On April 19, 2018, over a chain link fence Hammond resident and former EPA attorney David Dabertin voiced his concerns about the former site of Federated Metals to Governor Eric Holcomb. East Chicago environmental activist Thomas Frank told Mother Jones weeks after the visit “’We’d known for quite some time that there was some contamination there,’” but the Indiana Department of Environmental Management allowed plants at the site to keep polluting. For decades, industry was the region’s bread and butter and often the corporation’s and community’s financial well-being was prioritized over health or environmental concerns. Frank noted that older generations viewed the plants with “a sense of pride as it provided jobs and stability” and do not “‘want to look at what they’re so proud of and see that it’s harming them.'”
The EPA’s 2018 investigation of Hammond’s soil lead levels, a response to the “national criticism of its slow reaction to polluted water in Flint, Mich., and lead-contaminated housing in East Chicago,” (Chicago Tribune) inspired us to take a look at Federated Metal’s origins. In 1937, the Chicago-based company announced it would establish a plant in the Whiting-Hammond area. By 1939, hundreds of workers produced non-ferrous metals used in automobile, housing, and oil drilling industries. Almost immediately after production began, the community voiced complaints about the effects on their health.
In the spring, a citizens committee decried the fumes and smoke being expelled by the new smelting and refining plant—so noxious that students at St. Adalbert Catholic parochial school had to miss class due to illness—and pressed city officials to intervene. That year, resident Frank Rydzewski wrote to the Munster Times that Federated Metals foisted upon the Hammond community a “generous sample of sickening odors which emit from its midget—partially concealed smoke stacks and which have already showed its ill-effects on pupils of a school situated not a block distant.”
Rydzewski’s next sentiment encompassed the conflicting priorities related to Federated Metals from the 1930s until its closing in 1983: “Certainly, the value of health impairment to residents in the vicinity far surpasses any questionable tax-able asset this company can create.” Although he bemoaned the fumes plaguing the city’s residents, he also noted that the plant could “boast of its colored personnel; its predominating out-of-state and outside employe[e]s; its labor policies.” Since the 1930s, Federated Metals has served as both the bane and pride of Hammond and Whiting residents. The plant experienced labor strikes, symbolized livelihood and industrial progress, helped the Allies win World War II, and was the site of accidental loss of life.
In April, the Munster Times reported that hundreds of residents in the area “revolted” against the plant’s operations at the city council meeting. They charged that “harmful gas discharges from the plant damaged roofs of residences, caused coughing and sneezing that punctuated school studies and prayers in the Whiting church and school and made it virtually impossible to open doors or windows of homes in the neighborhood.”
The paper noted that Mrs. Feliz Niziolkeiwicz wept as she addressed plant manager Max Robbins. She told him “You can live in my home for free rent if you think you can stand the smoke nuisance. The home I built for $10,000 is almost wasted because of the acid from the plant.” Her concerns were shared by Hammond Mayor Frank R. Martin, the city council, the city board of public works and safety, and the health department, whose secretary ordered Federated Metals one month prior to “abate the nuisance” within sixty days. In October, the company was tried in a Hammond city court hearing and found not guilty of criminal liability for the fumes, despite city health inspector Robert Prior testifying that Federated Metals “continued to operate and discharge gasses on the Whiting-Robertsdale community after repeated warnings to abate the alleged nuisance.”
By November, Federated Metals had constructed a $50,000 smoke stack much taller than the previous, offending one, so as to diffuse smoke farther above the Robertsdale neighborhood. In March 1940, Prior stated that citizen protests had ceased with the improvement. Following this remediation, the Munster Times published a smattering of articles throughout the 1940s about health complaints related to plant output. In October 1941, the Times published a short, but eyebrow-raising article regarding allegations that Federated Metals tried to pay Whiting residents in the area as a settlement for property damaged by fumes. Councilman Stanley Shebish shouted “When the people of this community suffer bad health and many can’t go to sleep at night because of this smoke and particles of waste, it is time to stop an underhanded thing like this!” Health officials maintained that the sulphur dioxide fumes were “not a menace to health,” but may be “detrimental to flowers and shrubs.” Whiting’s St. Adalbert’s Church filed a similar complaint about the health of students, teachers, and parishioners in 1944.
While citizens lamented pollutants, the plant churned out “vital war materials” for World War II operations. (The Air Force also awarded the company contracts in the 1950s.) In accordance with the national post-war trend, 1946 ushered in labor strikes at the Hammond-Whiting plant. The Times reported that in January CIO United Steelworkers of America closed down the “Calumet Region’s steel and metal plants,” like Inland Steel Co., Pullman-Stan. Car & Mfg. Co., and Federated Metals. On February 17, Federated Metals agreed to increase the wages of its 350 employees to $32 per month. Labor strikes, such as that which “deprived workers of a living and dampened Calumet Region business,” took place at Federated Metals until at least 1978. This last strike lasted nearly five months and required the service of a federal mediator.
On January 5, 1949, one of the grimmest events in the plant’s history took place at the receiving department. While unloading a shipment from National Lead Co., Federated workers were suddenly overcome by arsenic seeping from rain-sodden drums. The gas, which can also cause paralysis, memory loss, and kidney damage, took the lives of four men and hospitalized eleven. The Times noted that “only the caprice of weather saved scores of Hammond and Whiting residents” from dying while the open freight cars transported the drums from Granite City, Illinois to the Federated Metals plant. The cities’ residents narrowly avoided catastrophe, since rain causes metal dross to generate deadly arsine gas.
Dr. Richard H. Callahan, East Chicago deputy coroner, probed the deaths and placed the blame primarily on the state board of health. He lamented “‘It is inconceivable that the chemists in the state board did not know that dross used by Federated Metals would poison workmen with arsine. Federated Metals was in the possession of a dangerous toy.” He noted that safeguards against arsenic poisoning had existed for thirty years, ranging from gas masks to the use of caged birds, who fell ill at lower concentrations of gas than humans. The Times noted that Dr. Callahan’s investigation was expected to “foster national and international safeguards against arsine poisoning.”
A.J. Kott wrote in the paper that Federated workers’ lives could have been saved had British Anti-Lewisite (BAL) been on hand, “a miracle drug, discovered during World War I in University of Chicago laboratories.” Instead, the drug had to be rushed to St. Catherine Hospital to treat affected workers. While Dr. Callahan identified the state board as the responsible party, questions regarding Federated’s culpability lingered, such as if they violated the state act requiring employees wear gas masks and if they should have had BAL on hand. Following the accident, the company promised to strengthen safety procedures, like employing gas detecting devices when material arrived.
