The Underground Railroad in Montgomery County: An Annotated Letter

Researching the Underground Railroad (UGRR) is a difficult task. One must remember that the activities of UGRR participants was illegal according to Section 7 of the Fugitive Slave Act of 1850. Consequently, primary source evidence of UGRRs is often scarce. In rare instances, someone like prominent Hoosier abolitionist Levi Coffin might leave a record of their involvement. Some times there may be court cases that document UGRR activity. Yet, in most cases, knowledge of UGRR participation passes into memory and tradition, which is less reliable than contemporary documentary records.

The Indiana Historical Bureau placed the Speed Cabin marker in Crawfordsville in 1995. Due to the tenuous nature of finding primary source evidence of Underground Railroad activity, the marker text is qualified with the word “reputed.”

In 1958, Wabash College history professor and Montgomery County, Indiana historian Theodore G. Gronert made the following assessment of the historical records:

The Wabash Valley members of the Underground left no detailed records such as those made by . . . the Whitewater Valley antislavery group. When participants and observers, some years after the event, told the story of the Underground Railroad, there was a natural tendency to embroider the story with fanciful details or even to recall events that never happened. . . . Unfortunately our source material for the contribution of Montgomery County to the Underground Railroad is limited. Only a few scattered reminiscences, some vague references in contemporary newspapers . . . are available to those who desire a record of the county’s part in this dramatic episode in the nation’s history.

In the late nineteenth century, Ohio State University professor Wilbur H. Siebert embarked on a remarkable project to collect reminiscences of UGRR activity from a decreasing pool of living participants and their descendants. He wrote to residents all over the county in an attempt to document UGRR routes, participants, and incidents. When he identified informants who could give him first or second-hand information, he mailed questionnaires asking seven basic questions regarding: 1) the route through the area; 2) the years of activity; 3) the system of communication between conductors; 4) memorable incidents; 5) the informant’s personal connection with the UGRR; 6) names and addresses of any potential additional informants; 7) a biographical sketch of the correspondent or the chief UGRR participant in the area.

Accessed archive.org.

Siebert’s research culminated in The Underground Railroad from Slavery to Freedom published in 1898. Among the thousands of letters he collected, he deemed one incident that occurred in Montgomery County, Indiana to be especially noteworthy, and he included an extract of the letter in his book. The critical reader is always interested in an author’s sources. Fortunately, Siebert’s research archive survives today at the Ohio History Connection. Within that archive is a typescript of the entire letter that Siebert quoted in his book. Written by Sidney Speed in 1896, the letter is the most interesting, detailed, and closest thing to an extant primary source concerning UGRR activity in Montgomery County. A transcript of the letter with added annotations and commentary is below.

EDITOR’S NOTE: As a word of caution to readers, Speed uses a racial slur to describe African Americans several times in his letter. While the Indiana Historical Bureau does not condone the use of this word, it is part of the historical record.

Sidney Speed. Image from Crawfordsville District Public Library Reference Department’s Image Database of Montgomery County.

Letter from Sidney Speed[1] to Wilbur H. Siebert

Crawfordsville, Ind. March 6, 1896

W. H. Siebert

Cambridge, Mass.

Dear Sir:

Replying to your circular[2] of March 1. The old time abolitionists of this section are now all, or nearly all, dead.  Twenty years ago it would have been easy to gather the information you want, but now I am afraid you are everlastingly too late.  I was only a boy and do not remember much of interest.

Map used as an illustration in Siebert’s Underground Railroad from Slavery to Freedom (1898)

The route traveled by the fugitive slaves and those conducting them was from Annapolis (now Bloomingdale), a Quaker settlement in the north western part of Parke Co. to this place and for sometime [sic] this place was the terminus of the Underground proper, as at this place the fugitives were supplied with money, and put on board the car of the old L. N.A. & C. road[3] (now the “Monon”)[4] whose Management was then friendly, and were safely run through to Detroit,[5] and over the river.[6]  Afterward however the conditions were much changed on account of the great number of spies and nigger catchers that sprung up for the rewards to be earned.  Then the line of the Underground railroad was extended from this place through the Quaker settlement near Thorntown, Boone Co., and had its terminus at or near Noblesville in Hamilton Co. and it may have been extended farther than that afterward.[7]  But of that I do not know.

Crawfordsville’s Democrat newspaper, the Review, regularly took aim at Fisher Doherty’s political stances, as exemplified by this statement in the January 23, 1858 issue.

The main men connected with the road here [in Crawfordsville] was Mr. Fisher Doherty,[8] and my father John Speed.[9]  They were often assisted financially and personally by others who were never known as abolitionists.  Notable among these was Major I. C. Elston[10] a banker of this place and a staunch and life long democrat who always contributed something and would say “I don’t want to know what you are doing” “go away.”  An old Virginia slave named Patterson[11] was also of great service.  His wife[12] had bought him in Virginia.  She was born free, and I remember that when she would become angry at “old Pat” as we all called him, she would threaten to take him back south and sell him.  Calling him at the same time her “old pumpkin colored nigger.”  She was black herself. [13]  I think he was used as a guide, and watchman.

Nelson Patterson, junior, and his wife, Mariah, both registered in Montgomery County’s Register of Negroes and Mulattoes in 1853. According to Indiana’s Constitution of 1851, which prohibited African American immigration into the state, blacks who were Indiana residents before the Constitution went into effect had to appear before the county circuit court clerks to verify their pre-1851 residency in the state, usually with the help of a white witness. Search and view the entire Montgomery County register at the Crawfordsville District Public Library’s Local History Database.

Sometimes the fugitive negroes were brought to this place, in the night generally, by a man named Elmore, who lived between this place and Annapolis – (near Alamo this county) [14]  and sometimes Mr. Doherty or my father would go and bring them.  Sometimes Mr. Doherty or my father would go on from here to the next stopping place with them, but often an old Quaker named Emmons[15] who lived six or eight miles north east of here would come after them.  I remember yet his kind old solemn face, and his old farm wagon covered with black oil cloth with some old hickory bottomed chairs, and pots tied on the feed box behind, and a brindle bull dog under the wagon, just behind the driver’s seat a sheet was drawn across and in the interior was seats down the sides that would accommodate [sic] ten or twelve nicely.  He usually came to our house soon after dark, and at once taking in his cargo sometimes from the house, and sometimes from the cornfields or woods, he would start out for the next station. Somewhere near Thorntown, which he would reach and return to his own home before daylight.[16]

In 1844, the Sugar River Monthly Meeting of Friends, where Joseph Emmons belonged, censured him for co-publishing an article that the meeting deemed excited “disunity and discord.”  In the article, he and his co-authors criticized Friends (Quakers) who by “recognizing and supporting those political movements [which support or legislate slavery] and laws , they are actively countenancing and supporting Slave-holders, Slave-holding and Slavery.” Image from Indiana Yearly Meeting Minutes. Earlham College Friends Collection & College Archives, Richmond, Indiana, accessed via Ancestry.com.
The fugitives were not always attended.  They would sometimes come in singly or two or three together on foot traveling generally by night and being safely hidden during the day.[17]  These were sometimes accompanied by one of their own race, who had gone over the rout [sic] before.  The fugitives were usualy [sic] men in the prime of life there were exceptions however.

  1. My recollections of the period of activity of the road was from about 1854, when I was eight years old to 1863,[18] when I was sixteen years old, and enlisted in the 18th Ind. Battery.[19]
  2. I have no knowledge of the system of communication between members.[20]
  3. At one time in 1858, or 1859, a mulatto girl, about eighteen or twenty years old, and very good looking and with some education had reached our house, when the nigger catcher became so watchful that she could not be moved for several days.[21] In fact for some days some of them were nearly always at the house either on some pretended business or making social visits.  I do not think that the house was searched, or they would surely have found her, as during all this time she remained in the garret over the old log kitchen, where the fugitives were usually kept, if there
    The Speed’s home was located on the southwest corner lot of North Street and West Street (today Grant Street) in Crawfordsville. Although the home no longer stands, the log kitchen that Sidney Speed describes is on the right end of the photo. The Speed Cabin, as the kitchen portion is known today in Crawfordsville, is preserved on the grounds of the Montgomery County Historical Society’s Lane Place. Image from Crawfordsville District Public Library Reference Department Image Database.

    was danger.  Her owner, a man from New Orleans, had just bought her in Louisville, and he had traced her surely to this place she had not struck the Underground before, but had made her way alone this far, and as they got no trace of her beyond here they returned here and doubled the watches on Doherty and my father, but at length a day came, or a night rather, when she was gotten safely and through the gardens to Nigger Patterson.  Then she was rigged out in as fine a costume of silk and ribbons as it was possible to procure at that time, and was furnished with a white baby borrowed for the occasion, and accompanied by one of the Patterson girls (Mariah I think was her name)[22] as a servant and nurse, she boldly boarded the train at the station and got safely through to Detroit.  But what must her feeling have been when she board the train to find that her master or owner had already got on the same car.  However she kept her courage and [he] did not discover her identity until the gang plank of the ferry boat at Detroit was being hauled aboard, and the Patterson girl with the borrowed baby had returned to the shore when she removed her veil that he might see her and bade her owner goodbye.  That this parting was affecting you can imagine.  He tried to wreck his vengeance on the Patterson girl, but was restrained by strong hands.  There were usually plenty at Detroit.

  4. My own connection with the Underground Railroad consisted in trying in common with the other members of the family to get enough victuals into the house to feed the hungry without creating suspicion.[23]

    Indiana Centennial Celebration Pageant in 1916 in Montgomery County where the citizens re-enacted the incident with Allred the butcher. Photo from Crawfordsville District Public Library Reference Department.
  5. Mr. T. D. Brown[24] of this place, who was a contributor to the cause can tell you a good story of how the Allens of Browns Valley,[25] once caught a fugitive slave and brought him to town for identification, and stopping in front of the hotel, they went in to examine the “runaway nigger notices” leaving the negro holding the horse, and how old man Alred,[26] who had a butcher shop next door, picked up a dornick[27] or two from the street and ordered the nigger to “git.” (and he got, and to a place of safety too) and how Alred threw a rock into the hotel after the Allens and following it in himself was soon in a fine quarrel with them, which continued only until the nigger was safe.[28] (Make Brown tell you the story.)

Mr. Doherty’s wife Isabel Doherty is living,[29] and could likely help you [with more information].

John and Margaret Speed. Photo published in the Crawfordsville Journal and Review, October 21, 1931.
  1. My father John Speed was born in 1801. He was the twelfth and youngest child of his father’s family who was a small land owner and miller in Perthshire, Scotland.  My father came to America in 1823, and was employed at his trade, Stone cutter and Mason in building dry docks, and other government work at or near Washington D. C.  He came to Indiana with a contract to build the first state house at Indianapolis, Ind.,[30] but subsequently threw up the contract because the commissioners would not use stone that he thought suitable, but persisted in using a species of shale, which is abundant there, and which soon giving way caused no end of trouble[31] until the building was finally replaced by our present Magnificent structure.[32] He shortly after this contracted to build the part of the National Wagon road from Indianapolis to St. Louis.[33] During the building of the road [P]resident Jackson “busted the banks”[34] and the contract fell through, and “busted father” because the government had no money with which to either pay or continue.  He then returned to the east on foot, going by the way of Cumberland Gap – leaving his family here.  He built the present State House at Raleigh North Carolina[35] – returning here he ended his days living true to his conception of right.  He was elected twice Mayor of this place,[36] and died in 1873 universally respected for his honesty and integrity.

Hoping that you may find something in this that may assist you, but fearing that it will all be useless I am.

Yours Very Truly

Sidney Speed.

 

[1] Sidney Allen Speed (1846-1923) was the son of John and Margaret Speed. He attended Wabash College for a few years before the Civil War, served in the 18th Indiana Artillery, and later became a stone mason. Some of his stonework includes Lew Wallace’s  grave obelisk, which measures 30 feet in height, located in Oak Hill Cemetery North in Crawfordsville, Indiana.

[2] The circular is in reference to Siebert’s seven-question survey.

[3] The Louisville, New Albany, & Chicago Railroad originally started as the New Albany and Salem in 1847. By 1854, the line extended from the Ohio River to Lake Michigan and Chicago.

[4] The railway became popularly known as the Monon after the L. N. A. & C. consolidated with Chicago and Indianapolis Airline Railroad Company in 1881. The junction of these two routes in White County was near two creeks named the Big Monon and the Little Monon. The extant town at the junction, New Bradford or Bradford, was renamed Monon.

[5] The Monon did not run to Detroit, so freedom seekers would need to transfer at some point in northern Indiana or go into southern Michigan.

[6] The Detroit River which is part of the border between the United States and Canada.

[7] The map published in Siebert’s Underground Railroad from Slavery to Freedom differs from Speed’s recollection the Wabash Valley route heading northwest from Thorntown to Lafayette and northerly from there. The map traces a central route through Indiana from Madison to Columbus to Indianapolis through Westfield in Hamilton County, and through Noblesville and points north.

[8] Fisher Doherty (1817-1890) according to his obituary in the Crawfordsville Weekly Journal settled in Crawfordsville in 1844. He is listed in the 1850 U.S. Census as a carpenter, and in the censuses thereafter as a wagon or carriage maker. His obituary stated, “He was one of the original and most uncompromising Abolitionists all over the State. Crawfordsville became one of the main stations of the underground railway and Mr. Daugherty’s [sic] house was the stopping place of all runaway slaves struggling toward Canada. He is said to have assisted hundreds on their way and spent much time and money most cheerfully in this manner.”

[9] John Speed (1801-1873) was a native of Scotland and a stone mason by profession. He served as mayor of Crawfordsville from 1868-1870. Sidney Speed gives a fuller biography of his father later in this letter.

[10] Isaac Compton Elston (1794-1867) was a merchant and banker. He was by most accounts the wealthiest man in Crawfordsville. He had a large family, and his daughter Joanna and Susan were married to U.S. Senator Henry S. Lane and Ben-Hur author Lew Wallace, respectively.

[11] Based upon Speed’s description, this was Nelson Patterson, senior. Patterson (1786/90-?) was born in Virginia. The 1850 U.S. Census recorded him as a laborer, and the 1860 census listed him as a brewer. The Patterson family is listed in the 1850 census as living next to the Speeds. Among the seven children listed with him in the 1850 U.S. Census was a son also named Nelson (circa 1828-1873). The son served in the 28th U.S. Colored Troops during the Civil War.

