meet demand, the company used telemarketing and the internet to get the word out about his puzzles.
Kwanzaa Family Celebration 300 Piece Jigsaw Puzzle, W. B. Adams Puzzles & Games, Amazon.com.
Alongside puzzles, Adams developed educational CD-ROM games with Lady Sala Shabazz, a nationally-syndicated radio host and independent children’s book author. He also developed puzzles with food entrepreneur and television personality Wally “Famous” Amos. Adams’s dedication to fun games with a message should encourage you to take advantage of the time you have at home, to perhaps finish a puzzle with a historical or educational theme. If you have kids, bring them in on the fun!
We hope these stories of puzzles, games, and community have helped uplift you. It’s through all of our actions that we can extend our sense of Hoosier kindness to ourselves and others. Now, get to puzzling!
Many dismiss movies made during the silent film era (1885-1930) as farcical or irrelevant. However, this period of great discovery and innovation laid the foundation for modern film-making techniques. One early contributor to this burgeoning new art form was Hoosier actor John Bowersox. He made over ninety films during his career and was among those first honored with stars on the Hollywood Walk of Fame. His versatility and athleticism enabled him to become a leading man in a variety of roles and genres. Off-screen, Bowersox was an extreme sports enthusiast who enjoyed racing his automobile, airplane, and yacht during a novel time for those sports.
Born circa 1884,[1] John Bowersox grew up in the small town of Garrett, Indiana, not far from Fort Wayne. Six feet tall and naturally athletic, Bowersox played football on a local Garrett team.[2] As a young man, he could often be found sailing his boat on nearby Lake Wawasee, the largest natural lake in Indiana. As early as fifteen, he began acting locally in amateur plays. His parents encouraged him to become a lawyer and John enrolled in nearby Huntington Business College. However, John Bowersox was destined for something completely different.
Bowersox continued to act while attending college and he caught the eye of local stock company owner, C. Garvin Gilmaine, who took Bowersox under his wing and eventually recommended him to a touring company performing A Royal Slave.[3] Turning his back on college, John signed an acting contract and left Garrett for rehearsals in Coldwater, Michigan in July, 1904.[4]
As a demonstration of support, his father equipped him with $450 worth of clothes and a trunk that his co-workers joked was worth more than all the show props combined. Bowersox recalled his father’s parting words in an interview with Photoplay Magazine, “If you don’t make [a go of it], come home.”[5] That $450 investment George Bowersox made in his son turned out to be a good one.
The part he played as a Mexican soldier in A Royal Slave introduced Bowersox to a world he could have only dreamed of as a small-town kid. It led to more roles and bigger parts and, by 1912, Bowers had dropped the “ox” from his name and worked as an actor in New York City. [6] Many of his early performances came by way of his relationship with William A. Brady, a prolific producer of both stage and screen.[7] Under his guidance, Bowers made his Broadway debut in Little Miss Brown on August 29, 1912.[8]
When Bowers was working in New York theater, film studios in and around the city dominated the American motion picture film industry. By today’s standards, “silent era” films can seem campy and amateurish. The acting was often melodramatic and unnatural, a by-product of stage performances. However, a century ago this entertainment medium was every bit as creative and innovative as modern day modes of expression like virtual reality and TikTok.
Image courtesy of IMDB.
As the scale of production increased, the larger studios on the West Coast began dominating the film industry and Bowers eagerly followed the work, moving back and forth between New York, Chicago, and California.[9] It’s impossible to know precisely how many films Bowers made. Early film stock contained highly volatile nitrates that were subject to deterioration at best, and combustion at worst. Some sources estimate that seventy-five percent of early films are forever lost to either decay or disposal.[10] Bowers’s first known credit appears in the short film The Baited Trap (1914), in which he played a criminal.[11] He made two more films that year including one with Tom Mix. It wasn’t long before “John Bowers” was a leading man. He is officially credited with appearing in over ninety films, including Lorna Doone (1922), The Sky Pilot (1921), When a Man’s a Man (1924), and Chickie (1925). His rugged good looks and natural athleticism allowed Bowers to play many different roles.
Although often the love interest, Bowers played heroes, gangsters, cowboys, businessmen, soldiers, and lawyers. He acted in many genres including drama, musical, comedy, romance, crime drama, adventure, action, and westerns. He worked with most of the early silent film stars, such as Mary Pickford, Will Rogers, Lon Chaney, Bela Lugosi, and Richard Dix. In 1960, the Hollywood Chamber of Commerce honored him with one of the inaugural stars on the Hollywood Walk of Fame.[12] However, acting did not define John Bowers.