Nearly twenty years later, Federated Metals found itself in the cross-hairs of the environmental movement, which had produced the first Earth Day and the Environmental Protection Agency. Learn about the U.S. Justice Department’s suit against Federated and the politics of pollution in Part II.
With a staff of over 155 and over 170 volunteers, today’s Fort Wayne Visiting Nurse is a far cry from its humble beginnings. In 1888, a group of Fort Wayne women organized the Ladies Relief Union with a mission to “help the sick poor of Ft Wayne.” Calling themselves the Visiting Nurse Committee, they soon discovered a link between poverty and disease. Dr. Jessie Calvin, a Fort Wayne sanitation and indoor plumbing pioneer, encouraged women’s church groups to raise money for a qualified nurse that could meet community needs.
Prior to the 1860s, nursing was “typically considered a domestic responsibility provided in the home by family members.” Nursing as a profession evolved after the Civil War, when women gained experience caring for wounded soldiers. Historian Clifton J. Philips noted that in the post-war period, women’s religious orders were “especially active in establishing hospitals in an attempt to extend to the general public, and the poor in particular, some of the services formerly rendered to sick and wounded soldiers.” As hospitals materialized, so too did nursing groups and training programs. By 1897, The Fort Wayne Journal-Gazette noted that “modern nurses” wished to “be given her proper position as a skilled assistant in serious illness.”
The paper added that:
The daily or visiting nurse is a recent development of modern nursing and meets the needs of many people who find it inconvenient to have a nurse stopping in the house and requiring more or less attention from servants perhaps already overtaxed. The visiting nurse comes in for an hour or so every day to perform those services for which her skill is needed.
On March 1, 1900, an organizational meeting was held in Fort Wayne and the Visiting Nurse League became a reality. At a salary of $10.00 a week, Josephine Shatzer was hired as the League’s first nurse. During harsh weather she took a trolley, but normally she could be seen making her rounds on her bicycle. Regardless of transportation, it was clear that she wasted no time. On her first day she saw six patients. Next she established a baby milk station at First Presbyterian Church, instructing new moms how to prepare formula.
She also volunteered at free immunization clinics, bathed patients, delivered meals, changed bedding, dressed wounds, cared for the elderly and ill in their homes and endeared herself to all she served. At the end of her first year she had made hundreds of calls, utilizing supplies donated by local churches, relief societies, and drug stores. For those patients who could pay, the charge of a one-hour visit was fifteen cents.
The Fort Wayne Daily News praised the program in 1900, noting that the league “found favor with all classes of people” and that visits to the “sick poor” conveyed not only “help and benefit, but hope and good cheer to every member of the family.” In 1913, the Public Health Nursing Association appointed a visiting nurse to serve African American patients at the Flanner Guild. Dr. Calvin continued to guide the League, through the years of World War I and the 1918 flu epidemic, which took the lives of 3,266 Hoosiers.
By 1919, a nurse named Dixon had reached a salary of $100.00 a month. League expenditures in 1920 stood at $1,300 annually and in 1922 the Community Chest offered its support. Insurance companies began to hire nurses from local visiting nurse groups to assess policyholders who were ill, and paid the League seventy-five cents a visit. By 1923, the League reorganized and served in an advisory, instructional health teaching capacity. The Great Depression wrought poor health conditions: eight nurses made over 29,000 visits to 4,477 patients. One made 3,255 orthopedic visits to 104 crippled children, many of whom were victims of polio. Sisters of Saint Joseph Hospital provided free hospitalization in the pediatric ward for those who could not pay. In the 1940s, World War II increased demands for nursing schools to produce eligible Nurse Corps candidates.
In 1954, the agency changed its name to Visiting Nurse Service, Inc. By 1956, it undertook a program that cared for stroke victims in their homes, which served to collect data on medication, exercise, loss of function and the need for expanded therapy service. By 1962, the agency’s director Eva Rosser introduced a State Board of Health-funded program that focused on treating the chronically ill in their homes, instead of a hospital or nursing home. Later the group provided care as home health aides and the agency became certified for Medicare on July 1966.
With certification came additional paper work. According to History of Visiting Nurse, by 1983, “a record number of visits for a single month occurred (2,200), due to earlier hospital releases and greater technology used in the home.” During this period, the glucometer was used for the first time, registered nurses were trained to perform phlebotomy services, and around-the-clock care was made available for all patients. In 1984, Medicare Hospice Benefit became available and Visiting Nurse Service merged with Hospice of Fort Wayne, Parkview, and Lutheran Hospices. The agency introduced computerized billing and, by the end of the decade, services for the frail and disabled. By 1990, Hospice service visits totaled 38,177, a forty percent increase over previous months.
History of Visiting Nurse noted that in 1990 the agency moved to the “Moellering Unit of the nearly vacant former Lutheran Hospital.” In 1995, the 1984 merger dissolved and Visiting Nurse Service and Hospice became a free standing agency. By February 2001, a new Hospice Home facility opened and in 2006 a building expansion added patient rooms. In 2011, nurse practitioners joined the staff and the “Watchful Passage” program began, in which trained volunteers remained at patient’s bedside during the last few days of life. In 2018, Visiting Nurse staff and volunteers can proudly stand tall celebrating 130 years of community service.
Out of courtesy to their descendants, the names of the Richmond couple have been changed.
Twenty-two years before Loving v. Virginia, Anna Harley, a white woman, and Daniel Winters, an African American man, sacrificed family, friends, and even country, to live together as husband and wife. In 1986, the Winters allowed me to interview them at their Mexico City home. It took me nearly 30 years to write Before It Was Legal: a black-white marriage (1945-1987). As the trust between us developed and they shared a part of their life they’d intended not to speak of, theirs became a more difficult narrative to put to paper. Looking back on their forty-two-year marriage—a tape recorder between them on their green sofa—they reflected on their relationship with startling honesty.*
On February 2, 1945, the Richmond, Indiana couple drove to Chicago, where they could legally marry. In Indiana “marriage between a white person and a person with one-eighth or more Negro blood” was a felony, punishable by a heavy fine, imprisonment, and the voiding of the marriage. Not until two years later, when Daniel’s mother, in Richmond, became ill, did the couple return to Indiana. During the eleven years they lived there, they were never prosecuted, but faced persecution.
Daniel was born in Richmond in 1908. The town he remembered was as segregated as most southern cities, with restaurants, beaches, and hotels off-limits to the city’s black population. When African American celebrities like Louis Armstrong, Joe Lewis, and Marian Anderson, visited the Indiana city they had to spend the night with a local widow, who rented out rooms.