[12] Martha Patterson is listed in the 1850 and 1860 censuses as being born in either 1797 or 1790. Her place of birth is recorded as Virginia.

[13] Both the 1850 and 1860 censuses described Nelson Patterson as a mulatto. Martha Patterson is described as black in the 1850 census.

[14] According to the 1903 book, Twenty-five Years in Jackville: A Romance in the Days of the Golden Circle by James Buchanan Elmore, the author identifies Thomas Elmore as being involved in Underground Railroad activities in and around Alamo. Thomas was the uncle of the book’s author. Thomas Elmore (1816-1879) was an Ohio-born farmer. In 1856, he served on a Ripley Township Republican committee in Alamo that called slavery “the greatest evil of the nation.” The committee also resolved to make no compromises with the South on the slavery question.

Although Twenty-five Years in Jackville contains some historical and factual errors, James B. Elmore does list several other UGRR operatives in and around Alamo and Ripley Township. Among the names he associates with UGRR activity are: Hiram Powell, Joab Elliott, William Gilkey, Dr. Iral Brown, and Abijah O’Neall at Yountsville.

[15] Joseph Emmons (1812-1880) was a physician, and an active member of the Sugar River Monthly Friends Meeting. He lived in rural Montgomery County near Binford, which is currently the unincorporated community of Garfield.

Emmons’ involvement in the UGRR was also attested to by Siebert correspondents in Bloomingdale and Darlington, which were on both ends of the line through Montgomery County. Because Emmons’ involvement in the UGRR was so widely acknowledged by Siebert’s informants in the area, it suggests that he was a central actor in ferrying African Americans through Montgomery County.

[16] In 1896, long-time Darlington physician Isaac E. G. Naylor wrote to Siebert that “Alexander Hoover a Methodist, Joseph Emmons and Hudson Middleton – Quakers” were the principal “superintendents” along the branch passing through Franklin Township area including Binford, Darlington, and through to Thorntown.

Emmons’ medical profession could have presumably given him a plausible pretense for traveling at dusk or night if stopped by authorities or bounty hunters.

[17] As for contemporary evidence of African American freedom seekers traveling through the county solo: On August 16, 1855, the Crawfordsville Journal reported on an incident when a couple of hunters stumbled across a black man along a creek in the southern part of the county. After questioning the man, the hunters threatened to apprehend him as a fugitive. The man tried to escape, but ended up drowning.

[18] This statement is in response to Siebert’s second question on the questionnaire regarding the period of activity.

[19] The 18th Indiana Battery of Light Artillery was also known as Lilly’s Battery after their commanding officer Eli Lilly, who later founded a pharmaceutical company. The battery participated in battles at Hoover’s Gap, Chickamauga, and General William T. Sherman’s campaign against Atlanta.

[20] This statement is in response to Siebert’s third question about how Underground Railroad conductors communicated with each other.

[21] Here Speed related this memorable incident in response to another Siebert query.

[22] Mariah is likely one of two people. The Pattersons’ daughter, Almira, would have been in her late-teens or early twenties around this time. Another possibility is Mariah Patterson, who was married to Nelson Patterson, junior. Mariah would have been about twenty-seven or twenty-eight at the time, but she also had several young children, which makes her participation in the escape less likely.

[23] In a biographical sketch about John Speed, presumably provided by Sidney or another child, printed in Hiram Beckwith’s History of Montgomery County offers a few more details regarding this activity: “At one time the garret [of the house] was so full [of freedom seekers] that to prevent suspicion that he [John Speed] was harboring anyone he bought twenty-five cents’ worth of bread, then required his children to purchase a like amount each, until he obtained sufficient food for his attic visitors.”

[24] Theodore Darwin Brown (1830-1916), according to his obituary, settled in Crawfordsville in 1844, and worked for decades as a druggist. He also served as county clerk. Also according to his obituary, Brown was “an uncompromising Republican” who inherited his political views from his father, Dr. Ryland T. Brown, “one of the early abolition leaders of the state.”

[25] Enough information is not given to conclusively identify the Allens. According to the U.S. censuses, there were several Allen families residing in Brown Township in the 1850s.

[26] This probably refers to James Allred or Alred (1784-?). Allred, a native of North Carolina, appears in the 1840 and 1850 censuses as residing in Montgomery County. In the 1860 census, he is listed in Marion County.

[27] “Dornick” is an arcane word meaning a small pebble or stone.

[28] According to an 1898 article in the Crawfordsville Review the incident described took place in 1848. The article also offers some other particulars, like Allred’s first name.

[29] Whether Speed wrote the name wrong, or Siebert transcribed it incorrectly, Fisher Doherty’s wife was Sarah Owen Doherty (1820-1901). Her obituary notes Fisher Doherty as “a prominent promoter of the underground railroad, harboring many a runaway negro in his home. Mrs. Doherty was devoted to him thoroughly in his work and was a woman liberally endowed by nature of a great force of character.”

[30] Indiana’s first state house in Indianapolis opened in 1835.

[31] The construction of the building was problematic, and included the collapse of the House Chamber ceiling in 1867. A legislative committee began studying replacing the building in 1873, with a plan finalized in 1878.

[32] Construction on a new state house began in 1878, and continued until 1887/88. This building still serves the Indiana State Capitol.

[33] The National Road was the first interstate highway built with federal funds. Construction began in Cumberland, Maryland in 1811. Federal funds for the road ended in 1838 while construction was still being done in Indiana.

[34] President Andrew Jackson vetoed a bill in 1832 to re-charter the First Bank of the United States. Jackson reasoned that the Bank was not authorized by the Constitution, and “subversive to the rights of States, and dangerous to the liberties of the people.” Jackson took further steps to weaken the Bank when he decided to place federal funds on deposit in state banks. The Bank’s charter expired in 1836, and contributed to a major economic recession (some sources say depression) that lasted until the mid-1840s.

[35] The North Carolina State Capitol was completed in 1840.

[36] Speed was Crawfordsville’s second mayor. He served from 1868-1870.

The Long-Suppressed Story of One Woman’s Discoveries & the Man Who Stole Credit for Them

When retired University of Evansville professor Mary Ellingson passed away in 1993, people remembered her as a much-beloved teacher, a mother, and a friend.  Few knew she had played one other role as an archaeologist working on one of the most important excavations in Greece between the World Wars (Fig. 1).  While Ellingson told few people about her adventures abroad she did make a scrapbook filled with nearly 100 photographs, many letters, some news clippings, and other papers all of which documented her time as an archaeologist.  After her death, Ellingson’s daughter donated the scrapbook to the Department of Archaeology and Art History at the University of Evansville where I stumbled across it a decade later.  I never met Ellingson, but I got to know her through the scrapbook.  In that scrapbook I found clues she had left to an even more surprising secret she had kept from everyone.

Fig. 1 Mary Ellingson in Athens, 1931 (courtesy of the University of Evansville Library Archives).

Ellingson wanted to become a classical archaeologist.  According to a biographical statement attached to her dissertation, she was born H. M. Mary Ross and received her BA in classics from the University of Alberta.  In 1930 she went to Baltimore to attend graduate school at Johns Hopkins University.  What drew her there was David Moore Robinson, a well-known expert in the field.  Only two years earlier Robinson had begun a new project, the one that would cement his reputation as one of the great classical archaeologists.  According to Nicholas Cahill in his book Household and City Organization at Olynthus, Robinson began excavating houses at the site of Olynthus in northeastern Greece, a revolutionary idea at the time as archaeologists interested in ancient Greece normally sought temples, theaters, and other public architecture (Fig. 2).  Over the 24 years he published the results of his excavations, Robinson convinced his colleagues that houses could provide them with important information about daily life among the ancient Greeks.  His 14 volume Excavations at Olynthus published between 1928 and 1952 is still considered the cornerstone of ancient Greek domestic studies and as a graduate student and aspiring archaeologist I had to read every volume.  Ellingson could not have had a better guide than Robinson to help her enter the field.

Fig. 2 Ellingson (left) standing among house foundations at Olynthus that she helped excavate (courtesy of the University of Evansville Library Archives).

The normal practice at the time was for male graduate students to supervise Greek workmen excavating in the field while female graduate students cleaned and catalogued finds in the dig house, a practice Robinson followed at Olynthus in 1928 according to Raymond Dessy, author of Exile from Olynthus.  Ellingson’s letters make it clear that when she went to Olynthus in 1931, Robinson decided to experiment with not dividing these tasks along gendered lines and instead had all of the students both supervise workmen and catalog finds (Fig. 3).  Ellingson’s abilities in the field quickly impressed Robinson.  In a letter dated March 15, 1939 now housed in the archives at the University of Evansville Robinson states that Ellingson, “…showed remarkable executive ability and was able to superintend the Greek workmen in a very efficient way, a thing that is very unusual for a woman and which quite surprised the Greeks themselves.”  He added, “She is an excellent field archaeologist.”  (Fig. 4)

Fig. 3 Ellingson (left) on a lunchbreak while excavating at Olynthus in 1931 (courtesy of the University of Evansville Library Archives).
Fig. 4 One of Ellingson’s crews of Greek workmen (courtesy of the University of Evansville Library Archives).

Robinson divided the artifacts by category and put one graduate student in charge of cataloguing pottery, another coins, another metal objects, while he assigned Ellingson terracotta figurines (Fig. 5).  These artifacts stood 6-12 inches tall and depict deities, animals, and theater masks as well as standing, sitting, and dancing women.  Ellingson eventually wrote her master’s thesis and dissertation about these figurines.  The big question of the day was how the ancient Greeks used these figurines.  It was widely assumed they had only religious significance since excavators found them only in temples and graves.  When Robinson published Excavations at Olynthus volume IV on the figurines he had excavated in 1928, other archaeologists were curious to know if he had found them in houses.  His records from that season were so poorly kept that he could not explain where he had uncovered each of the figurines he catalogued in the volume.  In 1931 respected archaeologists published scathing reviews of Robinson’s work, among them Edith Dohan, publishing in the American Journal of Archaeology, Alan Wace in Classical Review, and Winifred Lamb in the Journal of Hellenic Studies.  All pilloried Robinson for poor record-keeping and a missed opportunity to weigh in on a central question.

Fig. 5 Study photo Ellingson took showing some of the terracotta figurines she had excavated at Olynthus (courtesy of the University of Evansville Library Archives).

This is what makes Ellingson’s thesis and dissertation so significant.  She not only catalogued the figurines but she offered interpretations of their use.  She found some of the figurines on household shrines, indicating a religious function, but others she uncovered had once been suspended from walls or placed on display, suggesting a decorative function.  She also excavated figurines made from the same mold in houses and in graves indicating that their use changed over the lifetime of the figurine.  Finally, Ellingson realized that when she found animal figurines in graves, those graves belonged only to children.  She argued they had no religious or decorative function; they were toys.  These were radical and exciting new interpretations for their day.

After her season at Olynthus, Ellingson returned to Johns Hopkins to write her master’s thesis.  In her free time she made the scrapbook commemorating her time at the excavation.  Johns Hopkins awarded her a PhD in classical archaeology in 1939.  According to Ellingson’s daughter Barbara Petersen, a few months later she married Rudolph Ellingson and moved to Evansville where he had found a job.  She raised two daughters and once they left for college in the early 1960s the University of Evansville hired Ellingson to teach Latin, Greek, and English courses.  She retired in 1974 and upon her death in 1993 her daughter donated the scrapbook to my department where someone put it on a storage shelf and everyone forgot about it.  A decade later I rediscovered it.  It now resides in the university’s archives.

Along with the scrapbook was a copy of Ellingson’s thesis and dissertation.  As soon as I started to read these, I recognized them immediately even though I had never heard of Ellingson.  On a hunch I consulted Excavations at Olynthus volumes VII sand XIV.  These are the only two volumes other than IV which mention terracotta figurines.  I placed her thesis and Olynthus VII  side by side and began to read.  The texts were identical.  The same was true for her dissertation and Olynthus XIV, yet Robinson put his name on the cover page of each as the sole author.  He did thank Ellingson in a general way in the introduction to each volume but in no way did he indicate that Ellingson was the actual author.  Robinson plagiarized his graduate student Ellingson.  We cannot know why he did it, but I suspect it was because what she wrote about terracotta figurines was so much better than what he had written in volume IV.  Scholars such as Valentin Müller agreed, praising volume VII in particular in his 1936 review in Classical Philology.

We cannot know how Ellingson reacted to Robinson’s publication of her thesis, no record remains, but among Robinson’s papers now housed in the archive at the University of Mississippi is a letter dated Oct. 6, 1952 which Ellingson sent to him expressing her surprise and discovering her dissertation in print.  The archive preserves a copy of his response, sent a week later, in which he states that he “…probably should have given you more credit.”  It was the closest thing to an apology Ellingson would ever receive.  She only told one of her daughters once about what happened to her, otherwise she shared the story with no one.

The description above is only a very brief summary of Ellingson’s story.  To learn more, see For Further Reading below.  Nonetheless her story matters because she left behind enough documentation to tell it.  Other women in archaeology and the sciences did not receive the credit they deserve for their work, but we may never hear about them as they did not make a scrapbook as evidence of their accomplishments.  Mary Ellingson, therefore, must stand as a proxy for other women about whom we will never learn.

For Further Reading:

Kaiser, A.  2015.  Archaeology, Sexism, and Scandal.  The Long-Suppressed Story of One Woman’s Discoveries and the Man Who Took Credit for Them.  Rowman and Littlefield:  Lanham, Maryland.

Philo T. Farnsworth: Conversing with Einstein & Achieving Fusion in Fort Wayne

See PART I for Philo Farnsworth’s struggle to commercialize the
television and his involvement in the 1935 patent suit against RCA.

Engineers and office personnel at Farnsworth TV and Radio Corporation, Fort Wayne, Indiana, 1940, courtesy of the J. Willard Marriott Digital Library, University of Utah.