Always a bit of daredevil, Bowers took pride in doing his own stunts, believing the audience would appreciate him more if they saw him risking life and limb.[13] Early in his stage career, while acting in A Royal Slave, his over-enthusiastic dueling performance resulted in a sword-jab to his eye, causing serious injury.[14] Years later, while making the film When a Man’s a Man (1924), he broke his leg trying to bull-dog a steer.[15]
He was always athletic and believed that staying physically fit was essential to happiness.[16] As a teenager, he built his own 21’ sailboat that he sailed around Lake Wawasee in northern Indiana. Bowers became so adept at maneuvering it that he would sometimes “turn turtle” just to exasperate his parents watching from shore.[17] Sailing would become central to Bowers’s life. After achieving some success in New York, he purchased a 70’ racing schooner, the Uncas, which he enjoyed sailing up the Hudson River.[18] Sometime in the early 1920s, his friend Doc Wilson sailed it from New York to California in ninety days.[19] Later, Bowers would take his Hollywood friends out for weeks at a time.[20]
An early adopter, Bowers embraced new technology. He became enamored with automobiles and was a known speedster around Los Angeles. In 1924, he took racing lessons from professional driver Ralph De Palma and even entered the 250-mile Thanksgiving Day race at the Ascot Speedway in LA.[21] In addition to sailing and racing cars, Bowers became an accomplished pilot and even customized his own racing plane. In 1927, Bowers won first place on both days of the Santa Anna air races with his plane, the Thunderbird.[22]
In the early decades of the 20th century, the Western genre began to take off and many film roles required athleticism. Bowers, who was reportedly, “an excellent horseman, can swing a mean lariat, and can bull-dog a steer like a hardened plainsman,” landed many plum roles.[23] The exuberance in which he lived life made for great press. Publicists, either on behalf of the studios or hired by actors for a percentage of their income, carefully crafted the images of movie stars. They arranged appearances, set up photo shoots, and provided copy to trade magazines and newspapers eager to report the off-screen lives of the Hollywood elite. [24]
Bowers and De La Motte on set, courtesy of Motion Picture Classic Magazine.
His third wife Marguerite De la Motte was also a silent film star. [25] De la Motte and Bowers co-starred in the film What a WifeLearned (1923), where they developed a friendship. For quite a while, fans and media speculated about their relationship and, according to most sources, Bowers and De La Motte married in 1924.[26] The couple often entertained and sometimes amused their guests with an exhibition of Bowers’ shooting prowess. De La Motte would place an object on her head and John would shoot it off, an offer he made to anyone willing to participate.[27] It is unclear how many reports about John Bowers are true. Many newspaper accounts reported what he was going to do rather than what he actually did. It’s possible that some accounts of Bowers have been exaggerated. Self-promotion and exaggeration were just as common then as they are today. One thing is certain; John Bowers embodied the spirit of carpe diem.
Bowers worked steadily during the 1920s, but like many silent film stars, he was unable to make the transition to “talkies”. Actors struggled to succeed in the era of sound for many reasons. Sometimes their voices did not match their screen persona, possibly due to an accent or the pitch of their voice. Some actors relied on constant direction that was not possible with the introduction of sound. For whatever reason, by 1927 Bowers’s film career was in decline. To make matters worse, around 1930 John and Marguerite likely separated.[28]
Bowers and De La Motte in Daughters Who Pay, courtesy of IMDB.
The last movie Bowers made was Mounted Fury (1931). By then his drinking had become a problem. Bowers was only forty-five-years-old, but his life was unraveling. A few years later, he returned to Indiana and wrote a weekly fictional serial for the local newspaper, the Garrett Clipper. [30] The serial was a lighthearted coming-of-age story of a small town kid who made good. The protagonist, John Wright, was affable, ambitious and, “If he had fallen into a sewer he would have come out with a bouquet in his hand.” Many of the characters would probably have been familiar to Garret residents, and the serial ran from March until August of 1936.
While in Indiana, John had been caring for his long-ill mother, Ida, in nearby Syracuse when she passed away in July of 1936.[31] Given the new void in his life, John decided to give acting another try. He heard that his old friend Henry Hathaway was directing a film with Gary Cooper and hoped there might be a part in it for him. So, he went back to LA one last time.
The morning after finding out that Hathaway was unable to offer Bowers a part in his movie, Bowers rented a small sailboat in Santa Monica. Two days later, on November 17, 1936, his body washed ashore in Malibu. The coroner reported the cause of death as “Drowned as a result of suicide – jumped off sail boat.” The boat was later recovered adrift.[32] His sister, with whom he was staying at the time, reported that he had recently become despondent.[33]
Although nobody knows what was on the mind of John Bowers when he went overboard, most believed he died by suicide. His mother had recently passed away, his acting career was floundering, and his drinking had become problematic. Despite such a tragic ending, this Hoosier left behind a legacy as a prolific film actor and adventurer.
Notes:
[1] The exact date of Bowers’s birth is questionable. Census records, newspaper articles, and magazine stories report his date of birth differently, but generally around 1885. The DOB from his death certificate is the only official record. “California, County Birth and Death Records, 1800-1994,” FamilySearch (https://familysearch.org/ark:/61903/3:1:3QSQ-G9SF-P9BR-Y?cc=2001287&wc=SJ5X-JWG%3A285174601%2C285330201 : 22 August 2018), Los Angeles, Death certificates 1936, no. 10100-12041, image 31 of 2142, California State Archives, Sacramento.
[2] “Local and Personal,” Garrett Clipper (Indiana), October 15, 1903, 5, Newspapers.com.
[3] “John Bowers Receives Contract for Royal Slave Company,” Huntington Herald (Indiana), May 20, 1904, 4, Newspapers.com.
[4] “John Bowers Receives Contract for Royal Slave Company,” Huntington Herald, May 20, 1904, 4, Newspapers.com.
[5] “He Hasn’t Been Home Since,” Photoplay, August, 1919, 61, Internetarchive.org.; “The Right Bower,” circa 1920, Indiana Historical Society, David L. Smith Collection, Collection #P568, Box 1, Folder 3.
[6] “He Hasn’t Been Home Since,” Photoplay, August, 1919, 16: 3, 61, Internetarchive.org.