A precocious child and an outstanding athlete, Daniel wasn’t bothered by the community’s discrimination until he was old enough to participate in team sports at school. A particularly painful memory included a frigid evening in which he had to change into his basketball uniform outside in the shadows of the YMCA building, because the association prohibited him from using its locker room. Although he took all of the advanced classes in high school, his white teachers never encouraged him to attend college. Yet in 1933, during the Great Depression, he graduated from Earlham College with a teaching degree in Spanish. While at the school, President William Cullen Dennis’s office chided Daniel for walking into town with groups of white women on his way home from classes. Daniel could not participate in Earlham’s social events that took place at the YMCA or Richmond hotels. After a long period of working menial jobs, he was able to teach Spanish in the federally-funded Works Progress Administration (WPA) program.
Anna, born near Lima, Ohio, was seven when her mother died. Six years later her father took off to California without her. Abandoned, she went to live with her older sister, Violet, in Brookville, Ohio, near Dayton. She grew up independent and with an adventuresome spirit. Following her 1938 graduation from Manchester College, in Indiana, she became a social worker.
Daniel and Anna met in Richmond. The WPA office he worked out of was located in the same building as the Unemployment Relief Agency, which Anna supervised. A gregarious man, Daniel went downstairs to visit the young women who worked there. He and Anna began meeting at night in the privacy of her car, where they talked, kissed, and held each other. When Anna was transferred to northern Indiana and attended meetings in Indianapolis, Daniel rode there by bus. Indianapolis was large enough for them to appear in public and maintain anonymity. Yet people stared when they walked arm in arm along the sidewalk. Men sneered, “whore” in passing.
Only one of Anna’s friends, Inez, met Daniel before the marriage. Inez was quickly drawn to his charm and urbane demeanor, but she warned in letters that Anna should follow her head instead of her heart. A daughter of Anna’s sister, Violet, later said, “Mom practically had a nervous breakdown,” upon learning of the approaching marriage.
With World War II boosting production, International Harvester hired Daniel as a janitor at its Richmond plant- some company leaders were convinced that African Americans lacked the intelligence to operate machinery. The labor union, however, valued his education and elected him to leadership positions. During the McCarthy era, like other union activists, he was labeled a communist and intimidated by the FBI.
When Harvester closed its Richmond plant in 1957, no one in town would hire the “n— commie troublemaker.” By now the family included two school-age daughters. A move to Mexico offered Daniel the opportunity to practice the profession he’d been trained for and their daughters a chance to grow up free of racial prejudice.
But the move put new stressors on the couple’s relationship. Daniel, who taught English at a prestigious boys’ school, was soon saying he felt “as Mexican as chili verde.” Anna, a reserved, blond woman, felt at odds with the effusive culture whose language she never fully mastered. Daniel resented her not being outgoing; she resented his making little effort to help her adjust.
While personal in nature, Daniel’s and Anna’s story is also cultural. It speaks to the discriminatory attitudes resulting from the Ku Klux Klan’s influence during the 1920s and of McCarthyism in the 1950s. It is not the happily-ever-after story I anticipated, but an honest portrayal of the love and hurt any two people, not just a biracial couple, can encounter in an intimate relationship.
Before social media instantly familiarized people with new cultures, Bertita Harding endowed Americans, and specifically Hoosiers, in the 1930s and 40s with illuminating accounts of Europe’s and South America’s rich, sometimes volatile past and present. The Hungarian author spoke five languages, interviewed dictators, and witnessed the gleam of royal jewels. Her experiences compelled her to author more than a dozen lucrative books, mostly biographies. Indianapolis firm Bobbs-Merrill published most of her books. Bertita brought a fresh approach to biography, giving depth to royal figures, illuminating their motives, and endowing them with humanity. Her life was as interesting and tragic as the royal figures about which she so aptly wrote.
The “adopted Hoosier” was born in Hungary and moved to Mexico when her father was solicited to work as an engineer in Mexico City. As a child, she grew intrigued with the story of ill-fated Carlotta and Maximilian, Emperor and Empress of Mexico. The story is worthy of a Shakespearean quarto:
Austrian archduke Ferdinand Maximilian Joseph accepted the offer of the Mexican throne in 1863, having been assured that the Mexican people voted for his governance. However, he was installed into power through the collusion of Mexican conservatives and the French emperor, against the wishes of many Mexicans. He and his beloved wife Carlotta traveled to Mexico, where the liberal-minded emperor tried to rule with “paternal benevolence,” working to abolish the peonage system. When French troops pulled out of Mexico, and former Mexican president Benito Juarez returned, Carlotta fled to Europe to fruitlessly plead for support of her husband. Unwilling to abandon the impoverished people he had advocated for, Maximilian refused to abdicate the throne. He was executed near Queretaro, devastating his wife who remained in Europe. She fell into a debilitating depression and never recovered, refusing to acknowledge his death.
Bertita’s house was adjacent to the city’s Chapultepec castle, where the royal couple lived. The Indianapolis Star noted that “Each night as she went to bed she saw from her nursery window a light gleaming on the terrace of the somber castle, and she learned that there the beautiful Empress and her imperial husband had walked on starry nights.”
In 1909, Bertita, along with her mother and two brothers, journeyed to Vienna with a “mysterious black trunk.” Emperor Maximilian’s brother Frans-Joseph received the trunk, revealing to Bertita’s mother the jewels and insignia worn by the tragic royal couple. For returning the goods to the House of Hapsburg, Frans-Joseph bestowed Bertita’s mother with the signum laudis award for service to the crown. Bertita’s brushes with royalty proved to be the inspiration for many of her works.
Bertita traveled to the United States for school, training to be a pianist at the University of Wisconsin, where she met her husband Jack Harding. The couple moved to Indianapolis, where he worked as an executive at Harding Advertising Company. Eventually, the pair applied their literary gifts to writing film scripts in Hollywood. The Indianapolis News recalled in 1957, that Bertita “espoused the role of a young Hoosier wife and blithely entered local activities . . . She had a rare gift for being folksy and fabulous, cozy and continental at the same time.” Here, they participated in the Lambs Club, Athenaeum, and Players Club.
In a 1958 Anderson Herald article, Bertita stated that after her children were killed in an accident her husband encouraged her to write, an endeavor she found more convenient than practicing the piano. She mused “‘I’ve put a cake in the oven and gone over in my desk to write. If the cake burned, the chapter turned out to be a masterpiece. If the chapter was bad, the cake was delicious. And many times both turned out just right.'”