In 1938, investors in the Farnsworth Television and Radio Corporation (FTRC) scoured the nation for a manufacturing plant that would allow them to profit from Farnsworth’s invention: the television. They selected the former Capehart Phonograph Company building in Fort Wayne, Indiana because, according to biographer Paul Schatzkin, the “company’s plant was an ideal facility, and the name ‘Capehart’ was expected to lend a certain cachet to the eventual Farnsworth product line.”

The FTRC plant opened in 1939, stimulating the city’s economy with the production of radios, phonographs and television equipment. Not only did Farnsworth oversee production, but continued his scientific endeavors with a research department that, according to his wife Pem, operated at “high efficiency.” She noted that Farnsworth’s “input breathed energy into the men, and in turn their reciprocation kept him on his toes.” The plant’s opening coincided with the outbreak of World War II and Fort Wayne would experience the same economic revival as the nation through the manufacture of war goods.

Mark III, installed on vacuum system of television set, ca. 1930s-1940s, courtesy of the J. Willard Marriott Digital Library, University of Utah.

Shortly after the FTRC began operations in Fort Wayne, U.S. President Franklin Delano Roosevelt required all television and radio materials be converted to the production of military equipment. With America’s involvement in World War II, the FTRC expanded throughout Indiana, culminating in a total of seven factories in the state during the war years, including those in Marion, Huntington and Bluffton. Donald Sinish, who worked with Farnsworth at the FTRC Research Department, recalled that the Ft. Wayne facilities were “rapidly converted to production of military equipment and engineering channeled to development of radio communication, missile guidance and radar systems.”

Despite the company’s expansion, Farnsworth’s quest to commercialize television was halted by the production of war materials and the FCC’s hesitation to establish broadcasting channels and standards, narrowing the period in which he could benefit from his patents, which expired in 1947. Disheartened by the obstacles preventing him from capitalizing on his invention, Farnsworth moved to Maine and vowed never to return to Fort Wayne.

Farnsworth (far right) with “Fusor” and engineers, ca. 1930s-1940s, courtesy of the J. Willard Marriott Digital Library, University of Utah.

But when the company struggled to repay war loans that allowed for expansion, Farnsworth returned to Fort Wayne and reluctantly convinced investors to sell FTRC to International Telephone and Telegraph (ITT). The Fort Wayne company continued to produce televisions and Farnsworth researched and experimented in his lab. Pem stated that the Fort Wayne lab “developed a device for the United States early-warning system” that could detect and destroy missiles and planes in the early atomic era. Farnsworth’s primary post-war research interests centered around developing a low cost form of fusion. Creating self-sustaining fusion is equivalent to bottling a star, a nearly impossible task that has yet to be conquered.

Farnsworth hoped to usher in the “high-energy era” with fusion, as a minuscule amount could power a whole city without the pollution of fossil fuels. Pem stated that Farnsworth’s fusion idea “gained solidarity early in 1947,” when a mutual friend set up a phone call between him and Albert Einstein. After discussing scientific theories for about an hour, Pem recalled “Phil reappeared, his face aglow from the excitement of finding someone who understood what he was talking about.”

Albert Einstein with J. Robert Oppenheimer, scientists whose work contributed to invention of the atomic bomb used in World War II.

Allegedly, Einstein had developed similar theories, but “was so shocked that his work had been used to produce the atomic bombs dropped on Japan that he vowed never to contribute further.” However, he encouraged Farnsworth to pursue the fusion work for “peaceful” purposes and requested Farnsworth contact him once he worked out the mathematics. Pem contended that “it was a great psychological relief to find another human being who shared his increasingly unique perspective” and that he found Einstein to be a “fellow traveler in the rarefied regions of the physical universe where his mind now dwelt.”

Encouraged, Farnsworth established a basement laboratory in Fort Wayne and devised a “fusion reaction tube” called the Fusor, which he patented in 1968. He reportedly achieved fusion in Fort Wayne, but it is unclear whether or not he generated self-sustaining fusion. Unfortunately, Einstein died before Farnsworth could share his mathematics with him and, upon his passing, Farnsworth felt more alone than ever. The burden of his genius again overwhelmed him when he collaborated with employees to finalize his second fusion patent. According to Pem, upon realizing that they too did not grasp the “vital point of his concept” he closed his briefcase and informed them “’I have given you all the material you need to finish this patent. Now I am going home and get drunk!’”

Farnsworth with “Fusor,” 1960, courtesy of the J. Willard Marriott Digital Library, University of Utah.

After self-imposed isolation, he moved to Provo, Utah with Fort Wayne employees to pursue fusion away from ITT’s influence. In 1966, he established Philo T. Farnsworth Associates and collaborated with Brigham Young University on sustaining fusion. Eventually, Farnsworth’s health failed and he cancelled the fusion project. According to Schatzkin, family members suspected he carried the secret of fusion to his grave out of concern that humanity was not spiritually prepared for it.

Farnsworth was reportedly disgusted with television programming for its failure to facilitate his noble goals of exchanging cultures and educating viewers. Pem stated that while watching the 1969 moon landing Farnsworth professed “this has made it all worthwhile.” Ironically, Farnsworth himself appeared only once on the medium he invented on the program I’ve Got a Secret. Farnsworth passed away March 11, 1971 in Salt Lake City, Utah.

Philo T. Farnsworth kept a plaque on his desk that read “MEN AND TREES DIE—IDEAS LIVE ON FOR THE AGES.” Farnsworth’s life serves as a testament to this. Schatzkin eloquently summarized his contributions, stating “There are only a few noble spirits like Philo T. Farnsworth . . . who can alter the course of history without commanding great armies.”

“Better Homes wants to have a fair shake:” Fighting Housing Discrimination in Postwar South Bend

Better Homes of South Bend Neighborhood in South Bend, Indiana. Photo by Peter Rigenberg, accessed Better Homes of South Bend by Gabrielle Robinson, 121.

On May 21, 1950, a group of African American Studebaker workers and their wives formed a building cooperative in South Bend, Indiana called “Better Homes of South Bend.” Like other building cooperatives, the group appointed officers and a lawyer, drew up incorporation papers, and set times for regular meetings. Unlike other organizations, members decided their cooperative’s activities had to be kept secret to succeed. The cooperative’s first meeting minutes even stressed “no information is to be given out.”

1928 aerial view of Studebaker plant in South Bend, accessed Michiana Memory.

Better Homes of South Bend members had good reason to be cautious. Discrimination in the local housing market had long limited African Americans to dwellings in the southwest part of South Bend, near the Studebaker Factory. Many members were part of the Great Migration of millions of African Americans from the South to the North for war industry jobs in the 1940s. Many had hoped to escape segregation and Jim Crow policies.

However, those with sufficient finances to make down payments found virtually no homes available to them and no banks willing to loan them money. Many of the city’s landlords would not rent to black residents. Real estate agents refused to show black home buyers houses in all-white neighborhoods and developments. White homeowners who tried to sell to black buyers risked physical threats and vandalism. Historian Emma Lou Thornbrough notes that the housing situation in South Bend was so dire for African Americans in the 1940s that many black families were forced to crowd into one or two bedroom units in substandard buildings.

Transcript from a public hearing in South Bend that exposed examples of discrimination in the local housing market from the late 1940s through the early 1960s. March 19, 1963, accessed Michiana Memory.

Alan Pinado, one of the only black real estate agents in South Bend in the postwar era, noted in an oral history of the Civil Rights Heritage Center that:

There were no first quality homes being built for middle class, middle income blacks in South Bend . . . The federal government was part and parcel of the segregated housing pattern. It was legally mandated that new communities be kept segregated.

Federal housing and real estate policy strengthened prejudice in the housing market, not just in South Bend, but nationwide. The federal government first became heavily involved in the housing market in the 1930s. After the 1929 stock market crash and the ensuing Great Depression, the feds created several new agencies, like the Home Owners Loan Corporation (HOLC), the Federal Home Loan Bank (FHLB), and the Federal Housing Administration (FHA), to try to stem the collapse of regional housing markets and bolster the failing economy.

Federal Housing Administration brochure, ca. 1935, accessed columbia.edu.

Before the federal government stepped in, few became home owners. Banks spread mortgages only over three to five years. These mortgages required large payments that few could afford, especially during the Great Depression. In the 1930s, the government introduced the long-term, low-interest, self-amortizing mortgages most homeowners are familiar with today. Since these mortgages required smaller payments, home ownership became more economically feasible. Additionally, the federal government insured these loans through the FHA, making them an incredibly low risk for banks.

The government developed appraisal schemes to determine eligibility for these new loans. They adopted guidelines real estate associations had developed in the 1910s and 1920s to keep neighborhoods segregated. These associations erroneously decreed that the introduction of a non-white family into an all-white neighborhood would decrease surrounding property values. This policy kept many African Americans in poor neighborhoods, despite their income. For example, HOLC created survey maps of neighborhoods in 239 cities that color coded risk. Neighborhoods were coded into four groups, A-D. Only the best rated neighborhoods, marked A and B, would receive long-term loans. One criteria to receive an A or B rating included that the home in question sat in an all-white neighborhood.

HOLC security map for South Bend, Indiana. Accessed Mapping Inequality.

Similarly, the FHA Underwriting Manual, written in 1936, told appraisers to investigate areas surrounding a house for sale to “determine whether or not incompatible racial and social groups are present” because “if a neighborhood is to retain stability it is necessary that properties shall continue to be occupied by the same social and racial classes.” The manual further encouraged the use of local zoning and deed restrictions, like racially restrictive covenants that prevented potential black buyers from purchasing a home from a white homeowner.

The JD Shelly family fought to live in this house in St. Louis, after a neighbor sued to enforce racially restrictive covenants. The Supreme Court ruled in favor of the Shelly family. Accessed nps.gov.

By the time Better Homes of South Bend was established, the FHA insured 1 in 3 mortgages for new construction. However, the appraisal practices described above became standard practice and permeated the entire housing market. Though the Supreme Court ruled these practices unconstitutional in Shelly v. Kraemer in 1948, FHA did not stop publicly endorsing such actions until 1950 and prejudice in the housing market continued well after. Even in 1961, the United States Commission on Civil Rights admitted that housing still:

seems to be the one commodity in the American market that is not freely available on equal terms to everyone who can afford to pay.

Better Homes of South Bend members formed their building cooperative to combat this prejudiced housing market in 1950. According to scholar Jessica Gordon Nembhard, African Americans have established co-ops since the Civil War help fight economic racism. Cooperatives, or “companies owned by people who use their services,” work by pooling resources to satisfy an economic need created by a marketplace failure.

Advertisement for M.W. Jones’s African American apartment co-op in Indianapolis. Indianapolis Recorder, November 11, 1950, 14, accessed Hoosier State Chronicles.

The first large African American housing co-operatives began in Harlem in the late 1920s. Many early African American co-ops in Indiana were markets or grocery stores, formed in the 1930s or 1940s. Better Homes of South Bend was likely one of the first successful African American building co-ops in the state. Only one other similar co-op, an apartment co-op in Indianapolis started by M.W. Jones in 1950, described in the Indianapolis Recorder as the “first Negro co-op Apartments in the city and the State,” is known to have existed.

Better Homes of South Bend had many of their meetings at the Hering House, an African American civic center in South Bend. Accessed Michiana Memory.

At the first meeting, Better Homes members elected officers to run the group: Lureatha Allen as President, Earl Thompson as Vice President, Louise Taylor as secretary, Ruby Paige as assistant secretary, and Bland Jackson as treasurer. Eventually, twenty-two couples joined the group. Many members were neighbors along Prairie Avenue or Western Avenue. Eighteen of the twenty-two male members worked at Studebaker. Most of the women stayed home to take care of children. Since many of the women had more flexible schedules than their husbands, they often took on leadership roles in the cooperative.

Better Homes of South Bend lawyer J. Chester Allen, accessed Indiana Legal Archive

After incorporating, Better Homes members had to find land to build their homes. Their lawyer, J. Chester Allen, secured twenty-six lots on the northwest edge of the city on the 1700 and 1800 blocks of North Elmer Street from his acquaintance, George Sands, a prominent white lawyer in South Bend. Only a few families, all white, lived in this relatively undeveloped area. US Census and Housing Data, which divides South Bend into six wards containing roughly five to six thousand households. The data indicates that only seven “non-white” households lived in the ward containing 1700-1800 North Elmer Street in 1950. In contrast, all Better Homes of South Bend members lived in Ward 2 or Ward 6 at the time, both of which contained 530 and 835 non-white households, respectively.

DeHart Hubbard, accessed University of Michigan.

At a general meeting in September 1950, members enjoyed divvying up the lots and receiving their house numbers. The next steps involved getting loans to finance construction and a contractor to build homes on the lots. Better Homes enlisted the help of DeHart Hubbard, who worked as a race relations advisor at the FHA office in Cleveland. The FHA had finally started cracking down on racially restrictive covenants in their mortgages, after years of pressure from civil rights groups.

Through Hubbard, Better Homes got the FHA to handle their permanent mortgages and found four local banks to handle financing. Many members worried about meeting with local bank executives because they had heard bankers often denied home loans to African Americans, especially those who wanted to build outside black neighborhoods. Hubbard accompanied members to meetings with banking executives to remind the bankers that the federal government was insuring Better Homes’ loans and that members had good credit, therefore there was no reason to deny financing. In Better Homes of South Bend, member Leroy Cobb told author Gabrielle Robinson:

What I was really proud of was that here was a black man standing up to white executives and telling them that Better Homes wants to have a fair shake. It inspired me.

Leroy Cobb, a few years before joining Better Homes of South Bend, 1946, accessed Michiana Memory.

Better Homes also had to find a competent contractor. Member Margaret Cobb noted in an oral history for the Civil Rights Heritage Center at Indiana University South Bend, that contractors they met with “wanted to give us substandard materials,” to build their homes because members were black. Construction companies at the time often employed a double standard in building, using higher quality materials on homes for white homeowners and cheaper stock for similar African American homes. Leroy Cobb remembered in Better Homes of South Bend that one prospective contractor refused to put doors on closets in their homes. After two years, Better Homes finally found two contractors that supplied good plans at reasonable prices. All the houses were to be one-story frame construction on a concrete slab. Most floor plans contained five rooms and one bathroom.

Before construction could start, the city had to install sewer and water lines. Though the postwar building boom strained the city’s resources, negotiations between the city and Better Homes attorney J. Chester Allen stretched over years. Members suspect that the process might have taken so long because of an unwillingness for the Better Homes families to move to North Elmer Street.  After two years of letters and petitions, the group finally got sewers installed and construction began.

