Susan Elston Wallace: Forgotten Writer and Early Environmentalist

Susan Wallace, courtesy of the General Lew Wallace Study & Museum.

Along with many of her fellow 19th-Century sisters of the pen, Susan Elston Wallace and her work are little known to us today.  These female authors practiced their craft seriously and sold well, yet were never regarded as important as male writers whose subjects were presumed to be nobler, of higher value.  When fine work by women disappeared and men’s work became classics, an unknown cost fell upon our culture and our vision of ourselves as a nation.

As a writer, Susan Wallace (1830-1907) possessed certain attributes that partially set her apart her from the “female writer” stereotype.   Initially, as a young woman she had more or less lived the stereotype by publishing poetry on domestic subjects. One of those poems was anthologized and widely circulated in a children’s textbook.

Later in life, she was exempted from ordinary critique as a “female writer” because she was the wife of General Lew Wallace, author of Ben-Hur, the best-selling book of the 19th century.  (Only the Bible sold more copies).  Lew was a prolific writer and a man of great personal accomplishment, who, among other distinctions, was a Civil War general, Governor of New Mexico Territory (1878-1881), and an ambassador to Turkey.  Susan, without a doubt, was Lew’s collaborator and co-researcher.  She was fully recognized by him as an intellectual and literary equal.  Given this unusual and little-known partnership, it is no wonder that deep knowledge of the world and of its peoples mark both of their works. Surely both partners strongly influenced the other’s work.  Whether they were living in Crawfordsville, Indiana, or in the New Mexico Territory, or in the Ottoman Empire, both husband and wife engaged in writing projects.

It is the New Mexico piece of Susan’s writing career that I will use to demonstrate Elston Wallace’s talent as a non-fiction writer, whose insights track a line of prescient environmental thinking.  Her writing style is not only alive with ideas, it exhibits a freshness and wit that makes it inviting to contemporary readers.

Courtesy of the General Lew Wallace Study & Museum.

Elston Wallace’s book about her New Mexico sojourn is called The Land of the Pueblos.  It is comprised of twenty-seven essays, first published as “travel pieces” in prestigious national magazines and newspapers like the Atlantic Monthly, the Independent, and the New York Tribune.  Being published in such influential East Coast periodicals speaks of the high regard in which her writing was held at the time. In these essays, Susan did not write a word about the many social duties—the teas, the formal receptions, entertaining visiting dignitaries—she would have performed as the wife of the Governor of New Mexico Territory.  Nor does she write about her husband in his official capacity.  Rather, she applied her excellent educational background and her intellectual curiosity to learning and writing about New Mexican natural history and human history.

Elston Wallace also holds the rare honor of having saved much of New Mexico’s written colonial history, which had been forgotten in an outbuilding adjacent to the Governor’s Palace in Santa Fe.  There, Elston Wallace came upon and then personally helped salvage much of the Territory’s surviving early recorded history, a topic about which she wrote vividly.  These documents tutored her.  They spurred her curiosity and inspired many of her essays.

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It was New Mexico, though, that made Elston Wallace aware of environmental issues.  She was an astute observer of the natural world, learning names and habits of the plants and animals; she studied landforms and how rivers ran.  Her ability to write about these things gives her work its most notable signature.  Increasingly more knowledgeable about her surroundings and thereby more fully conscious of how human life in New Mexico had been shaped, Elston Wallace soon apprehended how the Spaniards, in particular, had affected the land and its original inhabitants. In her first essay, Elston Wallace makes clear that the “greed of gold and conquest” had despoiled New Mexico.

Image from The Land of the Pueblos (1889), courtesy of Archive.org.

She also proves herself as an able thinker regarding how land and people’s fates are intertwined, such as this example:

Four hundred years ago the Pueblo Indians were freeholders of the vast unmapped domain lying between the Rio Pecos and the Gila, and their separate communities, dense and self-supporting, were dotted over the fertile valleys of Utah and Colorado, and stretch as far south as Chihuahua, Mexico.  Bounded by rigid conservatism as a wall, in all these ages they have undergone slight change by contact with the white race and are yet a peculiar people, distinct from the other aboriginal tribes of this continent as the Jew are from the other races in Christendom.  The story of these least known citizens of the United States takes us back to the days of . . . the . . . great Elizabeth.