In 1934, Bobbs-Merrill published her literary jewel, Phantom Crown: The Story of Maximilian and Carlotta of Mexico. At a talk for the Women’s Club in Richmond, Indiana in 1934, Harding stated that as a little girl in Mexico City she interrogated former ladies-in-waiting for the royal couple about their fates. The adopted Hoosier added “I could visualize how they felt-transplanted Europeans, somewhat bewildered.” Harding penned the impeccably-researched biography in her Indianapolis apartment, writing methodically from 9 a.m. to 4 p.m. She recalled “As I wrote the book sometimes I would laugh at my own jokes, and sometimes I would cry with sympathy for them, and I loved to think my own book could arouse such sympathy in myself.”
With the success of Phantom Crown, Harding cemented her place in the Hoosier literary canon, residing among a prolific list of Indiana poets, playwrights, novelists, travel writers, and journalists. These included novelist Booth Tarkington, author Gene Stratton-Porter, and poet James Whitcomb Riley. The book she described as “manifest destiny” created a demand for Bertita’s unique perspective. She went on the lecture circuit, speaking to clubs around the country about her experiences. The Muncie Evening Press noted in 1935 that with these lectures she took audiences on a vivid tour through Mexico and Europe, showing them “‘the small out-of-the way, pieces of art and works of beauty to be found in such travel.'” Listeners traveled down the Danube into Hungary and then Vienna, where they experienced picturesque domes and woodcarvings, before arriving at French convents. Of Germany, she remarked it “‘is too far advanced, with far too much intellect as well as sentiment, to provide the obscure forms of art . . . Their great capacity is for work.'”
By 1939, the story of the ill-fated lovers proved so popular that Warner Brothers adapted Harding’s book into a film called “Juarez,” starring Bette Davis. According to the Indianapolis News, Harding threatened to sue the studio for failing to give her screen credit, but the parties came to an agreement and Harding described “Juarez” as a “‘beautiful picture.'” Harding noted that the film’s theme had been adapted to “fit modern conditions” and that, during a time of Hitler-led German aggression, Warner Brothers was advocating for “America and the Constitution right now, so ‘Juarez’ just had to fit in.” Harding contended that “Juarez” was obviously made in the vein of anti-fascist film Confessions of a Nazi Spy.
Harding followed Phantom Crown with additional biographies about theHouse of Hapsburg, such as Golden Fleece: The Story of Franz-Joseph and Elizabeth of Austria and Imperial Twilight: The Story of Karl and Zita of Hungary. The Indianapolis Recorder, an African-American newspaper, praised Harding’s writing, noting “Stiff, regal figures become understandable, human-beings. Royal mazes are unraveled. Motives for strange actions grow lucid.” The newspaper added that “A flawless instinct for drama makes the utmost of every event without the slightest strain.”
Harding’s life and books seemed to place her on the perimeter of political and military upheaval. In October 1940, she traveled to Brazil to gather material for a forthcoming book. By this time, Nazi Germany had captured France, and the Allied Powers feared that Brazil, which had been fairly politically neutral, could be susceptible to Nazi attack. Harding interviewed Brazilian dictator President Getulio Vargas, concluding that although Vargas was a dictator, Brazilians would never permit a European dictatorship. According to the Indianapolis Star, Harding asserted “I am convinced that, for reasons both sentimental and practical, Brazilians would resist any attempt to give either Naziism or Fascism a foothold in their country.'”
By 1944, Bertita and her husband Lieutenant Colonel Jack Harding, an executive officer of public relations, were fully entrenched in the war effort. That year, the Indianapolis News reported on Jack’s work in England, noting that as an intelligence officer he briefed and interrogated combat crews and laid out the operational plan for air force public relations for the D-Day invasion. In a letter published by the Indianapolis News, the lieutenant colonel illuminated for Americans the sacrifices made by soldiers in France on D-Day.
He wrote stirringly “it is still true that aircraft, artillery, warships and other auxiliary arms all radiate from a common center, one little man with one little gun. This day belongs to the infantryman, may God protect him.” Following the pivotal invasion, Jack accompanied war correspondents on a journey through France. They witnessed the fall of Cherbourg, where “Street fighting, snipers, artillery attacks, as well as a ride through crossfire, added up to part of the night’s work.” While her husband wrote about “those kids of ours,” Bertita helped sell war bonds through a literary group.
She continued to do what she did best–write about royal exiles. Harding published Lost Waltz in 1944, centering around Austria’s Leopold Salvator and his family of ten. The Indianapolis News praised her ability to “place for us these Hapsburgs in the broad movement of our own eventful times, her unusual ability to recreate past scenes and make them live again with the verve and sparkle of fiction, though she never deviates from sober fact.” Other books written by Harding after the war include Magic Fire: Scenes around Richard Wagner and The Land Columbus Loved: The Dominican Republic.
After the death of her beloved first husband, she married Count Josef Radetsky in Vienna in 1957, an ancestor of Austrian nobility. The Indianapolis News reported that the Count’s family estates had been “reduced to poverty” when Communists seized Czechoslovakia in 1948 and that he was working as a taxi driver in Vienna when he met Harding. By 1958, Bertita had made such a name for herself that the Orlando Executives Club nominated her to speak, among other nominees such as FBI Director J. Edgar Hoover. In 1958, her life took another somber twist when a Vienna court found Radetsky guilty of trying to defraud her, sentencing him to eighteen months in an Austrian prison.
Adamant that “age cannot wither you,” Bertita began work on a book about German musician Clara Schumann, which Bobbs-Merrill published in 1961. Bertita passed away in Mexico in 1971, having fulfilled her 1935 dictum that “‘Life comes before letters . . . If life results in writing, that is good: but writing without living is worthless.”
Indianapolis author and satirist Kurt Vonnegut Jr. would have turned 95 on November 11, 2017, just five years shy of his centennial. Few people on this earth have had a birthday of such significance; a World War veteran himself, Kurt was born on the 4th anniversary of Armistice Day. The writer who was once described as “a satirist with a heart, a moralist with a whoopee cushion,” was born into an incredibly prominent Indianapolis family. His great-grandfather, Clemens Vonnegut, founded Vonnegut Hardware Store and was a major civic leader. His grandfather and father were both prominent architects, responsible for the former All Souls Unitarian Church on Alabama Street, the Athenaeum, the clock at the corner of Washington and Meridian, and many more Indianapolis landmarks. (Visit the Vonnegut Library and pick up a copy of our Vonnegut Walking Tour pamphlets).