1700 block of North Elmer Street in 2015, the former homes of members Earl and Viro Thompson, Gus and Josie Watkins, and Bland and Rosa Jackson. Photo by Peter Rigenberg, accessed Better Homes of South Bend by Gabrielle Robinson, 86.

In the late fall of 1952, the first family, Bland and Rosa Jackson, moved into their home at 1706 North Elmer Street. By the mid-1950s, all twenty-two families had moved in between 1700 and 1841 North Elmer Street. Leroy and Margaret Cobb moved in on November 1, 1953 to 1702 North Elmer Street. Leroy Cobb told Gabrielle Robinson that on move-in day, “I was elated.” Finally, he and Margaret had enough space for their family.

Baton twirlers in the annual Elmer Street Parade, August 1962. Photo courtesy Vicki Belcher and Brenda Wright, accessed Better Homes of South Bend, 97.

In August 1954, the group celebrated their new neighborhood with a picnic featuring cakes, pies, potato salad and barbecued chicken and ribs. Over the years, Better Homes members grew a vibrant community, filled with family cookouts and outdoor activities like baseball, kickball, and building snowmen. There was even an annual Elmer Street Parade.

The Indiana Historical Bureau will honor Better Homes of South Bend with a new state historical marker.  The marker will be revealed at a ceremony open to the public July 1, 2017 at 1702 North Elmer Street in South Bend. Check on our Facebook page and website for upcoming details.

Better Homes of South Bend members at their celebratory picnic in August 1954. Photo courtesy Leroy Cobb, accessed Better Homes of South Bend, 91.

The Hoosier Partisans Move for Autonomy as the Cleveland Clique Tightened Its Grip on the Bee Line Railroad

See Part V to learn about the Cleveland Clique’s elusive grasp for control of the Bee Line Railroad.

Map of Bee Line Railroad Component Lines: the Indianapolis, Pittsburgh and Cleveland, the Bellefontaine and Indiana, and Cleveland, Columbus and Cincinnati
Map of Bee Line Railroad Component Lines: Indianapolis, Pittsburgh and Cleveland (blue), Bellefontaine and Indiana (red) and Cleveland, Columbus and Cincinnati (green), courtesy of Erin Greb Cartography.

In the four months since John Brough left the presidency of the Bee Line’s Indianapolis, Pittsburgh and Cleveland Railroad (IP&C) in February 1855, more than just its name had changed. The Hoosier Partisans’ move for autonomy would take concrete form as the Cleveland Clique tightened its grip on the Bee Line Railroad

Calvin Fletcher, reluctantly elected president in John Brough’s stead, had met with a litany of key personnel and other midwestern railroad presidents to gain a broader perspective. He had also dealt with a variety of operational, cash flow and accounting issues left unaddressed by Brough.

Images of John Brough and Calvin Fletcher
(L to R): John Brough, courtesy of the Ohio History Connection. Calvin Fletcher, courtesy of the Indiana Historical Society.

As a result, by April the line’s Superintendent had resigned. At the same time, Fletcher engaged an individual to look into unaccounted for and delayed freight. He pushed for cost reductions at the engine shop at Union, and restructured the road’s finances.  John Brough, reflecting on his own performance, acknowledged: “It appeared there were large discrepancies between the books of the Superintendent and those of the Secretary…As President I should have discovered these discrepancies and applied the remedy.”

Map of the proposed route of the Mississippi and Atlantic Railroad, the Terre Haute and Richmond Railroad, and the Indianapolis, Pittsburgh and Cleveland Railroad
Map of the proposed route of the Mississippi and Atlantic Railroad (orange), Terre Haute and Richmond (magenta) and Indianapolis, Pittsburgh and Cleveland (blue), courtesy of Erin Greb Cartography.

On top of Brough’s lapses while heading the IP&C, he had been removed as President of the Mississippi and Atlantic Railroad (M&A) by late May 1855 in favor of Chauncey Rose – founder and former president of the Terre Haute and Richmond Railroad. The M&A, the Cleveland Clique’s bet to reach St. Louis, was in its death throes. It had taken a public relations beating at the hands of Illinois river town and Chicago politicians, who questioned the road’s legal legitimacy – and John Brough’s managerial track record. Investors abandoned the M&A, leaving Brough without portfolio.

Image of Chauncey Rose
Chauncey Rose, courtesy of the Indiana Historical Society.

Calvin Fletcher, frustrated by what he discovered as president of the IP&C, informed the Hoosier Partisans: “I feel that my official duties in the RR are oppressive & that I must leave them…There is a degree of corruption in relation to it that I cannot arrest—or rather the effects of which already passed that I cannot overcome.”

As the July 1855 annual meeting approached, the Partisans pushed Fletcher to continue on as president. They soon faced reality:  he would not remain. As late as the day before the meeting Fletcher could not figure who would become his successor. It soon became clear, however, the Cleveland Clique had been making plans as well. Incredibly, John Brough would be resurrected not only to retake his prior role at the IP&C, but also be anointed as president of the Bee Line’s Bellefontaine and Indiana Railroad (B&I) at the same time!

Brough’s operational and financial shortcomings would have been obvious to the Cleveland Clique by then. On the other hand he was loyal, politically savvy, and possessed an Ohio pedigree. Given the newly redefined and more limited scope of the president’s role, and with strong Clique operational and financial expertise now present on both boards, Brough was serviceable.

Effectively, the Cleveland Clique would now control both the B&I and IP&C. While not yet legally consolidated, the two roads would be run as one while John Brough and the Clique considered the calculus to officially bind them together.

Sparked by Brough’s Clique-masterminded elevation to the dual Bee Line presidential roles, the IP&C’s Hoosier Partisans squirmed under the terms of the joint operating agreement foist upon them by the Cleveland Clique the year before. Both the perpetual nature of the contract and mandate to consolidate with the B&I “at the earliest possible moment” were not sitting well. Discovering the Cleveland, Columbus and Cincinnati Railroad (CC&C) had never technically executed the contract, the Hoosier Partisans made a move to modify its language.

By the IP&C’s March 1856 annual meeting, revised terms of the joint operating agreement had been hammered out. A newly reconstituted and more representative overall executive/finance committee was arranged. At the same time, the contract term was reset to five years, instead of being perpetual. Any party to the contract could now terminate it with three months’ notice. However, this clause could only be exercised after the agreement had been in place for three years.

Map of the Bee Line Railroad component lines, and Columbus, Piqua and Indiana and other roads aligned with the B&O (to Wheeling WV), Pennsylvania (to Pittsburgh PA) and New York Central (to Buffalo NY) trunk lines.
Map of the Bee Line Railroad component lines (blue, red, green), and Columbus, Piqua and Indiana (brown) and other roads aligned with the B&O (to Wheeling WV), Pennsylvania (to Pittsburgh PA) and New York Central (to Buffalo NY) trunk lines, courtesy of Erin Greb Cartography.

Fortunately for the Hoosier Partisans, the IP&C’s three-year joint operating obligation ended as the Columbus, Piqua and Indiana Railroad (CP&I) finally reached Union in the spring of 1859. Now the IP&C could anticipate a substantial revenue boost as freight and passengers traveled to/from Columbus across CP&I track to Union. From Columbus, Pittsburgh could now be reached – and the Pennsylvania Railroad headed to Philadelphia – via affiliated lines.

Union and the IP&C were proving to be a pivotal funnel for other traffic as well. Freight and passengers headed to/from New York across the CC&C and aligned roads to the fledgling New York Central Railroad at Buffalo would find their way to Union. Similarly, via the CP&I link between Union and Columbus OH, the Baltimore and Ohio Railroad (B&O) could now be accessed at Wheeling WV. And, courtesy of a new through-line arrangement connecting the B&O’s eastern terminus at Baltimore with New York City, a second alternative for reaching this center of commerce from Union became a reality.

The IP&C would be the clear beneficiary of these new connections to the east – if only it could effect a separation, if not a divorce, from the B&I as well as the CC&C. Then, standing individually, the IP&C could strike lucrative through-line agreements with each of the eastern trunk lines and their local affiliates. By way of these arrangements, the Hoosier Partisans could once again regain control over their own destiny.

At the March 1859 IP&C board meeting, Partisan David Kilgore proposed a three-person board committee be appointed to “pursue a line of fair and impartial conduct between our two connections at Union.” The concept was for the IP&C to direct traffic under its control and destined for New York, Philadelphia, Boston, and Baltimore to these connecting roads “in proportion to the trade and travel received from the several points named above.”

Images of David Kilgore, Thomas A. Morris, and Stillman Witt
(L to R): David Kilgore, from the author’s personal collection; Thomas A. Morris, Courtesy of the Indiana Historical Society; Stillman Witt (J. Fletcher Brennan, ed., Biographical Cyclopedia and Portrait Gallery of the State of Ohio, Vol. 2. Cincinnati: John C. Yorston & Co., 1880.)

In addition to David Kilgore, ubiquitous Indiana railroad construction engineer, recent president of the Indianapolis and Cincinnati Railroad and IP&C board/executive committee member Thomas A. Morris, and Cleveland Clique and CC&C strongman Stillman Witt were appointed to the committee.

The stars were aligning from an operational standpoint as well; a March 28 letter from the receiver of the CP&I announced they “will be prepared in a very few days to transport passengers and freight” between Union and Columbus OH.

A crucial series of IP&C-arranged meetings with presidents and general managers of several of the eastern trunk lines and their Ohio-affiliated roads took place in Columbus, Ohio that May. The importance of Union and the IP&C’s Indianapolis connection west toward St. Louis were obviously not lost on the roster of kingpins who decided to attend the Columbus confab.

As might be expected, there were two distinct perspectives on the IP&C’s postulated autonomy. Those regional lines aligned with the Pennsylvania Railroad or B&O via CP&I connections at Columbus OH endorsed the IP&C’s move toward independence. Not surprisingly, those roads associated with the New York Central via Bee Line alignments at Cleveland, or with the Pennsylvania Railroad via the Ohio and Pennsylvania Railroad [O&P] (passing near the B&I’s eastern terminus at Galion OH) took the opposite position. Among this group was the CC&C’s then president, Leander M. Hubby.

Image of Leander M. Hubby
Leander M. Hubby, (Biographical Cyclopedia and Portrait Gallery of the State of Ohio, Vol. 4. Cincinnati: Western Biographical Publishing Company, 1887.)

Shortly after the meeting, as Hubby contemplated the implications of the IP&C’s stratagem – with its alternative access to New York City via the B&O – he balked. “This company would not quietly submit to receiving a divided business from the IP&C.” Hubby went on, and to the heart of the matter, “this company contributed largely in money and credit to the completion and opening of the Bellefontaine Line…I think it my duty to say…this Company…will at once form other connections which are being offered them.”

Bee Line financier Richard H. Winslow of Winslow, Lanier & Co. tag-teamed with Hubby, mounting an attack on the IP&C’s soft financial underbelly. “In view of your embarrassments growing out of the large debt falling due the 1st of January next, we should think it a hazardous experiment and one that may lead to very bad consequences.”

In many respects the Hoosier Partisans’ dream of an independent IP&C had been dashed years before when it accepted the financial help of “foreign” interests—be they in New York, Cleveland, or Europe.

Hollow recognition was paid to the Partisans in the wake of the Union episode. At the annual IP&C board elections in July 1859, Thomas A. Morris was elected president. In turn, John Brough stepped down from the IP&C presidency but continued to hold dual roles as president of the B&I and chairman of the overall Bellefontaine Line executive committee. The title of general superintendent was also added to his dossier. Brough and the Cleveland Clique would control eight seats on the IP&C board to the Hoosier Partisans’ seven.

At the May 1860 board meeting, extension of the revised Bee Line joint operating contract was considered. Swallowing its pride and with a financial gun to its head, the IP&C board reluctantly moved to accept it.  If anything, the Union episode crystallized the Cleveland Clique’s determination to drive the B&I and IP&C to a formal and final consolidation under their direct control.

And while the IP&C’s contract extension with the B&I had taken more than a year to be resolved, the Union episode hastened the day when the IP&C would no longer exist as a separate entity. And with it, the Hoosier Partisans’ dream of maintaining control of their own destiny faded to a smoldering ember.

Check back for Part VII to learn more about the push and pull of the Hoosier Partisans and Cleveland Clique, leading to the legal consolidation of the Bee Line component railroads.

Continue reading “The Hoosier Partisans Move for Autonomy as the Cleveland Clique Tightened Its Grip on the Bee Line Railroad”

Kenneth Rexroth: Poet, Pacifist, Radical, and Reluctant Father of the Beat Generation

For the exciting tale of Rexroth’s turbulent Hoosier upbringing and the mischief he got into along the way, see part one: The Midwestern Making of Kenneth Rexroth.

Photo accessed Linda Hamalian, A Life of Kenneth Rexroth (New York and London: W. W. Norton & Company, 1991), 120.
Kenneth Rexroth, Portrait of Andree Rexroth, accessed Linda Hamalian, A Life of Kenneth Rexroth (New York and London: W. W. Norton & Company, 1991), 122.

After a period of hitchhiking their way towards the West Coast, camping, and living on cold food, the twenty two-year-old burgeoning poet Kenneth Rexroth and his new artist wife Andrée, arrived in San Francisco in the summer of 1927. Rexroth biographer, Linda Hamalian, referred to them as “forerunners of the flower children who flocked to Northern California during the fifties and sixties.” In San Francisco they found exactly what they had been hoping for: a rich cultural environment without the pretense they sensed in the East Coast artistic community.

Montgomery Block, photograph, 1906, accessed Peter Lawrence Kane, “Bohemian Grave: The Montgomery Block,” San Fransisco Weekly, July 9, 2015, courtesy of archives.sfweekly.com

They quickly met other artists and writers and found jobs painting furniture. They moved into an apartment on the Montgomery Block, often called the Monkey Block, that had long housed artists and writers, including the Hoosier author Ambrose Bierce. Rexroth wrote that they had little money, but “limited needs” and were able to live “the kind of life that I’ve lived almost always since, a sort of semi-monastic life devoted to writing and painting.”