[7] Brady produced both plays and films. IMDB credits him for producing forty-three films from 1897-1920. Here are some examples of Brady-produced plays in which Bowers was a cast member: “At the Brady Playhouse,” Brooklyn Citizen, November 30, 1913, 17, Newspapers.com.; “The Family Cupboard” Chat [Brooklyn, New York], January 3, 1914, 16 Newspapers.com.; “Attractions of Current Week in Leading Washington Theaters: Family Cupboard,” Washington Herald [Washington, D.C.], January 18, 1914, 18, Newspapers.com.; “Belasco: The Family Cupboard,” Evening Star [Washington, D.C.], January 20, 1914, 8, Newspapers.com.; “This Week in the Theaters: Alvin,” Pittsburgh Daily Post, January 25, 1914, 23, Newspapers.com.; “Attractions at the Theatres: The Decent Thing to Do,” Boston Globe, March 8, 1914, 150, Newspapers.com.; “Surpasses Drury Lane,” Brooklyn Citizen, October 8, 1914, 6, Newspapers.com.; “Plenty of New Productions Listed for Future Appearance,” Variety, October, 1914, 36, 10, Internetarchive.org.
[8] David L. Smith, “John Bowers: A Tragedy That Became a Legend,” Traces of Indiana and Midwestern History, Fall 2017, 4, Indiana Historical Society.
[9]1920 Census, Los Angeles Assembly District 63, Los Angeles, California; Roll: T625_106; Page: 12B; Enumeration District 167, FamilySearch.org.
[15] Bull-dogging refers to the act of wrestling a steer to the ground by holding its horns and twisting its neck.; “Movie Facts and Fancies,” Boston Globe, July 29, 1923, 54, Newspapers.com.
[16] “Sophistication Lends Charm, is Actor’s Theory,” Los Angeles Times, May 1, 1927, 57, Newspapers.com.
[17] David L. Smith, “John Bowers: A Tragedy That Became a Legend,” Traces of Indiana and Midwestern History, Fall 2017, 4, Indiana Historical Society.
[18] “The Sport of Kings – and Movie Stars,” Motion Picture Classic, September, 1923, 18:1, 18, Internetarchive.org.
[19] “The Sea-Going Actor,” Indiana Historical Society, David L. Smith Collection, Collection #P568, Box 1, Folder 3.
[21] “Notes from Movie Land,” Knoxville Journal and Tribune (Tennessee), August 10, 1924, 17, Newspapers.com. This article establishes that he began taking racing lessons.; “Famous Driver Adopts Novel Training Stunt,” Los Angeles Times, August 16, 1924, 11, Newspapers.com.; “Floyd Roberts Adds to Fame,” Van Nuys News (California), September 16, 1924, 1, Newspapers.com. The previous two articles establish that Bowers became involved in the professional auto racing world in 1924.; “50 Daredevils Gamble Lives Against Time in 250-Mile Speed Battle,” Los Angeles Evening Express, November 27, 1924, 1, Newspapers.com. This article reveals that Bowers did not race in the Thanksgiving Day race but rather contributed as an track official.
[22] “Planes are Hobby of Bowers,” Los Angeles Times, July 24, 1927, 46, Indiana Historical Society, David L. Smith Collection, Collection #P568, Box 1, Folder 3.
[23] “Yachts and Autos His Hobbyhorses,” Los Angeles Times, July 20, 1924, 48, Newspapers.com.
[27] “Hollywood’s Halls,” Los Angeles Times, May 15, 1927, 136, Newspapers.com.
[28] Solid proof of the separation of John and Marguerite may not exist. Exactly when they married and when they separated is uncertain. “Romance of Screen Pair Disrupted,” Los Angeles Times, December 19, 1930, 8, Newspapers.com.
[30] “Middle West,” Garrett Clipper, March 9, 1936, 2, Newspapers.com; “Middle West,” Garrett Clipper, July 6, 1936, 2, Newspapers.com; “Middle West,” Garrett Clipper, August 10, 1936, 3, Newspapers.com; “Middle West,” Garrett Clipper, August 17, 1936, 2, Newspapers.com.
[31] “Mrs. Ida Bowers,” Garrett Clipper, July 16, 1936, 1, Newspapers.com.
[32] “Body of Former Film Star Found,” Cushing Daily Citizen (Oklahoma), November 19, 1936, 12, Newspapers.com. After his death, a local newspaper reported that Bowers had been depressed and wanted to get back into movies. “John Bowers,” Indiana Historical Society, David L. Smith Collection, Collection #P568, Box 1, Folder 3.
[33] “How Bowers Met Death,” Hammond Times (Indiana), November 19, 1936, 4, Newspapers.com.
In the very literal sense of the word, 1968 was an extraordinary year. Even situated as it was within a decade characterized by social and political upheaval, 1968 was unique in the sheer number of transformative events: the Tet Offensive, the assassinations of Martin Luther King, Jr. and Robert Kennedy, the Apollo 8 mission, anti-Vietnam War protests, protests against racial discrimination. The list goes on.
While the majority of these events occurred on the East and West Coasts of the United States, it would be a mistake to think that the Midwest was immune to the revolutionary spirit sweeping the nation. In fact, many of the movements seen at a national level played out within the confines of the Indiana University Campus in Bloomington. When recruiters from Dow Chemical Company (the company responsible for producing napalm for use in the Vietnam War) visited campus, hundreds of students marched in protest. Following objections to exclusionary judging standards drawn along color lines, the IU Homecoming Queen pageant was permanently cancelled. African American students demanded more representation in all aspects of campus life and staged a sit-in at the Little 500. That sit-in led directly to the removal of discriminatory covenants from Indiana University’s fraternities.