Note how in this passage Elston Wallace identifies the “vast unmapped domain” of the Pueblos and identifies their communities as “separate,” “dense,” and “self-supporting.”  She identifies the land as fertile and the Pueblos as having a distinct culture, comparing them favorably to Jews among Christians.  She calls the Pueblos “citizens.”

Image from The Land of the Pueblos (1889), courtesy of Archive.org.

Elston Wallace’s use of the term “conservative” in this passage may be accurately rendered as “stable.”  So, the nature of the Pueblo peoples, she says, have “undergone [only] slight change by contact with the white race.”  By using this terminology, she points toward stabilizing forces that were afoot in 19th-Century America, when colonies promoting shared, stable agrarian living were being intentionally created.  The Shakers, New Harmony, and the Amanas were and are communities so notable that their names and accomplishments come down to us today.  In the previous passage, Elston Wallace describes the Pueblo communities, their governance, and their farming practices with phrases admired by her own culture and era.  New Mexico’s native peoples were freeholders; they were self-supporting; they formed communities; they were citizens.  Few other historians of the period write about the Pueblos at all, let alone view them as central to the history of the land they inhabit, and as admirable people.

It can be argued, of course, that Elston Wallace’s progressive fellow citizens of the period had a habit of idealizing Native Peoples and had a strong aversion (call it prejudice) against Catholic Spain.  That being said, Elston Wallace’s analysis and her rich empathy supported by historical knowledge and argumentation make her work stand apart.  Her brave voice stands in strong contrast to typical histories of her day and those written through the middle of the 20th century. A pertinent example is Paul Horgan’s The Centuries of Santa Fe (1956), which presents the conquest version of New Mexico’s history as thoroughly Eurocentric.  In this version, the Mexicans succeeded the Spanish and the Americans succeeded the Mexicans until the New Mexican piece of America’s Manifest Destiny fell into place in 1846.

Given this widely accepted version of conquest history that Horgan and other historians espouse, it is no wonder that he not only displaces the Pueblos, he displaces Elston Wallace as a New Mexican historian who understands and chronicles their worth and richness.  Ironically, Horgan  credits Governor Lew Wallace, not his wife, as saving “what he could of the collection of [New Mexican historical] documents already scattered, lost, or sold.”

Horgan’s “authoritative” reporting, so common among mainline historians of the 20th century, renders the Pueblo peoples, their land, and the intelligent woman who told their stories in the l880s invisible.  No matter how accurate and astute Elston Wallace’s argument was, it had no efficacy since it was not “remembered” in mainstream histories of New Mexico and the West.  Such an argument, had it been heard and then acted upon, might have reshaped our history.

John Gast/George A. Crofutt, “American Progress,” circa 1873, courtesy of the Library of Congress.

In an era of unstoppable exploration and exploitation of the West and its mineral resources, Susan Elston Wallace saw, understood, and wrote about a broader, deeper story, one which speaks of how we as people can best live on the land. She vividly chronicles what happens when natural patterns are disrupted.  In our century, we would regard Elston Wallace’s vision as a strongly environmental one, central to our 21st-Century understanding of essential sustainability.

So, while Elston Wallace certainly did entertain the intellectual readers of the East Coast and Midwest with tales of Montezuma and adventures of travel in the Wild West, in The Land of The Pueblos, she also boldly introduced her readers to what happens when “a native self-sustaining people, independent of the Government, the only aborigines among us not a curse to the soil” are abused along with their land through the claims of colonialism.

During the late 19th century, it was widely assumed that men make history. Elston Wallace challenges that point of view and deserves a place in our history as an excellent non-fiction essayist.  She also deserves a place as a dissenter to colonial history’s single, obliterating story of man as controller of nature.  Susan Wallace was an early environmentalist:  she gave voice to New Mexico’s landscape and to its original peoples.  Researchers have exciting work to undertake in the Susan Elston Wallace archives.

Ben-Hur Races to the Top in Indy

hur poster
2016 movie poster, courtesy of Imdb.com.