Kurt was raised in luxury at 4401 North Illinois Street, a house designed by his father Kurt Vonnegut Sr. in 1922. According to Indianapolis Monthly, “original details like a stained-glass window with the initials ‘KV’ and Rookwood tile in the dining room” still remain. Kurt Jr. spent summer vacations at Lake Maxinkuckee, located in Culver, Marshall County. The Vonnegut family owned a cottage at the lake, where, according to the Culver-Union Township Library, Hoosier author Meredith Nicholson conceived of the idea for his The House of a Thousand Candles.
Reportedly, Kurt noted in an Architectural Digest article:
“…I made my first mental maps of the world, when I was a little child in the summertime, on the shores of Lake Maxinkuckee, which is in northern Indiana, halfway between Chicago and Indianapolis, where we lived in the wintertime. Maxinkuckee is five miles long and two and a half miles across at its widest. Its shores are a closed loop. No matter where I was on its circumference, all I had to do was keep walking in one direction to find my way home again. What a confident Marco Polo I could be when setting out for a day’s adventures!”
Kurt’s parents lost a significant amount of money during the Great Depression, resulting in Kurt leaving his private gradeschool and attending James Whitcomb Riley School, named after the Hoosier poet. He received an excellent education at Shortridge High School in Indianapolis. Here, he badly played clarinet in the jazz band, served on the school newspaper and, upon graduation, was offered a job with the Indianapolis Times. His father and brother talked him out of accepting it, saying he would never make a living as a writer.
According to the Indiana Historical Society, “Along with instilling Vonnegut with a strong sense of ideals and pacifism, his time in Indianapolis’s schools started him on the path to a writing career. . . . His duties with the newspaper, then one of the few daily high school newspapers in the country, offered Vonnegut a unique opportunity to write for a large audience – his fellow students. It was an experience he described as being ‘fun and easy.’” Kurt noted, “‘that I could write better than a lot of other people. Each person has something he can do easily and can’t imagine why everybody else has so much trouble doing it.’ In his case that something was writing.” He also admired Indianapolis’s system of free libraries, many established by business magnate Andrew Carnegie.
Kurt ended up attending five total colleges, receiving zero degrees for the majority of his life, and ending up in World War II. It’s no coincidence that he spent his life writing about the unintended consequences of good intentions! Captured at the Battle of the Bulge and taken to Dresden, he survived the bombing that killed (by modern day estimates) 25,000 people, while held in a meat locker called Slaughterhouse-Five. He survived the war, though stricken with combat trauma, and returned here to marry his school sweetheart Jane Cox. After they moved to Chicago, he would not return to Indianapolis to live, although he visited with some frequency. Suffice it to say, the Hoosier city was where he learned the arts and humanities and loved his family dearly. It was a place of tragedy as well, as his family had lost their wealth and his mother committed suicide on Mother’s Day Eve in 1944. He had to move on.
Kurt spent the next twenty-four years writing what many would call one of the most significant novels of the 20th century, Slaughterhouse-Five. The semi-autobiographical satire of his experiences during World War II was released at the height of the anti-Vietnam War movement. With this novel, Kurt became quite famous, at the age of 46. His books, short stories, essays, and artwork have provided comfort to those who have grown weary of a world of war and poverty.
Kurt’s work affected me profoundly, first reading Breakfast of Champions as an undergraduate. I continued to read Kurt Vonnegut constantly, throughout life’s trials and triumphs, always finding very coherent and succinct sentences that seemed to address exactly how I was feeling about the world at the moment. As an individual growing up in Indiana, I loved how my home state featured as a character in nearly all of his work, from the beautiful, heart wrenching final scene in the novel The Sirens of Titan, to the hilarious airplane conversation in Cat’s Cradle, to the economically downtrodden fictional town of Rosewater, Indiana in God Bless You, Mr. Rosewater, to the planet Tralfamadore from Slaughterhouse-Five (I personally think he took it from Trafalgar, Indiana. While I have no proof, his father did spent the last two years of his life living in Brown County, not very far away)!
So it was the honor of a lifetime in 2011 to join the staff of the Kurt Vonnegut Museum and Library in downtown Indianapolis. Throughout the years we have tirelessly drawn attention to issues Kurt Vonnegut cared about, the struggle against censorship, the war on poverty, the desire to live in a more peaceful and humane world, campaigning to help veterans heal from the wounds of war through the arts and humanities. These pursuits are inspired by a man who wrote about these issues for eighty-four years, until a fall outside his Manhattan brownstone “scrambled his precious egg,” as his son Mark Vonnegut described it. To me, Kurt Vonnegut is not gone, he is alive in the minds of our visitors, who themselves all have interesting stories about how they came to the work of Mr. Vonnegut, or are simply curious to learn more. Time being flexible is an idea Kurt himself seemed to espouse in his novel Slaughterhouse-Five:
The most important thing I learned on Tralfamadore was that when a person dies he only appears to die. He is still very much alive in the past, so it is very silly for people to cry at his funeral. All moments, past, present, and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just the way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is just an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever.
In 2017, the Year of Vonnegut, we focused on the issue of Common Decency. Our 2018 programming will focus on the theme Lonesome No More, which we took from Kurt’s criminally underrated 1976 novel Slapstick, in which he runs for President under that slogan, in attempt to defeat the disease of loneliness. We’re going to give it our best shot, I humbly request that you join us!
Edited and co-researched by Nicole Poletika, Research & Digital Content Editor at the Indiana Historical Bureau.
The Wiggler. The Pikie. The Darter. The Injured Minnow. These are just a few of the popular lures crafted by the Creek Chub Bait Company during the twentieth century. Established in Garrett, DeKalb County, Indiana in 1916, the Creek Chub Bait Company became one of the country’s leading manufacturers of artificial fishing lures.
Each lure was a work of art, featuring the finest craftsmanship and attention to detail. From the company’s onset, owners Henry Dills, Carl Heinzerling, and George Schulthess placed an emphasis on quality for their products. Dills wanted the lures to be attractive to fishermen and fish alike, and worked alongside others within the company to ensure that they had a lifelike appearance and motion to help attract fish.
As early as December 1915, before the company officially began producing lures, Dills filed an application to patent new improvements in fish baits by adding a metal lip, or mouthpiece, attached to the front of the lure. According to the patent, the addition would help produce ripples, throw spray, wriggle, and dive similar to the way a minnow would, thereby attracting fish. The patent (1,352,054) was approved September 7, 1920.