Clarence “Rollo” Turner at the Little 500 Sit-in, Indiana University, Artubus (Bloomington, Indiana: 1968), accessed Artubus Archives.
While this wave of revolutionary fervor was cresting both nationally and on IU’s campus, another wave was close behind – the “third wave” of the Ku Klux Klan. Rising in response to the Civil Rights Movement, approximately 40,000 Klan members belonged to the Klan nationally in the 1950s and 1960s. In the spring of 1968, Klan members from nearby Morgan County attempted to establish a chapter of the terrorist organization in Monroe County. A membership drive, which was to consist of a gathering on the Bloomington courthouse square followed by a march through the business district, was scheduled for March 30, 1968. But before events could get underway, Monroe County Prosecutor Thomas Berry requested and was granted an order blocking the event, citing the possibility of violence.
This was neither the first nor the last appearance of the Klan in Bloomington. In Citizen Klansmen: The Ku Klux Klan in Indiana, 1921-1928, Leonard Moore estimates that 23.8% of all native-born white men in Monroe County were members of the Ku Klux Klan in 1920. The Indiana Daily Student on November 7, 1922 described the supposed first appearance of the Klan in the city:
Marching with slow and solemn tread, 152 men paraded Bloomington streets, garbed in mysterious robes of white, with tall hoods masking their identity, and carrying aloft the flaming cross of the klan, while hundreds of townspeople and students stood and witnessed [as] the pages of fiction and movie scenarios unfolded before their eyes.
Example of a calling card left by the Ku Klux Klan, accessed Nate-Thayer.com.
Although county officials blocked a similar scene to that described above from playing out in 1968, the Klan still made its presence known in the city. During a Bloomington Human Relations Commission meeting on September 30, 1968, African American commission chairman Ernest Butler showed his fellow commissioners and others present at the meeting a card which had been left on his door. The card read, “The Ku Klux Klan is watching you.” Butler claimed to have received as many as ten such cards, as well as several similarly threatening phone calls. Soon, local Klan affiliates would go further than simply making threats.
In the face of these threats, Black Indiana University students continued to demand more representation and equality, staging protests and demonstrations across the campus. The Afro-Afro-American Student’s Association (AAASA)—an organization formed in the spring of 1968 with the goal of fostering unity among IU’s Black students—frequently encouraged members to participate in this activism. At the forefront of many of these protests was AAASA co-founder and sociology graduate student Clarence “Rollo” Turner.
In the fall of 1968, Turner shifted his attention towards a new project – The Black Market. Financed entirely by Black faculty and staff, The Black Market was a shop specializing in products made by African or African American artists. This included “free-flowing African garb, Black literature and records, African and Afro-American fabrics, dangling earrings, and African artifacts.”
As a leader in the African American community at Indiana University, Turner served as the shop’s manager and its public face. He and his backers had two main objectives when opening the shop. First, it was to act as a cultural center for Black students at the university, who had limited recreational opportunities in the predominantly white city. Second, he aimed to eliminate “misconceptions about black people” by exposing IU students and Bloomington locals alike to Black culture.
After its late-September opening, it seemed as though the shop would be a success. The campus newspaper, Indiana Daily Student, proclaimed, “suits and ties may eventually join the ranks of white socks and baggy slacks if the immediate success of The Black Market is a sign of things to come.” However, at the same time that the shop was proving a popular enterprise with IU students, factions within Bloomington were pushing back against its very existence. This resistance took the form of violence when, on December 26, 1968 a Molotov cocktail was thrown through the front window of the store.
The resulting fire destroyed the entire stock of The Black Market and caused structural damage to adjacent businesses. To those most closely associated with the shop, the motive for the attack seemed obvious, especially considering the heightened presence of the Ku Klux Klan in the city. As student newspaper The Spectator commented:
It was not very difficult, of course, to determine a ‘motive’ for the bombing. Since the construction of the Black Market in September, black students involved have been harassed periodically by abusive white ‘customers,’ . . . Larry Canada, owner of the building, had received telephoned bomb threads because he allowed the ‘n––rs’ to use the space for the store.
Black Market after fire, printed in The Spectator, accessed Indiana University Archives.
Two weeks later, 200 students attended a rally on the sidewalk outside of the burnt remains of The Black Market. Amidst calls for action from university and city officials and appeals to Black students to make a stand in the face of violence, Rollo Turner said, “the only reason this store was bombed was because it was a black store.” Behind the rally, hung across the splintered door of the shop a hand lettered sign that read, “A COWARD DID THIS.”
Eight months would pass before those students knew the identity of the man responsible for the attack, though. In the intervening time, IU students and faculty came together to raise enough money to pay back the financial backers of the shop, as the shop’s inventory was uninsured. Rollo Turner also made the decision not to re-open the store – all of the funds raised had gone to pay back investors, leaving none for re-investment in new stock. Additionally, the extensive damage to the structure necessitated its total demolition, meaning a new space would need to be secured and it may have proven difficult to find a landlord willing to risk their property if a repeat attack was carried out.
“The Black Market,” accessed Indiana University Archives.