The release of the new Ben-Hur movie this summer reminded us of the story’s Hoosier origins.  This latest production from Mark Burnett and Roma Downey is the fifth time that film producers have interpreted Crawfordsville native Lew Wallace’s best-selling novel for the screen. Many are familiar with the 11 Academy Award winning adaptation starring Charlton Heston in 1959 and most film buffs know that there were two earlier versions in 1907 and 1925.  The 1907 film prompted a landmark U.S. Supreme Court decision that protected copyrighted works from unauthorized motion picture adaptation.  The 1925 film arguably has a better chariot race than the 1959 movie. There was also a forgettable and regrettable Canadian mini-series reboot of Ben-Hur in 2010.

In a world of constant movie reboots, one ponders: if Lew Wallace were alive today and re-wrote Ben-Hur in a contemporary setting, would he have Ben-Hur racing in the Indianapolis 500?

What if we told you that Ben-Hur did, in fact, race at Indianapolis?  Of course, the race did not take place at the Indianapolis Motor Speedway; instead it took place in 1902 at English’s Theater during the BenHur stage play’s first visit to Indianapolis.

The stage race as explained and illustrated in pages of Scientific American. Image from General Lew Wallace Study and Museum website.

On November 13, 1902, the Indianapolis News reported “J.J. Brady is here in advance of ‘Ben-Hur,’” and “brings with him a corps of stage carpenters and mechanics, who have practically to reconstruct the stage . . . so that the play may be given properly.”  Although English’s stage was new, crews needed to rebuild it in order to accommodate the chariot race. Producing that scene called for eight live horses running at full gallop on treadmills, cycloramic scenery and, other apparatus.  All this equipment and animals imposed an estimated weight of over 50 tons on the stage, which required pouring a special cement foundation. The public was anxious to see the spectacle, even if it meant staking out a place in line many hours in advance.  The Indianapolis News reporter observed:

“A few individuals sat and shivered all night in the lobby of English’s waiting in patience and with an unwonted supply of cash in their pockets for the box office to open.  They were men who had been hired to buy seats for some of the performances of ‘Ben-Hur.’”

Ticket prices ranged from fifty cents to two dollars. Even at that rate, a day after the tickets went on sale, the English Theater reported “over $10,000 was taken in at the box office window” and representatives for the producers of the play (Marc Klaw and Abraham Erlanger) announced that the sales “beat all records for the play in advance sales.”  The Supreme Tribe of Ben-Hur, a national benevolent society headquartered in Wallace’s hometown of Crawfordsville, nearly bought out one performance by itself.  The Tribe planned to run an excursion via train for its members from Crawfordsville to see the play.

Basill Gill as Messala (Left) and William Farnum as Ben-Hur (Right) in the 1902 Indianapolis production. Courtesy of Hoosier State Chronicles.
Ben-Hur and Messala face off in a promotional picture for the production. Courtesy of Hoosier State Chronicles.

However, a few members of the Hoosier public were dubious about purchasing tickets.  In particular, one woman was of the opinion that the play was to take two weeks to complete.  When the box office manager informed her that the entire play was presented every night, she remained quite suspicious that anyone “could put all that book into a one-night drama.”

Production managers sought to cast extras from Indianapolis’s denizens, advertising a salary of $4.25/week. That was enough to encourage a crowd of men, women, and children to stand outside in a late Indiana autumn for an hour and a half waiting for their opportunity at show business.  An assistant stage director eventually made an appearance and sorted through the crowd.  One “gray beard” was turned away because the assistant director believed him not to be “nimble afoot.”  The rejected man futilely protested to the assistant director and argued “he could get around faster than two-thirds of the younger fellows that had been accepted.”

With the extras cast, the production opened on Monday, November 25, 1902.  After witnessing opening night, an Indianapolis reporter wrote, “There [will] be critics who see nothing good in the American stage or in the works of American dramatist: if the American stage had done absolutely nothing worthy in its long career but this, had its fame to rest solely on this production of ‘Ben-Hur’ it has justified its existence.”

Mabel Bert in costume for theatrical production of Ben-Hur. Courtesy of the Digital Public Library of America.
Mabel Bert in costume as the mother of Ben-Hur. Courtesy of the New York Public Library.