Andree and Kenneth Rexroth, “Bathers,” oil on canvas, n.d., accessed Linda Hamalian, A Life of Kenneth Rexroth (New York and London: W. W. Norton & Company, 1991), 120.

The young couple also spent time enjoying the lush and varied natural environment surrounding San Francisco which Rexroth wrote “kept me in California all these years.” They swam and hiked and noted the unique flora and fauna. This love for nature deeply influenced Rexroth’s writing and he worried about destruction of the natural world by developers. In later years, he described himself as a sort of early environmentalist writer:

My poetry and philosophy of life became what it’s now fashionable to call ecological. I came to think of myself as a microcosm in a macrocosm, related to chipmunks and bears and pine trees and stars and nebulae and rocks and fossils, as part of an infinitely interrelated complex of being. This I have retained.

Reprint of the WPA Guide to California (Pantheon Books, 1984) accessed Amazon.com.

By the 1930s, in the midst of the Great Depression, Rexroth was employed by the Work’s Progress Administration (WPA) contributing to the “American Guide” series of handbooks for each state. Rexroth and several other local poets and writers created the California guide and were able to inject information on natural conservation and  into the otherwise standard guidebook.

While he had contributed scattered “cubist poetry” to what Hamalain described as “ephemeral publications” upon his arrival in San Fransisco, by the 1930s he was regularly writing and publishing work in journals and small volumes of poetry. Much of this poetry combined natural imagery with his radical leftist political beliefs and strong anti-war sentiment. For example, his poem “At Lake Desolation,”  published in the magazine The New Republic in 1935, contrasted the stillness of nature with the horrors of war. The poem begins:

Kenneth Rexroth, “Requiem for the Dead in Spain,” New Republic, March 24, 1937, 201, accessed ebscohost.com;

The sun is about to come up and the regiments lie
scattered in the furrow their large eyes
wet in the pale light and their throats cut

He explored similar themes in his poetry throughout the 1930s and became a staunch pacifist. In 1937, the New Republic journal published Rexroth’s poem “Requiem for the Dead in Spain,” lamenting the horrors of the Spanish Civil War. He began the work by describing his walk through the beautiful Sierra Mountains under the stars, the tone changes as he suddenly feels sick thinking about the war. He laments:

I see the unwritten books, the unrecorded experiments,
The unpainted pictures, the interrupted lives,
Lowered into the graves with the red flags over them.
I see the quick gray brains broken and clotted with blood,
Lowered each in its own darkness, useless in the earth.
Alone on a hilltop in San Francisco suddenly
I am caught in a nightmare, the dead flesh
Mounting over half the world presses against me.

James Laughlin, ed., New Directions in Poetry and Prose (New York: New Directions, 1937), photograph accessed via Amazon.com.

That same year, the influential independent publisher James Laughlin included Rexroth’s work in his second annual New Directions in Poetry and Prose, a publication the Academy of American Poets referred to as “pivotal.” In 1940, Macmillan published Rexroth’s first major collection, In What Hour. The work was considered wholly original and cemented his place at the forefront of the San Francisco literary movement.  A reviewer for the Oakland Tribune wrote: “Rexroth is wholly and essentially a poet in the new manner. Usually a poet’s first work, and this is Rexroth’s first book, enables the acute reader to name his literary progenitors. But Rexroth’s poetical parents, if he has any, are not known.”  The critic continued, “Despite this break with tradition, or it may be, as the apostles of the modern poetry claim, because of this independence, Rexroth’s book is important and tremendously interesting.” Hamalain wrote that the poems that make up In What Hour “demonstrate his remarkable ability to render plausible the possibility of spiritual presence and a sense of unity in the natural world” despite the threats of the modern age.

Oakland Tribune, September 1, 1940, 18, accessed Newspapers.com.
Kenneth Rexroth, Marie Rexroth, wax, silica, and pigment on board, c. 1936, collection of James S. Jaffe Rare Books, LLC., accessed jamesjaffe.com

While his writing career was taking off, his marriage was dissolving.  Rexroth moved out and began a relationship with Marie Kass, a “whipsmart” nurse, who would become his second wife in 1941. While he was happy with Marie, he was devastated when Andrée died October 17, 1940 from a seizure.  He wrote of Andrée in a poem published in The Phoenix and the Tortoise:

I know that spring again is splendid
As ever, the hidden thrush
As sweetly tongued, the sun as vital —
But these are the forest trails we walked together,
These paths, ten years together.
We thought the years would last forever,
They are all gone now, the days
We thought would not come for us are here.

This idea, that love and nature could serve as spiritual refuge in troubled times, became even more significant with the outbreak of World War II and the entry of the United States into the conflict in 1941. Rexroth maintained his pacifist stance and applied for conscientious objector status February 19, 1943. Throughout the war, Rexroth worked with pacifist organizations such as the Fellowship of Reconciliation, the American Friends Service Committee, and the local branch of the National Committee for Conscientious Objectors. He wrote that at one point he received a notice from his draft board that his status had been changed from 4-E, conscientious objector to 1-A, available for armed service.  He wrote, “I immediately appealed. The process dragged on for over a year while the FBI investigated the claim as by law they were required to do . . . There was no question that I was a bona-fide Conscientious Objector.”

Executive Order 9066, February 19, 1942; General Records of the United States Government; Record Group 11; National Archives accessed https://www.archives.gov/.

After the Japanese attack on Pearl Harbor on December 7, 1941, some Americans began questioning the loyalty of Japanese Americans, a large number of whom lived on the West Coast. In February 1942, President Roosevelt issued Executive Order 9066 which relocated Japanese Americans, including native born citizens, inland, away from the coast (which had been identified as the Pacific military zone) and confined them to internment camps. Thousands were forced to leave their homes and businesses.  However, some Americans, including Rexroth, opposed internment as racist and unconstitutional.

National Archives caption: Registration in San Francisco, California. Residents of Japanese ancestry file forms containing personal data, two days before evacuation, at a Wartime Civil Control Administration station. National Archives Identifier: 536056 accessed https://catalog.archives.gov/id/536056
National Archives caption: Posting of Exclusion Order at First and Front Streets in San Francisco, California, directing removal of persons of Japanese ancestry from the first section in San Francisco to be affected by the evacuation.
National Archives Identifier: 536017 accessed https://catalog.archives.gov/id/536017

Rexroth wrote in his autobiography that even before the U.S. declared war on Japan, that he worried Japanese Americans would face persecution. He wrote a letter and sent it to various pacifist groups and religious groups, stating that when war was declared, “the persecution of Japanese and Americans of Japanese ancestry, because they are marked by their color and features, will be worse than that of the German-Americans of the First World War.” He wrote in his autobiography, “I managed to persuade them to set up a committee with the absurd title of the American Committee to Protect the Rights of Americans of Oriental Ancestry.” When Rexroth and other members of the Friends Service Committee got word from a “contact in the White House” about the order for internment, they “immediately got on the phones,” and urged each person they called to call five more people. They also called university and political contacts and civil liberties organizations. While perhaps an aggrandizement, Rexroth credited this work with mobilizing opinion in the Bay Area against internment.

National Archives caption: Waiting for Evacuation in San Francisco, California. With baggage stacked, residents of Japanese ancestry await a bus at the Wartime Civil Control Administration station, 2020 Van Ness Avenue, as part of the first group of 664 to be evacuated from San Francisco on April 6, 1942. Evacuees will be housed in War Relocation Authority centers for the duration.
National Archives Identifier: 536065, accessed https://catalog.archives.gov/id/536065

Rexroth took more direct action as well. Again according to his autobiography, Rexroth explained a scheme that saved several Japanese-Americans, including a personal friend, from internment.  He contacted the Midwest Art Academy in Chicago, which he called a “phony correspondence school” that advertised scholarships “in cheap pulp magazines” for classes on “photo retouching, art, dress design, and knitting.” He convinced the school to sign registration papers for Japanese American students for a fee. He then contacted the “colonel in charge” of evacuation in San Francisco who agreed to provide educational passes for such students despite the school’s organization being “kind of a racket.”  He located funding through Jewish residents of San Francisco and worked with Quakers to “set up a student relocation program.” In this way, Rexroth wrote, “we started shoveling people our of the West Coast on educational passes.” The poet Robert Duncan wrote that both Kenneth and Marie were also “working in the camps . . . taking messages back and forth.”

Kenneth Rexroth, The Phoenix and the Tortoise (New York: New Directions, 1944).

Rexroth’s practice of Buddhism, Taoism, and yoga also influenced his pacifist views and actions. He incorporated this worldview, along with a belief of the transcendental power of love, into his writing. In 1944, New Directions Press published Rexroth’s The Phoenix and the Tortoise, a rumination on history and humanity’s major failings: war and its threat to the natural landscape. In this lengthy poem, there is still hope for humanity in nature and through love. While the tortoise represented the earthly and the mortal, the phoenix represented the transcendent, sublime, and immortal power of love. Likewise, the ocean symbolized nature’s power to transform and serve as sanctuary in a world threatened by war.  Literary critic John Palattella explained, “Nature’s indifference to human death is not a threat but a source of consolation, since the ocean’s one unchanging characteristic is that it changes everything.”

W.G. Rogers, “Author of the Week,”Waco (Texas) Herald Tribune, December 25, 1952, 25, Newspapers.com

While Rexroth and a small number of avante-garde writers flourished in the San Francisco area for several years, the end of the war in 1945 saw an influx of new artists and writers. Many of these new voices were drawn to the area because they had read Rexroth’s works and heard about the creative coterie he had organized: a group of rebellious writers who were exploring anti-establishment and far left politics in their literature along with other cultural critiques. Rexroth believed it was the war itself that created this cultural climate. He wrote in San Francisco Magazine:

Just as London under the buzz bombs enjoyed a literary renaissance and a profound change of social relationships . . . so San Francisco during the War woke up from a long provincial sleep and became culturally a world capital.

Rexroth also maintained what Beat scholar John Tytell called “a sort of western salon, a weekly literary gathering,” where Rexroth introduced poets to each other and hosted readings. Out of this meeting of minds came “an entirely new cultural synthesis,” which produced new movements in theater, art, and poetry. One newspaper described this literary gathering in 1948 as “the San Francisco bay area poetry forum,” but the broader movement became known as the San Francisco Renaissance. Rexroth considered the combination of political discussion, poetry, and jazz to be the foundation of the movement. Over the following decade, this San Francisco Renaissance ushered in the rise of the Beat Generation. Rexroth’s role as bandleader of the San Francisco movement was responsible for his gaining the title “Father of the Beat Poets,” though he would later reject the title and the movement.

Webster Schott, “Writers Dig the Beat Generation,” Kansas City (Missouri) Times, February 27, 1958, 34, accessed Newspapers.com.

According to the Academy of American Poets, “Beat poetry evolved during the 1940s in both New York City and on the West Coast, although San Francisco became the heart of the movement in the early 1950s.” The Beat Generation rejected mainstream culture and politics and expressed themselves through new and non-conventional forms of poetry. Beat scholars point to the salon-type meetings organized by Rexroth as essential to bringing the Beats together. In the gatherings, the Beats would explore and embrace influential themes in Rexroth’s prolific writings like anarchism, pacifism, mysticism, and environmentalism. Beat scholar Ann Charters also credits Rexroth’s writings on Asian philosophy as influencing the Beat writers’ interest in “Buddha consciousness.”

“Lawrence Ferlinghetti, Bruce Lippincott, and Kenneth Rexroth Performing at the Cellar,” photograph, 1957, accessed Archives of American Art, Smithsonian Institution

Rexroth also helped establish jazz as an essential element of Beat poetry. During this period, Rexroth gained fame for combining his poetry with the music of local jazz groups. In San Francisco, he often performed at the Cellar, which became known for jazz and poetry performances and at the Blackhawk club with jazz bands like the Dave Brubeck Quartet. Two such performances were released on vinyl in 1957 and 1959.

Kenneth Rexroth, Poetry and Jazz at the Blackhawk, 1959, Fantasy Records, accessed garagehangover.com

Rexroth toured the country, performing regularly in New York City. According to the Academy of American Poets:

Rexroth was among the first twentieth-century poets to explore the prospects of poetry and jazz in tandem. He championed jazz and its musicians, publishing appreciations of players like Charles Mingus and Ornette Coleman, defending jazz in print against critics who deemed the music less than serious, and most importantly, he played in a jazz band himself, helping to define a role for the poet in the jazz world and a role for jazz in the poetry world.

“American Poet Kenneth Rexroth Reads One of His Poems as Three Musicians Play Instruments Alongside Him,” photograph, January 1, 1960, accessed Getty Images.

In the liner notes for his 1959 recording Poetry and Jazz at the Blackhawk, Rexroth wrote that jazz poetry “takes the poet out of the bookish, academic world” and returns the poetry to the realm of public entertainment. Rexroth believed that combining music and spoken word connected the audience and poet directly (as opposed to the mediation of the written word) and restored poetry to oral tradition.

“Poet Kenneth Rexroth Reading a Book at a Poetry Reading,” photograph
February 1, 1957, Getty Images, accessed gettyimages.com.uk

Mainly, however, it was his rejection of mainstream culture that aligned Rexroth with the Beat movement early on. For example, in 1951, in a syndicated review of Rexroth’s poem “The Dragon and the Unicorn” one critic noted that these rebellious writers were reacting to the post-war period with disgust. He stated that though in their writing style, they break with tradition, but their rebellion makes them part of a long tradition of creativity.

Six Gallery Poster, Allen Ginsberg Project, accessed ginsbergblog.blogspot.com.

On October 7, 1955, at a poetry reading at the Six Gallery in San Francisco, Rexroth introduced Allen Ginsberg who read his revolutionary poem “Howl.” Scholars often point to this as the culminating event of the San Francisco Renaissance and solidification of the Beat movement. Charters described the movement as “awakening a new awareness in the audience (at the Six Gallery) of the large group of talented young poets in the city, and giving the poets themselves a new sense of belonging to a community.”

Rexroth championed many of the new writers in a 1957 article for The Nation, including high praise for Ginsberg. He described the scene at the height of the movement:

Poetry readings to large and enthusiastic audiences are at least weekly occurrences – in small galleries, city museums, community centers, church social halls, pads and joints, apartments and studios, and at the very active Poetry Center at San Francisco State College, which also imports leading poets . . . Poetry out here, more than anywhere else, has a direct, patent, measurable, social effect, immediately grasped by both poet and audience.