Details about the search for the perpetrators are limited. An ad-hoc group formed by representatives from the community, university, and local civil rights organizations offered an award for information leading to the arrest and conviction of the guilty parties. The alternative student newspaper The Spectator alluded to a person of interest in their coverage of the attack, saying:
Acting on reports of witnesses, police are searching for a white male with dark hair, about 5’8”, 160 lbs., wearing a light gray finger-length topcoat at the time of the fire.
Whether or not either of these played any part in the search for the perpetrators, or if they were identified in some other way, on August 6, 1969 the Marion County Circuit Court issued arrest warrants for two men in relation to the crime. One of those men, Carlisle Briscoe, Jr., plead guilty to the second degree arson charges while implicating as an accomplice Jackie Dale Kinser, whom he accused of driving the get-away vehicle. Eventually, the charges against Kinser would be dropped, just before he plead guilty to three unrelated crimes.
Both men had strong ties to the local Ku Klux Klan – Kinser was a member who in subsequent years would be arrested multiple times in Klan-related crimes. Briscoe’s Klan connections are slightly less clear. At first, Monroe County Prosecutor Thomas Berry and Sheriff Clifford Thrasher announced that both men were Klan members. An article in the September 19, 1969 issue of the Indianapolis Star, states that Briscoe himself claimed to be a Klan member. The headline of Briscoe’s obituary in the Vincennes Sun-Commercial proclaims, “Notorious Klansman Dies in Prison: Briscoe Led a Bloomington Crime Wave in 1960s and ‘70s.” As late as 1977, he was arrested while committing crimes alongside Klan members, apparently while carrying out Klan business. However, in 1969, the Grand Dragon of the Indiana Ku Klux Klan, William Chaney, denied that Briscoe was a member of the organization. Regardless of Briscoe’s official Klan membership status, Briscoe at the very least maintained close ties with the terrorist organization. He was sentenced to one to ten years and was released on April 7, 1973 after serving approximately three and a half years of his sentence.
The story of The Black Market firebombing could have ended there. The structure had been demolished, the investors had been paid back, and a conviction had been made. However, the revolutionary atmosphere on the Indiana University campus stretched beyond the 1960s, and the space would once again be used to make a statement.
YIP Poster Advertising the 1968 Festival of Life, accessed Wikipedia.
In late February 1970, a group of Yippies, or members of the Youth International Party, were looking for ways to bring the community of Bloomington together. One of the ideas that emerged from these discussions was the creation of a people’s park on the vacant lot where The Black Market had once stood. People’s parks, which were spreading across the nation, could trace their roots back to the People’s Park in Berkeley, California. Typically created by activists without the approval of government or other officials, the parks were meant to promote free speech, activism, and community involvement.
By May 1970, work had started on the project. Anyone who was interested in the enterprise was encouraged to join in helping to prepare the land for its future intended use. The Bloomington People’s Park was to be a mix of gathering space, community garden, and a place for “everyone to sing, dance, rap, and generally ‘do his own thing,’” and by the next summer, it was being put to good use, as reported by the Indiana Daily Student:
About 250 blue jeaned “freaks,” tapered-legged “straights,” the bell bottomed curious and two guys with rolled-up sleeves, greasy hair and tattoos celebrated the 4th in People’s Park Sunday evening.
Student protest in People’s Park, Artubus, Indiana University, Bloomington, Indiana: 1981, accessed Artubus Archives.
Over the next five years, various issues threatened to put an end to the whole affair. The city threatened to shut it down over “public health” concerns. The property owner, Larry Canada, had various plans to develop the property. In the end, though, People’s Park became legally sanctioned after Canada deeded the land to the city in 1976.
Throughout the years, the park has carried on the site’s democratic heritage, hosting anti-Vietnam War protests, protests against the US involvement in El Salvador in the 1980s, music festivals, flea markets, and, more recently, Occupy Bloomington protests. Today, the park serves as a reminder of the revolutionary ideals that swept through Indiana University’s campus in the 1960s and 1970s. In 2020, IHB, in partnership with the Bloomington Chamber of Commerce, will commemorate those events by installing an Indiana state historical marker.
Photograph by M. B. Parkinson (New York: 1890), Special Collections, University of Virginia.
This has been adapted from its original August 22, 2019 publication in the Weekly View.
Was a Hoosier the inspiration behind the book that sold more copies in the 19th century than any other book except the Bible—Harriet Beecher Stowe’s 1851 Uncle Tom’s Cabin; or, Life Among the Lowly? It’s a distinct possibility. Stowe penned the novel during a fearful time in America for persons of color. Fleeing intolerable conditions wrought by enslavement, many risked a perilous journey to the North. This was America after passage of the Fugitive Slave Act of 1850, which mandated that residents of free states return fleeing slaves to their masters or face imprisonment or fines. The country was at odds over the issue of slavery and as to the responsibility of individuals in protecting the peculiar institution. It appeared America was edging ever closer to being torn in two.
Harriet Beecher Stowe, daguerreotype by Southworth & Hawes, c. 1856, courtesy metmuseum.org, accessed Britannica.org.
Moved by these events, young abolitionist Harriet Beecher Stowe put pen to paper and wrote Uncle Tom’s Cabin, hoping to appeal to the heart and conscience of the nation. The National Era serialized the narrative, with the first of forty chapters appearing on June 5, 1851. A year later it was published in book form and quickly became the most widely-read book in the U.S., selling 300,000 copies in 1852 alone. Stowe’s realistic depiction of American slavery through the character of “Uncle Tom” mobilized support for abolition, particularly in the North.