The cast, as it appeared in Indianapolis, included William Farnum as Ben-Hur and Basil Gill as Messala.  Farnum’s performance was described as realizing the part to the fullest degree.  Among the other actors and actresses in the production, Mabel Bert’s portrayal as the mother of Hur is worth noting because she was the only cast member with a major role to be with the company continuously since the production opened on November 29, 1899 in New York City.  Mrs. Bert told a reporter,

“I have always been the mother of Ben-Hur – various Ben-Hurs, however, for Mr. Farnum is the third I have mothered on the stage…It does make me a trifle lonely sometimes to lose my stage children and stage friends that way.  But then, too, it affords a certain amount of variety that is interesting and keeps my work from becoming at all monotonous.”

Ellen Mortimer as Esther (Left) and William Farnum as Ben-Hur (Right) in the 1902 production. Courtesy of Hoosier State Chronicles.
Esther and Ben-Hur in a promotional photo for the production. Courtesy of Hoosier State Chronicles.

The public certainly found nothing monotonous about the play.  In fact, the production was originally slated to run for two weeks in Indianapolis, but four days after opening night the Indianapolis News reported that the high demand for tickets had prompted producers to extend the play for another week.  Box office receipts for the first two weeks alone were estimated in excess of $35,000.  That figure broke all box office records for Indianapolis and was the highest figure for all productions of Ben-Hur to that date.

The cover of the Souvenir Album of the 1902 Indianapolis production of Ben-Hur. Courtesy of Indiana Historical Society.
The cover of the Souvenir Album of the 1902 Indianapolis production of Ben-Hur. Courtesy of Indiana Historical Society.

The Indianapolis News attempted to describe the sales phenomenon in Indianapolis:

“‘Ben-Hur’ occupies a unique position on the native stage, since it appeals alike to habitual theater patrons and those who seldom find enjoyment in offerings of the stage.  While the elaborate scenic equipment and realistic chariot race command the admiration of the spectators, the rare beauty and force of ‘Ben-Hur’ as a drama give a lasting distinction to this most uplifting, inspiring and soul-stirring play.”

This description of the popularity of Ben-Hur, while no doubt true, neglects that a major reason for the large turnouts was because the author of Ben-Hur was a native Hoosier son.  Some Indiana cities, such as Covington, Franklin, and Noblesville, brought large numbers of their population and sold out individual performances.  In fact, Covington could not secure as many tickets as they had citizens who wanted to attend; the Indianapolis Sentinel reported that a small riot broke out as a result.

While various Indiana cities were hoping to witness the performance, Crawfordsville was no exception, as it was Ben-Hur’s birthplace.  A contingent of Athenians and Montgomery county residents had the theater to themselves for a performance on December 2.  Among those in attendance at that performance was James Buchanan Elmore, aka the Bard of Alamo.  After witnessing the arrest of the Hur family, Buchanan leaned over to a newspaper reporter and said, “Seems to me if I was bossing that show I would make the actors speak softer and not so rough, it don’t seem like Scripture voices.”

An example of the final scene from the theatrical version of Ben-Hur, which opened at the Grand Opera House, Seattle, on Oct. 9, 1905. Courtesy of the University of Washington.
An example of the final scene from the theatrical version of Ben-Hur, which opened at the Grand Opera House, Seattle, on Oct. 9, 1905. Courtesy of the University of Washington.

Although the December 2 performance hosted one Montgomery County literary celebrity, another one was conspicuously absent, that being General Lew Wallace, the author of Ben-Hur.  Wallace was recovering from an illness during the Crawfordsville excursion.  However, he was sufficiently recovered to attend a matinee with his son, daughter-in-law, and his two grandsons on December 12.  Wallace watched most of the play from a private box and tried to remain as inconspicuous as possible, lest he be called upon to deliver a speech.  Wallace and his party were invited behind the stage so that they could witness how some of the scenes were produced, especially the chariot race.  Wallace took special interest in watching the race and all of the mechanization that was involved.  While backstage, Wallace met the starring members of the cast and reportedly chatted for several minutes with the actor incarnating his literary creation.  Before returning to his box Wallace remarked to a stage manager that the production had reached a state of perfection. Ben-Hur ended its stay in Indianapolis the day after Wallace’s visit, before moving to Milwaukee for a two-week engagement.