Fred Danzig, “‘Beat Generation’ Got that Way through Draft, Missiles, Hydrogen Bombs, Wars,” (Elwood) Call-Leader, April 28, 1958, 10, accessed Newspapers.com.

Rexroth argued that the Beat movement started as a radical literary movement, but quickly turned into a “hipster lifestyle,” that is, the pursuit of fashionable trends and not larger truths. He soon distanced himself from the movement because he felt the East Coast Beats, and especially Jack Kerouac, were opportunists seeking fame and mainstream acceptance. Rexroth was quoted by a reporter in 1958 as saying, “This beat thing, which is a publicity gimmick in the hands of Madison Avenue, will die away.”

“Poet Kenneth Rexroth Reading a Book,” photograph, February 1, 1957, Getty Images, accessed gettyimages.co.uk

Regardless, Rexroth had directly influenced the Beat movement probably more so than any other poet.  In 1958, one reporter astutely wrote that Rexroth “seems to fix the entrance requirements.” Charters explained that Rexroth was one of a handful of writers who had “sown the seeds” for the flowering of the Beat movement. She refered to Rexroth as a “mentor” for the younger Beats and “the dominant force in the cultural life of San Francisco for more than half a century.”

The “Classics Revisited” series was compiled into book form, first edition in 1968. Image: Kenneth Rexroth, Classics Revisited (New York: New Directions Publishing, 1986)

Although the Beat movement melted into the counterculture movements of the sixties and rock and roll became the dominant outlet for rebellious youth, Rexroth remained a central figure in American literature. He continued to write poetry and extensive cultural and literary criticism. In addition to his original contributions, his translations of foreign poetry and his writings on literature such as his “Classics Revisited” column in the Saturday Review increased his importance to the literary world.

Kenneth Rexroth, The Alternative Society (Herder and Herder, 1970).

Writing for the Chicago Review, Rexroth scholar Ken Knabb looked back on the over 800 columns that Rexroth wrote for the San Francisco Examiner, the San Francisco Bay Guardian and San Francisco Magazine during the 1960s and 1970s.  Knabb wrote in admiration of the diversity of topics that Rexroth covered: reviews of jazz and classical concerts, operas, films, Chinese theater, performances of Shakespeare; discussions of art, literature, fishing, architecture, drugs, wine, Civil Rights, war, and politics; observations from his world travels; arguments for the women’s liberation and ecological movements; and criticisms of the past cultural movements through which he lived and participated. Knabb concluded that “as an ensemble . . . they add up to a social document and critical commentary of remarkable range.”

Kenneth Rexroth and Ling Chung, The Orchid Boat: Women Poets of China (McGraw-Hill 1972)

While Rexroth had begun translating poetry from other languages in the 1950s, he dedicated more and more of his time to the task later in life. He paid special attention to translating the work of women poets starting in the 1970s in works such as The Orchid Boat: Women Poets of China (1972) and The Burning Heart: The Women Poets of Japan (1977).  By this point, his own work incorporated imagery and meter learned through decades of translating Chinese and Japanese poetry.

In his review of Rexroth’s collection The Morning Star (1979), critic Emiko Sakurai praised these poems especially as “extraordinary poems, rich and sensuous, always immediate, febrile and powerful” and called Rexroth “a poet of the first rank.”  However, Sakurai had a hunch about Rexroth. He noted that “The Love Poems of Marichiko” were “ostensibly” written by a young Japanese woman. Indeed, they were actually written by Rexroth from this imagined perspective. Critics noted the transformative power his work as a translator had on his own original work and his ability to write convincingly from the a feminine perspective of his invented character.

Wolfgang Saxon, “Kenneth Rexroth, 76, Author; Ffather Figure to Beat Poets,” June 8, 1982, D26, accessed ProQuest Historical Newspapers.

Upon Rexroth’s death in 1982, the New York Times described this “poet, author, critic and translator of Chinese, Japanese and classic Greek poetry” as greatly influential on later generations of writers. The Times obituary noted that he received acclaim from both radical literary and political circles as well as “honors and awards from more orthodox literary corners,” such as Guggenheim fellowships and a prestigious grant from the National Institute of Arts and Letters in 1964.

Although he came to despise being called “Father of the Beats,” Rexroth created a cultural movement that influenced the voice and  worldview of some of America’s best poets. Frankly, there would be no Ginsberg or Kerouac without Rexroth. However, it is his own unique voice that will forever hold his place in this country’s literary canon. Perhaps the best summary of his significance comes from poet and publisher James Laughlin, who described his friend Kenneth Rexroth aptly as “an American cultural monument.”

Left to right: Kenneth Rexroth, Allen Ginsberg, and James Laughlin. Image is detail of photo by D. Sorenson, City Lights in North Dakota Conference, March 18, 1974, accessed Allen Ginsberg Project.

Further reading:

Linda Hamalian, A Life of Kenneth Rexroth (New York and London: W. W. Norton & Company, 1991).

Ann Charters, ed., The Portable Beat Reader (New York: Penguin Books, 1992).

“THE DAMNED THING WORKS!:” Philo T. Farnsworth & the Invention of Television

Philo T. Farnsworth with early television camera, 1930s
Philo T. Farnsworth with early television camera, 1930s, courtesy of the J. Willard Marriott Digital Library, University of Utah.

It is notable that in this age of celebrity worship, most people cannot name the inventor of the television. Even the meticulous Aaron Sorkin confused the details of Farnsworth’s life in his stage play. Woefully unrecognized, Farnsworth conceived of the idea for electronic television at the age of 14 and brought his conception to fruition in 1927 with his first electronic transmission.

Like Apple founder Steve Jobs, Farnsworth nurtured a broad, idealistic vision of how his invention would change the world, envisioning how television might increase literacy, facilitate the sharing of cultures and even prevent wars through global discourse. Farnsworth’s greatest resource, much like Jobs’, was unconventional thinking and an ability to assemble a small team of determined ingénues like himself. Farnsworth’s wife, Elma “Pem” Farnsworth, attributed her husband’s success to “intuitive thinking, logic, and hard work,” as well as his ability to combine “seemingly unrelated elements into new instruments of amazing effectiveness.”

Farnsworth's childhood home in Indian Springs Utah
Farnsworth’s childhood home in Indian Springs Utah, courtesy of The Philo T. Farnsworth Archives.

The inventor of television grew up in Utah prior to the existence of power lines, making his radical electronic concepts all the more remarkable. Farnsworth’s family moved to a farm in Rigby, Idaho, where Farnsworth delighted at the sight of a Delco power system, immersed himself in scientific magazines and invented tools that facilitated household chores. While working on the farm, a teenaged Farnsworth observed the straight rows created by the horses as he plowed, and abruptly thought “he could build the image like a page of print and paint the image line after line . . . with the speed of the electron, this could be done so rapidly the eye would view it as a solid picture.”

According to Pem, Farnsworth reasoned that by using an image dissector tube, he could manipulate electrons to “change a visual image into a stream of electrical current, transmit that to another vacuum tube at the receiver, and on a fluorescent screen turn the current back into the visual image again.” Farnsworth sketched his idea on the blackboard of his high school chemistry teacher, Justin Tolman, and presented him with a drawing of it, which would prove invaluable years later during a 1935 patent suit ruling.

Philo T. Farnsworth's sketch for teacher Justin Tolman
Philo T. Farnsworth’s sketch for teacher Justin Tolman, courtesy of philointhehall.com.

In 1923, Farnsworth moved to Provo, Utah and pursued formal education, enrolling at Brigham Young University (BYU) to study mathematics and physics, although, like Jobs, never graduated. Ironically, his lack of formal training contributed to his success, as fundraiser George Everson recalled that Farnsworth “attacked the whole assignment with no engineering experience and little engineering knowledge, but to compensate for these inadequacies he had courage and genius.” After leaving BYU, Farnsworth worked for Everson as an organizer at the Community Chest Campaign, who, along with fundraiser Leslie Gorrell, funded Farnsworth’s electronic television idea. With this financial backing, Farnsworth moved to California, eventually establishing a lab on Green Street in San Francisco and hand-picking a team of scientists and innovators.

In the team’s early days, engineers shuffled in and out of the lab with various instruments, a “glittering array of crystals, prisms, and lenses.” This activity attracted the attention of police in the Prohibition era and Pem stated “it’s not hard to imagine how suspicious our operation must have looked to an outsider. Strange packages were being brought in, and the curtains were drawn for demonstrating the light relay.” Pem reassured two policemen, who came to investigate the lab, that she and her husband were not operating a still and continued their electronic experiments.

Farnsworth’s 202 Green Street lab in San Fransisco, courtesy of The Philo T. Farnsworth Archives.

Farnsworth focused on perfecting the image dissector tube with the help of Pem’s glassblowing brother, Cliff Gardner. The scientific team constructed numerous models before developing a bulb that was delicate, yet strong enough to transmit an image electronically. After years of failed experiments and twelve hour work days, on September 27, 1927 Farnsworth transmitted the first “electronic television image.” With Farnsworth and his staff at the receiver, Cliff inserted the slide into the Dissector and a small line materialized in the receiver room, ushering in the television age. Farnsworth wired Gorrell a simple message: “THE DAMNED THING WORKS!” and applied for his first television patent on January 7, 1927.

Farnsworth was “the first to form and manipulate an electron beam” and according to his biographer Paul Schatzkin “that accomplishment represents a quantum leap in human knowledge that is still in use today.” Farnsworth’s ability to harness electrons negated the need for mechanical objects to transmit images and later contributed to breakthroughs in radar and electron microscopy.

Farnsworth Television Model, 1936, courtesy of the J. Willard Marriott Digital Library at the University of Utah.

However, transforming his historic achievement into a commercial product involved years of financial and legal problems. Farnsworth struggled to maintain a balance between scientific experimentation and his financial backers’ desire for a return on investment. In 1928, Farnsworth met with impatient investors who demanded to see “some dollars” in his invention, and stunned them when an image of a dollar sign materialized in the screen before them. This presentation bought Farnsworth more time, but later that year the backers repealed their support, forcing Farnsworth to rally his team to continue with the development of television.

In the period between his first transmission and first public demonstration of the television in 1934, Farnsworth continued to navigate around financial problems, company reorganization, and protests by radio and film actors fearing the new medium could jeopardize their jobs. The primary obstacle to commercialization was RCA’s lawsuit regarding his 1927 television system patent. Russian scientist Dr. Vladimir Zworykin attempted to devise an electronic television system and applied for a patent in 1923, despite lacking proof of its feasibility. Farnsworth invited Zworykin, a former employee of Westinghouse, to see his San Francisco lab in 1930 in hopes that Westinghouse might fund his invention. Unbeknownst to Farnsworth, Zworykin no longer worked for the company and his visit to the lab was motivated by personal objectives.

Farnsworth’s television system patent, contested over in the 1935 patent suit against RCA, accessed Google Patents.

Farnsworth demonstrated how to construct an Image Dissector for Zworykin, who later replicated the tube and presented it to RCA. Farnsworth’s refusal to sell his patents to RCA prompted the company to sue for priority of invention, so as to introduce commercial television to the public. The U.S. Patent Office settled the “David and Goliath confrontation,” as described by Farnsworth’s wife Pem, when it ruled in Farnsworth’s favor based on Justin Tolman’s presentation of Farnsworth’s high school Image Dissector sketch. For the first time in RCA’s history, the company had to pay patent royalties, rather than receive them. The ruling also established Farnsworth as the inventor of television, despite ongoing debate and distortions to the historical record like Aaron Sorkin’s stage play proclaiming RCA the victor of the suit. Schatzkin provides a superb synopsis of the debate about the inventor of television and errors punctuating the narrative in The Boy Who Invented Television.

Farnsworth continued to fight against RCA’s appeals and his refusal to bow to the corporation taxed his mental and physical health. While struggling with depression, exhaustion and a dependence on liquor to cope with the stress, Farnsworth vowed to bring television from conception to commercialization. He aimed to get into broadcasting, but because the FCC would not yet allocate spectrum space for television, Farnsworth decided to enter into manufacturing, which would lead him to Fort Wayne, Indiana.

According to the J. Willard Marriott Digital Library at the University of Utah, in 1938 the Farnsworth television show was taken on a country- wide tour and was very well received.

Read part II: Philo T. Farnsworth: Conversing with Einstein & Achieving Fusion in Fort Wayne here.

Etheridge Knight: “can there anything good come out of prison”

A sketch of Etheridge Knight in prison by Terrance Hayes, accessed theparisreview.org.

“I died in 1960 from a prison sentence and poetry brought me back to life.” This is how poet Etheridge Knight Jr. described his experience at the Indiana State Prison, where he served eight years for armed robbery. This post focuses on the years 1960-1968, in which the man “with something to say” began sharing his voice through poetry.

Born in 1931 in Corinth, Mississippi, Knight’s family moved to Paducah, Kentucky before moving to Indianapolis. He dropped out of school as a teenager and enlisted in the army in 1947. Knight served as a medical technician in the Korean War until 1950, when a serious injury would indirectly serve as a catalyst for his revolutionary Poems from Prison. His wounds proved so physically and psychologically traumatic that Knight soon developed an addiction to morphine. Or as Knight put it, “I died in Korea from a shrapnel wound and narcotics resurrected me.” Following his army discharge, Knight supported his habit by dealing drugs and stealing, which led to his sentence in the Michigan City, Indiana prison.

Betty De Ramus wrote in the Detroit Free Press that black poets of the 1960s, including those writing behind bars, were not trying to

pass civil rights laws or integrate bathrooms or even to trouble America’s conscience. They were battling for the minds of blacks, bent on persuading them of their potential and power, trying to open them, layer by layer, to their own lost beauty.

She argued that this movement, comprised also of African American music, theater, films, and novels were black artists’ way of “lighting candles in the darkness.” Knight would become a quintessential voice of the Black Arts Movement, described by Larry Neal as “’radically opposed to any concept of the artist that alienates him from his community. Black Arts is the aesthetic and spiritual sister of the Black Power concept. As such, it envisions art that speaks directly to the needs and aspirations of Black America.’”