Playwrights adapted the popular story for the stage, but in doing so distorted Stowe’s original depiction of Tom in order to attract bigger audiences. Readers encountered a benevolent, but deeply convicted character, who would rather lose his life than reveal the location of two enslaved women hiding from their abusive master. The stage version depicts Tom as a doddering, ignorant man, so eager to please his master that he would sell out fellow persons of color. Dr. David Pilgrim, Professor of Sociology at Ferris State University, notes that because of the “perversion” of Stowe’s portrayal, today “in many African American communities ‘Uncle Tom’ is a slur used to disparage a black person who is humiliatingly subservient or deferential to white people.” Despite the modern implications of the term “Uncle Tom,” the Antebellum stage productions further propelled Americans to take action against the plight of enslaved people in the mid-19th century.
While Stowe acknowledged that the inspiration for Uncle Tom’s Cabin came from an 1849 autobiography, The Life of Josiah Henson, Formerly a Slave, Now an Inhabitant of Canada, she’d had personal interactions with former slaves who she had met while living in Cincinnati. She was also familiar with Quaker settlements, which “have always been refuges for the oppressed and outlawed slave.” [1] In a companion book, A Key to Uncle Tom’s Cabin, Stowe documented “the truth of the work,” [2] writing that the novel was “a collection and arrangement of real incidents . . . grouped together . . . in the same manner that the mosaic artist groups his fragments of various stones into one general picture.” [3]
Although Stowe does not mention him by name, Indianapolis residents and newspapers credited a local man with influencing her book: Thomas “Uncle Tom” Magruder. Tom had been enslaved by the Noble family. Dr. Thomas Noble gave up his medical practice and became a planter in Frederick County, Virginia when his brother gave him a plantation sometime after 1782. Tom Magruder was probably one of the slaves on this plantation who, in 1795, were forced to move with Dr. Noble to Boone County, Kentucky, where he established “Bellevue” farm.
Tom managed the farm during his enslavement until 1830, when both Dr. Noble and Elizabeth Noble had passed away. He was “permitted to go free” [4] and he moved his family to Lawrenceburg, Indiana, likely to a free slave settlement. In 1831, Dr. Noble’s son, Indiana Governor Noah Noble, brought the aged Tom and his wife, Sarah, to Indianapolis. There, he had a cabin built for them on a portion of a large tract of land that he had acquired east of the city. The dwelling that became known as “Uncle Tom’s Cabin” was located on the northeast corner of Noble (now College Avenue) and Market Street. Eventually Tom and Sarah Magruder’s daughter, Louisa Magruder, and granddaughter Martha, known as “Topsy,” joined the household. Tom was a member of Roberts Park Methodist Church and was an “enthusiastic worshipper—his ‘amens,’ ‘hallelujahs,’ and ‘glorys’ being . . . frequent and fervent.” [5]
Henry Ward Beecher and Harriet Beecher Stowe, 1868, Lenox Library Association, courtesy of Digital Commonwealth, Massachusetts Collections Online.
Living a few blocks from Tom at the southwest corner of Ohio and New Jersey in the 1840s was Rev. Henry Ward Beecher, white pastor of the Second Presbyterian Church. [6] He was “a constant visitor of Uncle Tom’s, well acquainted with his history, and a sincere admirer of his virtues.” [7] Like the main character in Stowe’s novel, Tom Magruder was a “very religious old Negro;” [8] of commanding appearance, his “open, gentle, manly countenance made him warm friends of all persons, white and black, who became acquainted with him.” [9]
It is known that Rev. Beecher mentioned the venerable gentleman in a sermon, which may have been when he preached on slavery on May 34, 1846. [10] Harriet Beecher Stowe visited her brother in Indianapolis that summer and may have accompanied him on one of his frequent visits to “Uncle Tom’s Cabin.” It is possible that she left the city with the future title of her novel and its main character in mind. It is likely that the names of the Magruder sons—Moses and Peter—and the name of their granddaughter Topsy remained with Stowe to later find their way into her tale of Uncle Tom’s Cabin. [11]
Jacob Piatt Dunn, Greater Indianapolis; The History, the Industries, the Institutions, and the People of a City of Homes (Indianapolis Public Library, 1910), 242, accessed Archive.org.
Tom Magruder died on February 22, 1857 at about 110 years old. He was buried in the Noble family lot at the city’s Greenlawn Cemetery. At the time of his death, there was a universal belief in Indianapolis that “there are some circumstances which give it an air of probability” [12] that “Old Tom” is “Stowe’s celebrated hero.” [13] Among other things, “‘Uncle Tom’s cabin’ . . . was a familiar phrase here long before Mrs. Stowe immortalized it.” [14] Local papers “stood up for the claim” [15] in the immediate years after Tom’s death. The Daily Citizen wrote in April 1858, “It is believed here that Thomas Magruder . . . was the ‘veritable Uncle Tom,’” [16] and the Indianapolis News in March 1875 bluntly stated, “[Josiah Henson] is a fraud. The original Uncle Tom lived in this city and his old cabin was near the corner of Market and Noble Street.” [17]
In his 1910 book Greater Indianapolis, historian Jacob Piatt Dunn thought it unlikely that Tom Magruder would ever be confirmed as the inspiration behind Stowe’s legendary fictional character. However, he noted that “it is passing strange that none of the numerous friends and admirers of the Beechers in this city received any denial of it, which would necessarily have broken the uniform faith in the tradition.” [18] What Dunn was certain about is that nearly everyone in Indianapolis at the time knew Tom Magruder, “‘for he was noted as an exemplary and religious man and was generally respected.'” [19]
SOURCES USED:
[1] Harriet Beecher Stowe, A Key to Uncle Tom’s Cabin (John P. Jewett & Co, Boston, 1858), Part I, Chapter XIII: The Quakers, p. 54.