Creek Chub’s Wiggler, introduced in 1916, was among the first to feature the metal lip. According to Dr. Harold E. Smith in his Collector’s Encyclopedia of Creek Chub Lures & Collectibles, the company’s 1922 catalog advertised the Wiggler as “‘three baits in one.’ With the lip in the standard position, it was a diving, wiggling bait. In the reversed position, it became a water-splashing surface lure. Take the lip off and it was a darting surface lure.” Dixie Carroll also described the added movement to the lure in “Fishing, Tackle and Kits” in 1919, noting: “A small metal plate in the mouth of the chub gives a fine bunch of wiggles and wobbles and by moving the plate and reversing it you have a surface splatter lure . . .”
In July 1918, Dills filed another patent application to improve the lures by adding a scale-like appearance on their surface that would imitate a natural minnow. According to the patent (Patent 1,323,458), the lures would feature “a cigar-shaped wooden body, to which various coatings of coloring material are applied.” Employees used a non-lustrous color for the background body of the lure and then proceeded to wrap a cloth netting around it and spray a lustrous coloring material through the netting to form the scale-like pattern.
The scale finish evolved over time and helped revolutionize the industry by resembling natural food for fish. Advertisements in popular publications like Outing praised the lures, noting: “Accurately represents a minnow down to the silvery scales. Wonderful lifelike movements. Convertible.” Fishermen from around the country agreed, often writing to the company to boast of the record-size fish they caught using these lures.
By the time a Creek Chub lure was completed and ready to ship to a customer, it often featured as many as fourteen or fifteen coats of primer, paint, and lacquer. Even the wood used early on for the bodies – white cedar – was of the highest quality. Over time, the designs and range of colors expanded greatly. The company also made specialty colors and custom orders upon request. In 1936, the Garrett Clipper noted that the patents for the natural scale finish and the mouthpiece were among the most important patents ever issued in the tackle industry.
From its earliest years, Creek Chub featured a largely female workforce. Some attributed this to the delicate nature of the lures and the work they entailed, which they believed women were better suited to perform. Dr. Harold E. Smith writes that “women were selected preferentially over men because management felt they were . . . ‘endowed with a better appreciation of color and detail.’”
Wanted ads in the Garrett Clipper frequently promoted jobs for girls and young ladies at the company, and articles often referenced the “girls” employed in the finishing departments, and sanding and dipping rooms.
By the 1920s, Creek Chub was shipping its lures all over the United States and Europe. Between January and July 1925, the Garrett Clipper published several pieces on international sales. For example, on March 19, 1925, it reported that Creek Chub had recently received orders for 180 dozen bait from Stockholm, Sweden, 178 dozen from Finland, and 31 dozen from Toronto, Canada. In April, the paper recorded orders from Waines, Hawaii (Hawaii did not become a U.S. state until 1959) and Bombay, India, and in July, it reported that the company had shipped 24 dozen lures to Reddich, England.
On January 20, 1936, the Garrett Clipper provided a summary of the company and described its continued growth since its founding in 1916:
Since then sales have increased from year to year and are made not only in this country and Canada, but lures are sent to 48 foreign countries, France and Sweden receiving the largest shipments. The sales demand in Canada is so large that a Canadian branch has been established, the work being conducted by Allcock, Laight & Westwood company, Toronto, Ont. Although in its infancy, the plant has been doing a large business and the prospects for its growth are fine.
In 1939, as war clouds gathered over Europe, business at Creek Chub Bait Co. reached a new peak. Production and sales were up and employment remained steady. Despite its success though, the company was already beginning to feel the effects of the conflict abroad. Finland and England had been Creek Chub’s top buyers prior to the war, but both markets quickly closed as each country became engaged in the conflict. The company also purchased many of its treble hooks, which it used on its lures, from Norway and England.
By August 1941, Creek Chub experienced great difficulty acquiring the necessary hooks and other supplies for its famous lures, as materials were reserved for defense industries. Supply markets from Norway were shut off and an embargo on trade between the United States and Japan stopped the shipments of hooks from that country as well. On August 21, 1941, the Clipper warned about the future of Creek Chub, writing:
. . . unless there is some early change in the world situation the business of the company will be greatly restricted, if not entirely stopped.
The outlook for the company became bleaker throughout 1942 following orders from the War Production Board curtailing the manufacture of fishing lures. On May 8, 1942, the Angola Herald reported that Creek Chub would cease production on May 31, in accordance with government orders. In response, Creek Chub petitioned the War Production
Board to allow it to use the metal it had on hand, which it estimated at approximately six months’ supply. By early June, the War Production Board gave the company permission to continue manufacturing lures during the month, and throughout the summer it granted temporary extensions that allowed Creek Chub to continue production, albeit at a much reduced rate. On January 28, 1943, the Garrett Clipper noted that Creek Chub employed thirty people, two to three times less than it had before the war. Employment decreased again slightly the following year, but the company remained open, using the limited materials it had on hand to produce lures.
By January 1945, employment began to increase as more materials became available and in September 1945, Creek Chub received its first shipment of steel hooks from Norway since the beginning of the war. Business was slowly getting back on track. Wanted ads for female employees began populating the local newspaper’s pages once again as the company sought additional employees to meet production goals and fill the backlog of orders that had accumulated during the war. By late December 1946, Creek Chub announced that it had leased a hotel building in nearby Ashley, north of Garrett, and it soon established a branch factory there to expand operations. The added facilities allowed business to double from 1947 to 1948, and within the next two years the company caught up on its backlog of orders.
Creek Chub continued to look for ways to improve and diversify its product line in the 1950s and 1960s. This included entering the plastic bait field, developing new saltwater lures, and offering new color combinations. The company’s future looked bright, but by the late 1970s declining sales and questions regarding future leadership of the company began to weigh on Creek Chub.
On December 24, 1978, the Des Moines [Iowa] Register reported that Lazy Ike Corp. of Des Moines had purchased the Creek Chub Bait Company. Reporter Bob Barnet confirmed the sale in the [Muncie] Star Press in April 1979, writing “. . . Hoosier-owned Creek Chub Bait Co., one of the nation’s oldest and most respected manufacturers of artificial lures, has been sold.” Lazy Ike, which was also in the lure industry, would continue to manufacture and market Creek Chub lures.
Unfortunately, within just a few months of the purchase, Lazy Ike filed for Chapter 11 bankruptcy. Dura-Pak Corp. of South Sioux City, Nebraska acquired Lazy Ike Corp. and another fishing tackle manufacturer out of Vancouver, Washington in the early 1980s. Today, PRADCO owns the Creek Chub name.