Knight did not immediately illuminate the darkness at the Indiana State Prison, where he became embittered by “racist guards and racist parole boards.” According to a 1972 Baltimore Sun article, he began writing poetry 18 months into his sentence, inspired by other black poets like Gwendolyn Brooks (who later visited him in prison) and Langston Hughes. He recalled “I read Walt Whitman and the European poets, too . . . I could never really get to them as I got to Hughes and Brooks.”

According to the Poetry Foundation, Knight “was already an accomplished reciter of “‘toasts'” before he entered the penitentiary. These toasts were long, narrative poems spoken from memory that related to “‘sexual exploits, drug activities, and violent aggressive conflicts involving a cast of familiar folk . . . using street slang, drug and other specialized argot, and often obscenities.'” At the Indiana State Prison, he “toasted,” amidst cell doors slamming and prisoners shouting. Other times, Knight recalled, “Sometimes in the joint . . . I’d back people up against the wall and say, ‘Here, you want to hear this?’ After all budding poets do need an audience, and where better to find one with time to listen?”

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.” This poetry explored themes like “suffering and survival, trial and tribute, loss and love.” The Richmond Palladium-Item reported that through his words he “lashed out at the power brokers in prison and in literature with equal intensity and humor.” At first the budding poet encountered no trouble mailing out his poetry in an attempt to get published. The authorities did not resist, he recalled, because they considered James Whitcomb Riley to be a poet and “they didn’t understand what I was all about.”

His first published piece, a tribute to Dinah Washington, appeared in the Negro Digest about a year after he started writing from prison. Once published, prison officials began censoring his mail and prohibited him from mailing out his poetry. Knight responded by “smuggling material out to friends . . . who worked on the outside.” This resistance to prison life manifested not only in words, but in behavior and he spent time in solitary confinement, or, as he termed it the “hole” and “on the rock.”

Courtesy of The Paris Review article “Terence Hayes Brings Etheridge Knight Into Focus”

“The more oppressive the system you live under, the louder the poets scream,” Knight contended in 1989. And scream he did. His short stories and verses written in the penitentiary, were published in periodicals, anthologies, and the Journal of Black Poetry. Most famously, he published his book Poems from Prison, which included poems like “Cell Song” and “A Wasp Woman Visits a Black Junkie in Prison.” When he left prison in 1968 he worked as a punch press operator at a factory in Indianapolis. By 1972 his scream had been heard across the country and he had taught students creative writing at the University of Hartford in Connecticut and the University of Pittsburgh, and served as poet-in-residence at Lincoln University in Springfield, MO. He alleged that year that “There is more creativity going on in college campuses and prisons than any other places in the country.”

Knight assessed his years in prison, “My time made me see that prisons don’t rehabilitate. If you come out with any degree of sanity at all, you’re lucky. Prison is inhuman. It kills you.”

But poetry brought him back to life. Knight went on to establish Free People’s Poetry Workshops to counteract the “domination of the publishing industry by moneyed white males.” His books and spoken word garnered popular and critical acclaim and he received a fellowship from the Guggenheim Foundation, won the American Book Award, and was nominated for a Pulitzer Prize.

Knight at typewriter, ca. 1960s, courtesy of the Indiana Historical Society.

The poet, described by modern African American poet Terrence Hayes, as a “talented, ex-con, con man, blues-blooded rambling romantic” died in 1991 and is buried in Crown Hill Cemetery. For an in-depth examination of Knight’s works, see thepoetryfoundation.org.

 

Material for this post was derived from:
“Poet Gains Worldwide Acclaim,” Indianapolis Recorder, July 27, 1968, accessed Hoosier State Chronicles.

Helen Fogel, Detroit Free Press, February 22, 1969, accessed Newspapers.com.

Randi M. Pollack, “Etheridge Knight Talks on Prison,” The Baltimore Sun, February 18, 1972, accessed Newspapers.com.

Mike Fitzgerald, Palladium-Item (Richmond, Indiana), March 18, 1984, accessed Newspapers.com.

“Etheridge Knight: Going Against Safe Literary Doctrine,” The Indianapolis Star, March 12, 1989, accessed Newspapers.com.

The Cleveland Clique’s Elusive Grasp for Control of the Bee Line Railroad

See Part IV to learn how the Cleveland Clique leveraged on John Brough to solidify its control of the Bee Line and a route to St. Louis.

John Brough, Henry B. Payne
(L) John Brough, courtesy of the Ohio History Connection. (R) Henry B. Payne, courtesy of the Library of Congress.

With John Brough’s election to president of the Indianapolis and Bellefontiane Railroad [I&B] on June 30, 1853, the Cleveland Clique cemented its position as the Midwest’s dominant railway cabal. Brough’s dual roles, both there and as president of the Mississippi and Atlantic Railroad (about to initiate construction between Terre Haute and St. Louis), personified the Clique’s reach.

It was also a visible sign of president Henry B Payne’s effectiveness crafting and implementing the Cleveland, Columbus and Cincinnati Railroad’s [CC&C’s] growth strategy. Now his attention turned to commanding the Bee Line component railroads and a line to St. Louis, both physically and legally. But, the Cleveland Clique’s grasp for control of the Bee Line Railroad would be elusive at best.

Map of railroads between Indianapolis and Cleveland c1860, annotated to show component Bee Line railroads, and the Columbus, Piqua and Indiana railroad
Map of the Bee Line component lines: CC&C, B&I in red, I&B in blue; Columbus, Piqua and Indiana Railroad (CP&I) in brown, courtesy of Erin Greb Cartography.

Just prior to Brough’s promotion, the I&B’s Clique-influenced board had resolved to convert its 4’ 8½” ‘standard gauge’ track (lateral dimension between rails) to the 4’ 10” ‘Ohio gauge.’ By law, the Ohio legislature had mandated that all railroads chartered there must be constructed to this dimension. As a result both Ohio legs of the Bee Line, the Bellefontaine and Indiana [B&I] and CC&C, had been built to this dictated standard. The Indiana-chartered I&B’s non-conforming gauge, however, prevented uninterrupted service between Cleveland and Indianapolis.

The I&B moved carefully to implement its gauge-change resolution. This was because, in early 1852, former president Oliver H. Smith had come to terms on a through-line agreement with a rail line being built between Columbus OH and Union IN – the Columbus, Piqua and Indiana Railroad [CP&I]. When completed, this important link would provide a connection to lines extending toward Pittsburgh, and on to Philadelphia over one of the growing trunk line giants: the Pennsylvania Railroad.

image of Oliver H. Smith
Oliver H. Smith, courtesy of the Indiana Historical Society.

As part of through-line negotiations to coordinate schedules and share facilities, the CP&I had acceded to Smith’s demand that it petition Ohio’s legislature to build to the I&B’s ‘standard’ gauge. It soon received a legislative exemption and began building. However, the CP&I met financial headwinds almost immediately – most notably from the Pennsylvania Railroad, which failed to meet its guarantee commitment when the company defaulted on construction bonds. Unfortunately, following bankruptcy reorganization, the CP&I would not complete construction to Union until 1859.

From the I&B’s perspective, the CP&I’s financial problems and construction delays seemed insurmountable. In contrast, the temptation to avail itself of lucrative east-west business across the combination of Ohio gauge B&I and CC&C lines proved irresistible. Under cover of a finely crafted resolution to skirt its through-line agreement with the CP&I, the I&B board resolved to lay track using the Ohio gauge as “other circumstances and relations for the welfare of the Road may require.” Under this guise, by the summer of 1853, it had re-laid track between Union and Muncie to the “Ohio gauge”.

Given this developing situation, the CP&I felt compelled to act. It successfully sought a preliminary injunction to block further track/gauge conversion. The Bee Line was effectively stymied in its effort to achieve a uniform gauge run from Cleveland to Indianapolis. Although the I&B argued the 1852 through-line agreement was silent on the CP&I’s track conversion accord, Smith’s apparent sidebar pact proved compelling to the court. I&B president John Brough, backed by a new board replete with Clique members, was directed to move decisively to resolve the problem in late summer 1853. It proved to be a particularly costly settlement.

Together, all component roads of the Bee Line agreed to guarantee the CP&I’s performance on $400,000 of bonds issued to complete the road to Union. Beyond eventually finding themselves on the hook for this issue, the Bee Line roads would provide another, and then another tranche of funding by the time the CP&I limped into Union in 1859. At least the I&B could now finish its Ohio gauge track conversion between Muncie and Indianapolis. And, under terms of the settlement, the CP&I also re-laid its track to the Ohio gauge.

Winding up the CP&I lawsuit had been a prerequisite to inking a Cleveland Clique-initiated through-line agreement among all Bee Line component roads. The day after securing the CP&I settlement, the Bee Line’s through-line agreement was signed. There were two telling provisions that spoke to the different vantage point of the Cleveland Clique and Hoosier Partisans.

Map of midwestern railroads c1860, annotated to show Bee Line component railroads and intersecting rail lines to Pittsburgh
Map of the Bee Line component railroad: I&B, B&I in blue, CC&C in red; lines to Pittsburgh in brown: CP&I to S&I/P&S, O&P, courtesy of Erin Greb Cartography.

On the one hand, the agreement allowed the B&I and I&B to make “fair and eligible connections and business arrangements . . . to secure . . . their legitimate share of the business between the cities of Philadelphia, Pittsburgh and Indianapolis.” While this clause provided a degree of freedom for the Hoosier Partisans and their Ohio counterpart to step away from their CC&C overseer, the other clause was engineered to reign in these independently minded stepchildren: “The B&I and I&B shall be consolidated at the earliest practicable moment.”

As to the latter clause, it would be easier for the Cleveland Clique to do its bidding if the Hoosier Partisans’ influence was diluted in a newly constituted board. At the same time, combining the two lines could prevent the Partisans from cutting their own agreement with the CP&I to carry traffic back and forth to Columbus and toward Pittsburgh via Union – totally avoiding carriage over the B&I and CC&C. And there was also a second option to reach Pittsburgh, via the Ohio and Pennsylvania Railroad (O&P) – passing near the B&I’s eastern terminus at Galion OH. Still, at the time, the Clique’s consolidation mandate only served to draw the two smaller lines more closely together in their common struggle for independent decision-making. As unfolded for the Cleveland Clique, however, its consolidation directive would not be accomplished easily or quickly.

image of David Kilgore
David Kilgore, from the author’s personal collection.

Squirming under the Clique’s dictate, and recognizing its strategic position as the funnel for rail traffic to and from Indianapolis to either Cleveland (and New York) or Pittsburgh (and Philadelphia), the I&B board served up its own subtle message. Essentially touting its option to bypass Cleveland through separate links to Pittsburgh, Hoosier Partisan David Kilgore proposed a name change “from and after the first day of February 1855. . . . The said Corporation shall be known by the name and style of the ‘Indianapolis, Pittsburgh and Cleveland Railroad Company’ [IP&C].” It was overwhelmingly adopted.

The name change really symbolized much more. The locally controlled and focused I&B railroad era was gone. The newly rechristened road would now test its wings as a regional player—hoping, like a teenager seeking freedom from parental control, to stand apart from the clearly parental CC&C.

Map of the proposed Mississippi and Atlantic Railroad route from excerpt of Map of the Bellefontaine and Indiana Railroad 1852
Map of the proposed route of the Mississippi and Atlantic Railroad. Excerpt from “Map of the Bellefontaine and Indiana Railroad and connecting lines” (W. Milnor Roberts, Chief Engineer: 1852). Courtesy of the Library of Congress.

Separately, in 1854, John Brough was ramping up his Mississippi and Atlantic Railroad [M&A] – destined to link Terre Haute and St. Louis. After an arduous legal effort to validate its claim to an Illinois charter, the M&A had prevailed against Chicago and Mississippi River town political interests earlier in the year. However, it would soon be faced with another trumped-up legal challenge and a concerted public relations effort to undermine its viability and management capabilities. Such obstacles were having a detrimental effect on Wall Street investors.

In March 1854 a legal opinion by Abraham Lincoln’s Illinois law office asserted the illegality of the M&A’s corporate existence. Then, a New York newspaper article questioned Brough’s managerial track record at the Madison and Indianapolis Railroad. The investor community was beginning to shy away from the M&A.

Nonetheless, with short-term funding secured, Brough pressed on with the M&A’s building phase. He issued a marketing circular and let contracts for the whole line by May, announcing the line would be completed by the summer of 1856. Brough would spend an increasing amount of time on this effort as 1854 wound down.

By the beginning of 1855 it was becoming clear Brough had the M&A on his mind. At the very least, the M&A’s pivotal role in the Cleveland Clique’s Midwest control strategy virtually mandated Brough’s full-time attention. Rumblings of his imminent departure reached IP&C board members by early February. He resigned as IP&C president on February 15, noting “experience has demonstrated to me that in this event my entire time and attention will be required on that [M&A] line.”

image of Calvin Fletcher
Calvin Fletcher, courtesy of the Indiana Historical Society.

Former I&B director (1852-53) Calvin Fletcher, among Indianapolis’ most prominent civic and business leaders, was elected president in Brough’s stead. Reluctantly thrust into the role, Fletcher noted, upon hearing of his election: “I learned to my regret I was appointed President of the Bellefontaine R.R. Co.”

Fletcher’s reticence to assume the post was understandable, based on his close familiarity with the affairs of the I&B. “I fear their affairs are desperate . . . It needed my character & acquaintance to unravel the mischief of the finances. . . . The president Brouff [Brough] has no influence on the road. All employees eschew his authority & claim that the Superintendent is the man to look to & not the President. The road & its business is [sic] in great confusion.”

image of James F. D. Lanier, c1877
James F. D. Lanier, Sketch of the Life of J. F. D. Lanier, self-published, 1877.
image of Chauncey Rose
Chauncey Rose, courtesy of the Indiana Historical Society.

Even though Brough was dealing with M&A matters full time beginning in mid-February 1855, the concerted efforts of powerful Chicago and Mississippi River town political interests had swept away investor confidence. James F. D. Lanier, the M&A’s financier through the Wall Street firm that bore his name – Winslow, Lanier & Co. – decided to take desperate action.