[5] Jacob Piatt Dunn, Greater Indianapolis, vol. 1 (Chicago: Lewis Publishing Co., 1910), p. 243.
[6]The Diary of Calvin Fletcher, vol II, 1838-1842 (Indiana Historical Society Press, 1973), p. 164, p. 340.
[7] “An Old Resident Dead,” The Indianapolis Journal, February 24, 1857, 3:1.
[8]Jacob P. Dunn, “Indiana’s Part in the Making of the Story ‘Uncle Tom’s Cabin,’” The Indiana QuarterlyMagazine of History 7, no. 3 (September 1911), 115.
[9] “Early Recollections. Uncle Tom’s Cabin,” Daily State Sentinel, December 31, 1862, 2:4.
[10]The Diary of Calvin Fletcher, vol. III, 1844-1847, (Indiana Historical Society Press, 1974), p. 62, p. 259.
[11] Harriet Beecher Stowe, Uncle Tom’s Cabin or Life Among the Lowly (Boston: John P. Jewett & Co., 1852), title page.
Will Cuppy, accessed Traces of Indiana and Midwestern History (Winter 2014).
Humorist Will Cuppy’s witticisms tended toward, as his biographer Wes Gehring put it, “dark comedy that flirts with nihilism.” Cuppy’s The Decline and Fall of Practically Everybody, published posthumously in 1950, spent four months on the New York Times best-seller list and enjoyed eighteen reprints in hardback. Decline and Fall typified Cuppy’s life’s work, which satirized human nature and utilized footnotes to great comedic effect. He spent sixteen years researching the historic figures featured in Decline and Fall, but, after years of battling depression, passed away before its publication.
Young Cuppy, 1902, Traces of Indiana and Midwestern History, accessed Gale Academic OneFile.
The Auburn, Indiana native spent a lot of time on his grandmother’s South Whitley farm. There, he developed a love of animals and a curiosity about life. According to an oft-cited anecdote, Cuppy found himself wondering if fish think—and no one he knew was curious enough to similarly wonder or care if indeed fish do think. In search of more inquisitive conversationalists, Cuppy moved out of Indiana as soon as he could. Upon graduation from Auburn High School, Cuppy departed for the University of Chicago where he would spend the next twelve years taking a wide array of courses. He completed his B.A. in philosophy and planned to get his Ph.D. in Elizabethan literature.
While at university, Cuppy worked for the school paper. As a result, the University of Chicago Press hired Cuppy to “create some old fraternity traditions for what was then a relatively new college” to give the school more of an old east coast university feel. This assignment evolved into Cuppy’s first book, Maroon Tales, published in 1910. Eventually, Cuppy’s college friend Burton Rascoe invited him out to New York City, where Rascoe was an editor and literary critic for the New York Tribune. After agreeing to move to New York City, Cuppy decided to get his M.A. in literature and leave the University of Chicago rather than complete his Ph.D. He was ready to move on.
Illustration from How to Become Extinct (New York: Farrar & Rinehart, 1941), 31.
In 1921, Cuppy moved into a tarpaper and tin shack on Jones’ Island in New York. Suffering from hypersensitivity to sound, Cuppy wished to escape the noise of the city. He lived on the island year-round for eight years, with occasional visits to the city for supplies. The men of the Coast Guard station a few hundred feet down the beach befriended him and shared food, as well as fixed his typewriter. Cuppy called his beach home Tottering-on-the-Brink, giving insight into his mental health. But despite his seclusion, Cuppy’s career progressed. By 1922, he was writing occasionally for the New York Tribune, and in 1926 he joined the staff there as a book reviewer (by which time the Tribune had become the New York Herald Tribune).
End paper art from How to be a Hermit, courtesy of Simanitis Says.
Then, in 1929, Cuppy had to leave his shack because New York designated the area to become a state park, although he received permission to visit his hermitage for irregular vacations. Cuppy moved to an apartment in Greenwich Village, but even after he left his residence at Jones’ Island he would sometimes be referred to—and refer to himself—as a hermit because he continued to maintain an isolated lifestyle. Predictably, Cuppy found it difficult to stand the noise of the humming city. He tended to sleep during the day and work during the night to minimize his exposure to the cacophonous sounds. When it all got to be too much, Cuppy would blow on noisemaker as hard as he could out an open window.
Cuppy published a book about his experience living on Jones’ Island in 1929, How to Be a Hermit (Or A Bachelor Keeps House). The book was a best-seller—reprinted six times in six months—and put Cuppy on the map as a humorist and author. In traditional Cuppy fashion, he quipped “I hear there’s a movement among them [architects] to use my bungalow as a textbook example of what’s wrong with their business. The sooner the better—that will give the dome of St. Paul’s a rest.” And then there was this telling jest:
Coffee! With the first nip of the godlike brew I decide not to jump off the roof until things get worse—I’ll give them another week or so.
Cuppy followed up Hermit with How to Tell Your Friends from the Apes in 1931.
Cuppy at a broadcast for CBS Radio, circa 1942, courtesy of Gale Academic OneFile, accessed Simanaitis Says.