Although the company closed in the late 1970s, Creek Chub lures continue to remain popular among collectors, a testament to their enduring quality.
The 1948 desegregation of US armed forces can be partially attributed to a bellwether protest at Indiana’s Freeman Field in the spring of 1945. Here, officers of the African American 477th Bombardment Group challenged the unlawful exclusion of blacks from officers’ club, resulting in their arrest. The uprising immediately gained the attention of the War Department, NAACP, and lawmakers such as Senator Arthur H. Vandenberg. The refusal of more than 100 black officer’s to comply with “Jim Crow” policies underlined the broader push for civil rights in the World War II era.
America’s involvement in WWII exposed the great disparity between the fight for freedom abroad and the treatment of African Americans at home. In 1945, The Pittsburgh Courier alleged that it was difficult to understand how President Harry S. Truman’s administration “can claim to be prosecuting a war to bring democracy to all of the world when it will not enforce its own orders supposedly establishing democracy in its own country.” Similarly, Hoosier businessman and Republican presidential nominee Wendell Willkie expressed concern with the treatment of African Americans in the Armed Forces. In his 1944 article “Citizens of Negro Blood” for Collier’s Magazine, Willkie stated that World War II “has made us conscious of the contradictions between our treatment of our Negro minority and the ideals for which we are fighting. The equitable treatment of racial minorities in America is basic to our chance for a just and lasting peace.” Roberta West Nicholson, Indiana state legislator and daughter-in-law of Hoosier author Meredith Nicholson, worked with the Indianapolis Servicemen’s Center during WWII and observed the same type of discrimination at Camp Atterbury. She successfully fought for black servicemen’s rights to utilize the exact same amenities and recreational facilities as their white counterparts, lamenting “It’s difficult to believe, but this is true; because the Army itself was segregated.”
Discrimination forced African Americans to fight to even be admitted to the Army Air Corps, which was an exclusively white organization until the late 1930s. According to James Allison’s “Mutiny at Freeman Field,” with the outbreak of global war, the Army revised its policy and recruited black units, but kept them segregated from white counterparts. The Air Corps sponsored flight schools for African Americans due to pressure from Congress and NAACP leaders, but accepted none of their graduates, despite exemplary records. Allison noted that “Countervailing pressures from politicians seeking the black vote and enterprising blacks who threatened to sue resulted in an Air Corps decision to form an African American fighter squadron” in 1941. The squadron, designated the “Tuskegee Airmen,” was trained at Alabama’s Tuskegee Field and produced a formidable combat record.
Unlike the Tuskegee squadron, the 477th Bombardment Group was trained at a base in Seymour, Indiana that included white servicemen. The group was first established at Selfridge Field near Detroit, under the command of white officer Colonel Robert W. Selway. The group was transferred to Kentucky’s Godman Field as the result of racial tension and protest similar to that which later occurred at Freeman Field. The 477th was then moved to the Freeman Field air base in March 1945 to train with better facilities. The Indianapolis Recorder noted in April that:
Arrival of the group here stimulated open hostility on the part of tradesmen in the nearby town of Seymour . . . Most of the trades people announced they would furnish no service or sell commodities to the new arrivals at Freeman Field. Negro residents of Seymour, less than 100 in number, are striving valiantly to meet the needs of the soldiers.
These men, many of whom were awarded the Distinguished Flying Cross and Purple Heart, encountered racial discrimination from white servicemen at Freeman Field. Little had changed regarding their treatment since WWI, during which African American entrepreneur Madam C.J. Walker and her sales agents wrote a letter to President Woodrow Wilson officially condemning the mistreatment of black troops. According to the Recorder, African American officers at Freeman were denied entry into the air base’s tennis courts, swimming pool, and “swanky” officer’s club after 5 p.m. by Officer Selway, who created a “superficial classification that prevented their enjoyment of facilities established for commissioned personnel.” This classification violated Army Regulation 210-10, which prohibited the racial segregation of officers at army camps. According to Allison, black officers mobilized to challenge the discriminatory action, meeting in hangars to plan a peaceful protest.
On April 5, 1945, Selway learned of the plan and ordered a provost marshal to guard the club and turn away black servicemen. At the end of the night, 61 officers were arrested for attempting to enter the club, three of whom faced a jury in July for “jostling a provost marshall [sic].” On the 7th and 8th, more officers were arrested for attempted entry of the club. In a move that could further institutionalize segregation, Selway pressured black officers to “sign a statement that attested to their understanding of the order that had established one club for trainees and the other for supervisory personnel” (Allison). Officers were read an Article of War threatening death for failure to obey command and then issued a direct order to sign. Undeterred, 101 officers refused to sign and were subsequently arrested and sent back to Godman Field. According to Historian Emma Lou Thornbrough, a commander of a local black American Legion Post asserted “Blacks must wage two wars-one against the Axis powers, the other for full citizenship at home.” The Freeman Field officers did just that.
First Lieutenant Quentin P. Smith was among those who refused to sign and recalled “‘I thought, ‘Oh my God this can’t be happening . . . He had given me a direct order to sign. I had finished college and all I had to do was just stay alive and I’ll be a general. I had no voice then'” (1992, Merrillville Times). After refusing to sign, he was escorted to his barracks at gunpoint and held under arrest for twelve days. In a document endorsed by Smith on April 25, he contended “The cited regulation appeared and still appears to be a ‘Jim Crow’ regulation” and that he:
could not, and cannot understand how Medical Officers, qualified as Flight Surgeons and having completed all required Army medical training and having completed years of private medical practice could have been classified as ‘trainee’ personnel unless the distinction were solely one of color.
He added he wished to indicate “his unshakeable belief that racial bias is Fascistic, un-American, and directly contrary to the ideas for which he is willing to fight and die.”
The Recorder reported that “The mass arrest which is believed unprecedented in the history of the Army has this post in an uproar and has disrupted the entire training program of the 477th Bombardment group.” By the 26th, it appeared that the uprising was beginning to influence Army policy, as the newspaper noted that “Officials of the Public Regulations Bureau of the department in Washington admitted momentous changes are being considered as result of an investigation of conditions surrounding” the incident. On April 28, The Pittsburgh Courier called for the immediate release and “return to duty” of the arrested men and that “Anything less will be a travesty on justice.”