On May 20th the M&A board, controlled by Lanier, demoted Brough to Vice President in favor of Chauncey Rose. Rose, founder of the Terre Haute and Richmond Railroad linking Indianapolis with Terre Haute, assumed the presidential mantle. In spite of his impeccable reputation as a railroad executive, Rose’s presence failed to sway the investor community.

John Brough would not live to see the Mississippi and Atlantic Railroad completed to St. Louis. And, more to the point, how would the Cleveland Clique view Brough as their pawn in its broader Midwest railroad control strategy?

Check back for Part VI to learn more about the Hoosier Partisans move for autonomy as the Cleveland Clique tightened its grip on the Bee Line Railroad.

Continue reading “The Cleveland Clique’s Elusive Grasp for Control of the Bee Line Railroad”

The Midwestern Making of Kenneth Rexroth: Robbing Cash Registers and Reading the Classics

At times described as cantankerous, paranoid, and bitter, Kenneth Rexroth, the trail-blazing Hoosier poet, cajoled and harangued some of the best poets of the Beat Generation. At the same time, he worked tirelessly to promote their work. Rexroth’s own radical poetry both preceded and inspired the Beats, though at times he refused to be associated with the movement that he thought had lost its meaning by the late 1950s, and especially that “hipster” Jack Kerouac.

Kenneth Rexroth, accessed via Poetry Foundation.

As important as Rexroth’s poetry is to American literature, his life story is perhaps even more fascinating. And while much has been written about his years in San Francisco laying the groundwork for a literary renaissance in that city that grew into the larger Beat movement, little has been written about his time in Indiana, Illinois, and Ohio – a period when the budding poet rubbed elbows with anarchists, burlesque dancers, criminals, and the artistic and literary elite of the Midwest and the world.

Kenneth Rexroth Home, South Bend, Indiana, 2016, accessed Google Maps

Kenneth Rexroth was born on December 22, 1905 in South Bend, Indiana. Young Rexroth’s first residence was a house at 828 Park Avenue in South Bend which still stands and will soon be the site of an Indiana State Historical Marker commemorating his life and career. In Kenneth Rexroth: An Autobiographical Novel, he described the house as “substantial and comfortable,” near to the Oliver Hotel and Mr. Eliel’s drug store. According to a 1905 article in the Elkhart Daily Review, Rexroth’s father was working as a traveling pharmaceutical salesman.

In 1908, the Rexroth family moved to a home on East Beardsley Avenue in Elkhart, Indiana, a relocation that made the local newspaper.

Elkhart Daily Review, June 29, 1908, 1, accessed NewspaperArchive.com
“Surface Car Terminal, Elkhart, Indiana,” photograph, ca. 1910, The Indiana Album.

Rexroth wrote a description of the Elkhart home as well:

This was a quiet residential street above the river where all the best homes in the town were in those days, where the patent-medicine people, the musical-instrument people, the buggy-works people, the corset people, and all the other leading citizens of the town lived in their wooden, sometimes Palladian or Romanesque mansions, and we had our own little Palladian house.

While Rexroth was born into a comfortable life, his family’s circumstances soon deteriorated. His parents, Charles Marion and Delia Rexroth, had difficulties with alcohol, chronic illness, and each other. Rexroth wrote that his mother was drinking champagne when she went into labor and bluntly called his father a “drunk” and a “constant gambler.” When he was five, circa 1910, they left the lovely house on East Beardsley due to his father’s diminishing finances. The family moved more often then, mostly renting, but Rexroth remembers living in a “run-down Victorian house” on Second Street that he believed they owned. Despite setbacks, he remembered his childhood in Elkhart fondly. His mother taught him to read early and immersed him in classical literature. He spent time at the library, learned French, explored the neighborhood, and fell in love with Helen, “the little girl next door,” when they were just six or seven. His parents were able to afford a family tour of Europe, which made quite an impression on young Rexroth.

However, his mother continued to succumb to a chronic illness that multiple doctors were unable to diagnose, and his father intensified his drinking and gambling. Sometime around 1914, when Rexroth was nine, the family moved briefly to Battle Creek, Michigan, and then to Chicago the following year, where they lived with relatives. Rexroth’s father’s alcoholism put him near death on at least one occasion and he left the family, likely for some sort of sanitarium. Rexroth moved with his mother into a small apartment and they rarely saw his father. After a painful period fighting what was likely tuberculosis, Delia Rexroth died in 1916. Eleven-year-old Rexroth went to live with his father and grandmother in Toledo, Ohio. Here, Rexroth began to seek and find trouble.

Photograph, 1916, accessed Linda Hamalian, A Life of Kenneth Rexroth (New York and London: W. W. Norton & Company, 1991), 120.

Rexroth had little supervision in Toledo. He began running around town with a gang of boys who would rob cash registers and, despite his young age, he ran various money-making hustles that involved running errands for “brothels, cardrooms, and burlesque shows.” He also witnessed the Willys-Overland labor strike that turned riotous. Rexroth wrote that this was a significant moment in his youth and he “started off in the labor movement.” In 1919, at this uncertain juncture in Rexroth’s early adolescence, his father also died.

Rexroth’s aunt, Minnie Monaham, retrieved the thirteen-year-old trouble maker and brought him back to Chicago to live with the rest of the Monahams. The 1920 U.S. Census shows that the nine person household was located on Indiana Avenue, but they soon moved to an apartment on South Michigan Avenue in the Englewood neighborhood on the South Side of Chicago. Rexroth enrolled in the nearby Englewood High School. School administrators quickly expelled him for his poor attitude and attendance. It was outside of the Chicago public school system, however, that Rexroth pursued a more profound education.

Carl Sandburg, “Chicago,” 1916, Chicago Historical Society, accessed via Encyclopedia of Chicago.

Perhaps in the same manner he was able to gain access to the burlesque theaters of Toledo, Rexroth found access to the clubs of the poets and writers gathered in this Midwest city during the second wave of the Chicago Literary Renaissance. Among these were important local poets such as Carl Sandburg and Harriet Monroe, writers and intellectuals such as Hoosier-born Theodore Dreiser, and political thinkers such as famous Hoosier socialist, Eugene Debs, as well as the “big names” of the international art and literature worlds. This intellectual elite met at formal and informal clubs and locations around the city.

Rexroth also explored the radical political movements of the period at venues such as the Washington Park Bug Club, also known as Bughouse Square, which met in a “a shallow grassy amphitheater beside a lagoon off in the middle of the park,” according to Rexroth. Bughouse Square was, for a time, “the most celebrated outdoor free-speech center in the nation and a popular Chicago tourist attraction,” according to the Chicago Historical Society. Here, people with a host of different ideas would get on their soapboxes (sometimes literally) and orate to the crowds that would gather. Rexroth wrote that “here, every night until midnight could be heard passionate exponents of every variety of human lunacy” such as:

“Anarchist-Single-Taxers, British-Israelites [or Anglo-Israelite], sell-anointed archbishops of the American Catholic Church, Druids, Anthroposophists, mad geologists who had proven the world was flat or that the surface of the earth was the inside of a hollow sphere, and people who were in communication with the inhabitants of Mars, Atlantis, and Tibet, severally and sometimes simultaneously. Besides, struggling for a hearing was the whole body of orthodox heterodoxy — Socialists, communists (still with a small “c”), IWWs [International Workers of the World], De Leonites, Anarchists, Single Taxers (separately, not in contradictory combination), Catholic Guild Socialists, Schopenhauerians, Nietzscheans — of whom there were quite a few — Stirnerites, and what later were to be called Fascists.”

“Dill Pickle Club Entrance,” photograph, n.d., Newberry Library, Dill Pickle, Box 2, Folder 32, Chicago Historical Society, accessed via Encyclopedia of Chicago.

Another inspiring haunt for Rexroth was the Dill Pickle Club, not far from Bughouse Square, where artists and writers along with socialists and anarchists gathered for social and artistic experimentation. Rexroth wrote that there were independent theater productions Wednesdays, Thursdays and Fridays. On Sunday night, there were lectures on various topics. On Saturday nights “the chairs were cleared away and the Chicago jazzmen of the early Twenties played for a dance which lasted all night.” Rexroth remembered the actors and sets as being awful but somehow they produced plays that were “the very best.” Lectures were given by “every important scholar who came through the town, and all those who were attached to the universities.”

Most significantly, however, Rexroth gained entrée to the salon at the home of Jake Loeb, where he encountered the leaders of the local literary movement, international visitors such as D. H. Lawrence, and access to books of artists and writers who would greatly influence him, such as Gertrude Stein. In his autobiography, Rexroth referred to Loeb’s home as “a more important Middle Western cultural institution in 1923 than the University of Chicago, the Art Institute, the Symphony, and the Chicago Tribune put together.” He wrote that he met “everybody who was anybody in the Chicago of the Twenties and everybody who was anybody who was passing through town.” He continued:

“Besides the famous transients, many of whom stayed in the place, the house was full every night of the cream of Chicago’s intellectuals in the brief postwar period of Chicago’s second renaissance. It seems rather pointless even to list them — any of them — because they were all there. . . It is not that I met famous people — it is that I learned by listening to impassioned discussion among mature people, all of whom were out in the world putting their ideas into effect.”

Rexroth was also starting to put his ideas into effect. Although he had shown little academic or literary promise thus far, Rexroth became “a prolific painter and poet by age seventeen,” according to the Poetry Foundation. By this point he was running from one cultural hot-spot to another, performing the poetry to which he was being exposed. He wrote in his autobiography that if he hustled he could make over fifty dollars in a weekend. He continued, “Thus began my career as a boy soapboxer, bringing poetry to the masses.”

“Self Portrait” by Kenneth Rexroth, published in Chicago Review 55.2/¾, accessed via Chicago Review tumblr.

He began working a number of odd jobs, and in his free time, experimenting with oil paints and piano. One such job was at the Green Mask on Grand Avenue and State Street. Rexroth referred to the Green Mask as a “tearoom,” but it was probably more accurately a cabaret, and it was located in the basement of a brothel. Rexroth wrote, “The place was a hangout for bona-fide artists, writers, musicians, and people from show business.” He continued, “In the Mask there gradually formed a small, permanent family of oddities who were there every night and never paid for their coffee.” Here Rexroth was able to see and perform poetry with some of the era’s best poets and musicians, both black and white, local and national. These included the “seclusive and asocial” poet Edgar Lee Masters, local African American poet Fenton Johnson, nationally-acclaimed black poet and playwright Langston Hughes, the local jazz drummer Dave Tough (who Rexroth called Dick Rough in his autobiography), and an assortment of dancers, singers, and drag queens. This group held weekly poetry readings and lectures and jazz performances. Rexroth and others began combining jazz and poetry, a technique he would become known for by the time he headed out west and one that would greatly influence the Beat Generation. He wrote that here, at the Green Mask, “happened the first reading of poetry to jazz that I know of.” About this early Chicago jazz scene, he wrote:

“I’m afraid that I can’t provide any inside information about the formative years of jazz, for the simple reason that none of us knew that this was what was happening. We didn’t know we were making history and we didn’t think we were important. . . Jazz was pretty hot and made a lot of noise. People talked loud to be heard above it, got thirsty and drank too much and made trouble, so we tried to keep the jazz small and cool . . . I remember many nights going over to the piano and saying, ‘For Christ’s sake, cool it or you’ll get us all busted!'”

Chicago Tribune, January 11, 1923, 1, accessed Chicago Tribune Archives.

As he predicted, the Green Mask did get busted. In 1923, the Chicago Tribune reported that thirty-five “Bohemians” were arrested in a raid at the Green Mask. The Tribune article stated: “The police entered the place after standing outside for some time listening to what they say was the reading of indecent poetry by George Lexington.” The owner was booked as “keeper of a disorderly house.” Rexroth was also arrested because he was considered part owner for investing some small amount of money into the place. He was sentenced to a year in jail.

Photograph, 1922, in G. A. Claussenius, The House of Correction of the City of Chicago : a retrospect covering a half century of endeavor from the founding of the institution to the present time, 1871-1921 (City of Chicago, 1922), 7, accessed via Internet Archive.

He described the conditions on his arrival to the Chicago House of Corrections, or the “Bandhouse” as it was called:

This was quite a place. It had been built back in the Seventies or Eighties, with long, narrow windows like the archers’ slots in medieval castles, and a warped and muddy stone floor where the water oozed up in winter between the paving blocks. This was the only running water in the place. Each cell was given a one-gallon pail of water once a day and provided with a battered old bucket for a privy. It was a cage-type cell house. The cells were all in the center about thirty feet away from the walls, so the only view was through the heavy iron grilles and door which looked out on brick walls and filthy windows through which it was impossible to see anything. The inner cells looked out on the tier opposite. The whole thing was built of iron, and any movement in it resounded as though it had happened inside a bell; any cough or groan or cry was magnified as if by an immense megaphone. In each cell there were four iron-slatted bunks that folded up against the wall. There were no mattresses, and each fish [inmate] was provided, along with his slops, with a filthy khaki Army blanket full of holes.

Rexroth spent the winter in these circumstances and explained that he “got a little closer to the underworld.” When he got out of the Bandhouse, he spent most of his time pursuing various young women, two of whom lived in the same building, and writing them poetry. He became more involved in local theater productions and continued pursuing radical social theories and chasing down works of avant-garde literature. He began reading more spiritual works and even spent a few months in a monastery. He also began a period of traveling and recording his observations of nature in his poetry – something else he would become known as a master of in later life.

Photo accessed Linda Hamalian, A Life of Kenneth Rexroth (New York and London: W. W. Norton & Company, 1991), 120.

In late December 1926, Rexroth met the artist Andrée Schafer through friends, just briefly outside their door. When his friends asked him what he thought about her, Rexroth replied, “I intend to marry her.” They began working on paintings together, both of them working on the same canvas, “like one person,” according to Rexroth. They married a few weeks later in January 1927 and left for a new life on the West Coast that spring. In San Francisco, instead of experiencing a cultural Renaissance, Rexroth would create one.

Check back next week for more about this Hoosier rebel in part two of this story: Kenneth Rexroth: Poet, Pacifist, Radical, and Reluctant Father of the Beat Generation

For more information:

Kenneth Rexroth, An Autobiographical Novel (Garden City, New York: Doubleday & Company, Inc., 1966).

Linda Hamalian, A Life of Kenneth Rexroth (New York and London: W. W. Norton & Company, 1991).