The 1930s were a busy time for Cuppy. In 1930, he tried to establish himself as a comic lecturer; however, after a brief stint of talks, it appeared the venture did not work out. A few years later Cuppy hosted a short-lived radio program on NBC called “Just Relax.” It proved too difficult to sustain a radio program with Cuppy’s singular brand of comedy and socially anxious tendencies—radio executives simply told him he wasn’t funny. Though his program didn’t last, Cuppy continued to appear in radio broadcasts sporadically through the years. He went on the radio to promote his next book, How to Become Extinct (1941).
Numerous reviews of mystery and crime novels had garnered Cuppy the distinction of being “America’s mystery story expert” as early as 1935. It was earned—in the course of his career Cuppy published around 4,000 book reviews. He secretly admitted that his heart wasn’t in it and he’d never particularly enjoyed the mystery and detective genre, but reviewing these books in his New York Herald Tribune column “Mystery and Adventure” was Cuppy’s steadiest income stream over the years. Nevertheless, in the 1940s Cuppy used his genre expertise to edit three anthologies of mystery and crime fiction. His freelance writing also picked up in this decade. National publications like McCall’s Magazine, The New Yorker, College Humor, For Men, and The Saturday Evening Post printed Cuppy’s essays that would later be compiled in his books, like How to Attract the Wombat (1949).
In a reflection that brings to mind Hoosier novelist Kurt Vonnegut Jr., Cuppy was fond of saying:
I’m billed as a humorist, but of course I’m a tragedian at heart.
One gets the sense from reading Cuppy’s material that he used humor as a coping mechanism. Quoting Cuppy, Gehring wrote that the dark humorist “believed humor sprang from ‘rage, hay fever, overdue rent, and miscellaneous hell.’” You could say that, like his humor, Cuppy’s life was tragic. Though he had long suffered from depression, multiple sources noted Cuppy’s declining health in mid-1949. Then, threatened with eviction from his Greenwich Village apartment and reeling from the end of a decades-long friendship, Cuppy followed through on decades of casual talk about self-harm. He died on September 19, 1949, due to suicide. He was buried in Auburn, Indiana’s Evergreen Cemetery.
Illustration from The Decline and Fall of Practically Everybody (New York: Henry Holt and Company, 1950), 38.
After Cuppy died, his editor, Fred Feldkamp, took on the task of assembling Cuppy’s numerous notes into The Decline and Fall of Practically Everybody. Cuppy took his research seriously, and this is where Cuppy’s extensive education shined through. He would spend months researching a single short essay, reading everything he could find on the topic and amassing sometimes hundreds of notecards on each subject. Having worked on Decline and Fall for a whopping sixteen years before his death, Cuppy had collected many boxes of notecards filled with research. Decline and Fall was an immediatesuccess when it was published in 1950. Locally, the Indianapolis News named it one of the best humor books of the year, and listed it as the top best-seller in Indianapolis in non-fiction for the year. In 1951, Feldkamp used more of Cuppy’s notes to edit and publish How to Get from January to December; it was the final publication in Cuppy’s name.
Footnote from The Decline and Fall of Practically Everybody (New York: Henry Holt and Company, 1950), 154.
Cuppy’s style was characterized by a satirical take on nature and historical figures. Footnotes were his comedic specialty—they were such a successful trademark that he was sometimes hired to add his touch of footnote flair to the works of fellow humorists. In Decline and Fall there is one footnote in particular which is emblematic of Cuppy’s unique dark humor: “It’s easy to see the faults in people, I know; and it’s harder to see the good. Especially when the good isn’t there.” Before the publication of Decline and Fall, Cuppy was frequently asked why he always wrote about animals—when would he write about people? But, of course, he had been lampooning humanity all along.
Perhaps it makes sense, then, that in the last decade of his life, Cuppy befriended William Stieg, the man who would go on to create the character Shrek in his 1990 children’s book by the same name. A young cartoonist, Stieg was hired to illustrate How to Become Extinct and Decline and Fall. Cuppy and Stieg struck up an extensive correspondence, and Cuppy influenced Stieg’s style. The notion of a humorous curmudgeon living in isolation and drawn out into the world by both necessity and outgoing friends strikes a familiar chord that echoes in Shrek.
Cuppy was a famous humorist in his time, and the acclaim of his better-known comedy contemporaries, like P. G. Wodehouse and James Thurber, certainly helped to heighten his renown. When Decline and Fall came out, a reviewer for the New York Times insisted that “certain people, at least, thought [Cuppy] among the funniest men writing in English.” Beyond his work as a humorist, Cuppy’s career as a literary critic had been impactful; the managing editor of the Detroit Free Press wrote that he had “given up reading whodunits” after Cuppy’s death because he didn’t trust any other critic to guide his mystery selections. The sadly serious humorist is less widely known today, but his quips seem more relevant than ever.
Be sure to see Will Cuppy’s state historical marker at the site of his childhood home in Auburn after it is unveiled in August.
Further reading:
Wes D. Gehring, Will Cuppy, American Satirist: A Biography (Jefferson, NC: McFarland & Company, 2013).
Norris W. Yates, “Will Cuppy: The Wise Fool as Pedant,” in The American Humorist: Conscience of the Twentieth Century (Ames: Iowa State University Press, 1964).
Al Castle, “Naturalist Humor in Will Cuppy’s How to Tell Your Friends from the Apes,” Studies in American Humor, 2, 3 (1984): 330-336.