Eleven years later, when Ben-Hur was making another visit to Indianapolis, Hector Fuller aptly noted in the Indianapolis Sunday Star,

“If Indiana had contributed nothing else, save this one play to the American stage it might be counted that the Hoosier state had done its part.  For ‘Ben-Hur’ is the dramatic marvel of the age.  It has held the stage now for fourteen years, and in that time over 10,000,000 people have seen it.”

Learn more about Lew Wallace, his father David Wallace, his stepmother Zerelda Wallace, and his mother Esther Test Wallace with other IHB historical resources.

exhibit 1

Stop by our exhibit in the Indiana State Library to see memorabilia from productions of Ben-Hur.

Robert Ingersoll and Lew Wallace’s Legendary Train Ride

Robert Ingersoll (Left) and Lew Wallace (Right). Courtesy of the Library of Congress and Literary History Blog.
Robert Ingersoll (Left) and Lew Wallace (Right). Courtesy of the Library of Congress and American Literary Blog.

Robert Green Ingersoll (1833-1899) remains one of the most influential leaders and intellectuals in “The Golden Age of Freethought” in the United States from the 1870s to the 1910s. Its adherents advocated for skepticism, science, and the separation of church and state. Ingersoll, a Civil War veteran, parlayed his success as a lawyer into an influential career in Republican politics, social activism, and oratory. Ingersoll served as a counterpoint to rising participation and influence in government of religion in the United States, delivering speeches to sell-out crowds that decried religiosity and its public entanglements. Ingersoll was also an early champion of women’s rights, influencing such early feminists as Elizabeth Cady Stanton and later ones such as Margaret Sanger.

Robert Ingersoll addressing an audience in New Rochelle, New York, May 30, 1894. Courtesy of the Council for Secular Humanism.
Robert Ingersoll addressing an audience in New Rochelle, New York, May 30, 1894. Courtesy of the Council for Secular Humanism.

He also spent considerable time and energy in Indiana, a state whose own religious diversity towards the late nineteenth century expanded, including German Lutherans to Catholics and other protestant denominations. From giving lectures throughout the state to influencing some of Indiana’s well-known historic figures, Ingersoll left a profound impact on the state and its development during the Gilded Age. As an example, Ingersoll delivered lectures at the illustrious English’s Opera House several times. The Indianapolis News wrote in 1899 that his lecture on “Superstition” was well attended and that “several people were shocked by the lecturer’s utterances, and left, some of them stopping in the lobby to ‘talk it over.’ The remainder seemed to enjoy the walk.”

General Lew Wallace, circa 1860s. Courtesy of the Library of Congress.
General Lew Wallace, circa 1860s. Courtesy of the Library of Congress.

To get a further sense of this influence, one particular story bears recalling, which involved a train ride with an old Civil War colleague. Lew Wallace, Indiana native, Civil War general, and the author of the novel Ben-Hur, cited Ingersoll as his influence in writing the Christian epic. As Wallace biographers Robert and Katharine Morsberger noted, Wallace “had written the story [Ben-Hur] partly to refute Robert G. Ingersoll’s agnosticism. . . .” The story surrounding this influence is near apocryphal to scholars of both Ingersoll and Wallace. However, Wallace intimated the story’s veracity in the preface to a selection from Ben-Hur entitled The First Christmas.

An example of a passenger rail car, circa 1870s. Image courtesy of Trainweb.org.
An example of a passenger rail car, circa 1870s. Image courtesy of Trainweb.org.

On September 19, 1876, both Wallace and Ingersoll supposedly shared a train ride to Indianapolis to attend a Civil War soldiers’ reunion (although one of Wallace’s accounts says it was a Republican convention); both men served the Union Army during the Civil War and fought at the battle of Shiloh. Wallace recounted the highlights of their conversation in his preface to The First Christmas:

[I] took a sleeper [car] from Crawfordsville the evening before the meeting. Moving slowly down the aisle of the car, talking with some friends, I passed the state-room. There was a knock on the door from the inside, and some one [sic] called my name. Upon answer, the door opened, and I saw Colonel Robert G. Ingersoll looking comfortable as might be considering the sultry weather.

General Wallace in his study, 1899. Courtesy of the General Lew Wallace Study and Museum.
General Wallace in his study, 1899. Courtesy of the General Lew Wallace Study and Museum.

Ingersoll invited Wallace to join him in conversation. Wallace accepted on the condition that he could dictate the subject. From there, Wallace asked Ingersoll if he believed in the afterlife, the divinity of Christ, and the existence of God, with the “Great Agnostic” answering in the resounding, “I don’t know, do you?” Then, Wallace asked Ingersoll to present his best case against the doctrines of Christianity, which Ingersoll did with such “a melody of argument, eloquence, wit, satire, audacity, irreverence, poetry, brilliant antitheses, and pungent excoriation [concerning] believers in God. . . .” Ingersoll’s views of both theological and biblical skepticism shook Wallace to the core, with the latter remarking that, “I was in a confusion of mind unlike dazement.”

The title page to the first edition of Ben-Hur, 1880. Courtesy of the Internet Archive.
The title page to the first edition of Ben-Hur, 1880. Courtesy of the Internet Archive.

Lew Wallace’s own theological confusion, what he called “absolute indifference,” seemed spurred into action by Ingersoll’s words: “. . . as I walked into the cool darkness, I was aroused for the first time in my life to the importance of religion.” Thus, Wallace began his own investigation into the doctrines and traditions of Christianity, culminating in the authorship of Ben-Hur and a “conviction amounting to absolute belief in God and the divinity of Christ.” This story found its way into newspapers as well, with reporters recounting the meeting in the Terre Haute Sunday Evening Mail and the Indianapolis News. According to Wallace’s accounts and its echoes in newspapers, his evening with Ingersoll led to a full conversion to Christianity and the writing of one of the most successful religious novels of the period.

Wallace’s conversation with Ingersoll spurring him on to a religious awakening is indeed a compelling story.  However, a recently uncovered letter from Ingersoll gives cause to question the tale’s veracity. In 1887, seven years after Ben-Hur‘s publication, Ingersoll responded to a correspondent, Joseph Vardamann, asking about his role in inspiring Wallace’s novel.  Ingersoll wrote that he was “never well acquainted with” Wallace and did “not remember ever to have had a conversation with him on the subject of religion.” Ingersoll stressed that the story of their meeting on the train appeared to him as “without the slightest foundation.”

Ingersoll's letter to Joseph Vardaman, as reproduced in an 1922 issue of the Truth Seeker. Courtesy of Southern Illinois University at Carbondale.
Ingersoll’s letter to Joseph Vardaman, as reproduced in a 1922 issue of the Truth Seeker. Courtesy of Southern Illinois University at Carbondale.

For Wallace’s part in creating Ben-Hur, we know from documentary evidence that he was already well-advanced in writing the novel before the time he claimed the interaction with Ingersoll took place.  In 1874, Wallace wrote in a letter to his half-sister, “I have just come out of the court room, and business is over for the day. Now, for home, and a Jewish boy whom I have got into terrible trouble, and must get out of it as best I can.”  This letter clearly alludes to some of Judah Ben-Hur’s trials, whether being charged with the assassination of Valerius Gratus, being enslaved in a Roman galley, or surviving the sea battle.

While Wallace’s recollections with the “Great Agnostic” may have been a fiction, the story’s enduring popularity among Wallace scholars nevertheless speaks to Ingersoll’s intellectual and rhetorical power. The story of their supposed train ride in 1876 continues to interest scholars and the general public, but whether the event actually happened may be lost to history.

The Lew Wallace statue at the General Lew Wallace Study and Museum in Crawfordsville, Indiana. Courtesy of Wiki Commons.
The Lew Wallace statue at the General Lew Wallace Study and Museum in Crawfordsville, Indiana. Courtesy of Wiki Commons.
The Robert Ingersoll statue in Glen Oak Park in Peoria, Illinois. Courtesy of Wiki Commons.
The Robert Ingersoll statue in Glen Oak Park in Peoria, Illinois. Courtesy of Wiki Commons.