Following public outcry and the efforts of the NAACP, all were released and served with an administrative reprimand, with the exception of three men. The Recorder noted on June 30, that Selway had been replaced with African American Colonel B.O. Davis Jr. However, the three men arrested for “jostling” an officer continued to be confined and were prohibited from obtaining counsel. In July, a jury acquitted Lt. Marsden A. Thompson and Lt. Shirley R. Clinton of “disobedience of a direct order,” along with Lt. Roger C. Terry, although he was found guilty of “jostling” an officer and forced to pay $150. In 1995, the Air Force set aside Terry’s conviction. In an Indianapolis Star article, Terry declared that this removed the weight he had been carrying since the ordeal and that “What came off my back was that all my hatred went away. All of it.”
Although their military records remained tarnished until the 1990s, the black airmen’s protest significantly influenced President Truman’s decision to desegregate the armed forces on July 26, 1948. In negating Terry’s conviction, former assistant secretary of the Air Force concluded that the Freeman mutiny was crucial to military integration and a “‘giant step for equality.'”
After a period of hitchhiking their way towards the West Coast, camping, and living on cold food, the twenty two-year-old burgeoning poet Kenneth Rexroth and his new artist wife Andrée, arrived in San Francisco in the summer of 1927. Rexroth biographer, Linda Hamalian, referred to them as “forerunners of the flower children who flocked to Northern California during the fifties and sixties.” In San Francisco they found exactly what they had been hoping for: a rich cultural environment without the pretense they sensed in the East Coast artistic community.
They quickly met other artists and writers and found jobs painting furniture. They moved into an apartment on the Montgomery Block, often called the Monkey Block, that had long housed artists and writers, including the Hoosier author Ambrose Bierce. Rexroth wrote that they had little money, but “limited needs” and were able to live “the kind of life that I’ve lived almost always since, a sort of semi-monastic life devoted to writing and painting.”
The young couple also spent time enjoying the lush and varied natural environment surrounding San Francisco which Rexroth wrote “kept me in California all these years.” They swam and hiked and noted the unique flora and fauna. This love for nature deeply influenced Rexroth’s writing and he worried about destruction of the natural world by developers. In later years, he described himself as a sort of early environmentalist writer:
My poetry and philosophy of life became what it’s now fashionable to call ecological. I came to think of myself as a microcosm in a macrocosm, related to chipmunks and bears and pine trees and stars and nebulae and rocks and fossils, as part of an infinitely interrelated complex of being. This I have retained.
By the 1930s, in the midst of the Great Depression, Rexroth was employed by the Work’s Progress Administration (WPA) contributing to the “American Guide” series of handbooks for each state. Rexroth and several other local poets and writers created the California guide and were able to inject information on natural conservation and into the otherwise standard guidebook.
While he had contributed scattered “cubist poetry” to what Hamalain described as “ephemeral publications” upon his arrival in San Fransisco, by the 1930s he was regularly writing and publishing work in journals and small volumes of poetry. Much of this poetry combined natural imagery with his radical leftist political beliefs and strong anti-war sentiment. For example, his poem “At Lake Desolation,” published in the magazine The New Republic in 1935, contrasted the stillness of nature with the horrors of war. The poem begins:
The sun is about to come up and the regiments lie
scattered in the furrow their large eyes
wet in the pale light and their throats cut
He explored similar themes in his poetry throughout the 1930s and became a staunch pacifist. In 1937, the New Republic journal published Rexroth’s poem “Requiem for the Dead in Spain,” lamenting the horrors of the Spanish Civil War. He began the work by describing his walk through the beautiful Sierra Mountains under the stars, the tone changes as he suddenly feels sick thinking about the war. He laments:
I see the unwritten books, the unrecorded experiments,
The unpainted pictures, the interrupted lives,
Lowered into the graves with the red flags over them.
I see the quick gray brains broken and clotted with blood,
Lowered each in its own darkness, useless in the earth.
Alone on a hilltop in San Francisco suddenly
I am caught in a nightmare, the dead flesh
Mounting over half the world presses against me.
That same year, the influential independent publisher James Laughlin included Rexroth’s work in his second annual New Directions in Poetry and Prose, a publication the Academy of American Poets referred to as “pivotal.” In 1940, Macmillan published Rexroth’s first major collection, In What Hour. The work was considered wholly original and cemented his place at the forefront of the San Francisco literary movement. A reviewer for the Oakland Tribune wrote: “Rexroth is wholly and essentially a poet in the new manner. Usually a poet’s first work, and this is Rexroth’s first book, enables the acute reader to name his literary progenitors. But Rexroth’s poetical parents, if he has any, are not known.” The critic continued, “Despite this break with tradition, or it may be, as the apostles of the modern poetry claim, because of this independence, Rexroth’s book is important and tremendously interesting.” Hamalain wrote that the poems that make up In What Hour “demonstrate his remarkable ability to render plausible the possibility of spiritual presence and a sense of unity in the natural world” despite the threats of the modern age.
While his writing career was taking off, his marriage was dissolving. Rexroth moved out and began a relationship with Marie Kass, a “whipsmart” nurse, who would become his second wife in 1941. While he was happy with Marie, he was devastated when Andrée died October 17, 1940 from a seizure. He wrote of Andrée in a poem published in The Phoenix and the Tortoise:
I know that spring again is splendid
As ever, the hidden thrush
As sweetly tongued, the sun as vital —
But these are the forest trails we walked together,
These paths, ten years together.
We thought the years would last forever,
They are all gone now, the days
We thought would not come for us are here.
This idea, that love and nature could serve as spiritual refuge in troubled times, became even more significant with the outbreak of World War II and the entry of the United States into the conflict in 1941. Rexroth maintained his pacifist stance and applied for conscientious objector status February 19, 1943. Throughout the war, Rexroth worked with pacifist organizations such as the Fellowship of Reconciliation, the American Friends Service Committee, and the local branch of the National Committee for Conscientious Objectors. He wrote that at one point he received a notice from his draft board that his status had been changed from 4-E, conscientious objector to 1-A, available for armed service. He wrote, “I immediately appealed. The process dragged on for over a year while the FBI investigated the claim as by law they were required to do . . . There was no question that I was a bona-fide Conscientious Objector.”
After the Japanese attack on Pearl Harbor on December 7, 1941, some Americans began questioning the loyalty of Japanese Americans, a large number of whom lived on the West Coast. In February 1942, President Roosevelt issued Executive Order 9066 which relocated Japanese Americans, including native born citizens, inland, away from the coast (which had been identified as the Pacific military zone) and confined them to internment camps. Thousands were forced to leave their homes and businesses. However, some Americans, including Rexroth, opposed internment as racist and unconstitutional.
Rexroth wrote in his autobiography that even before the U.S. declared war on Japan, that he worried Japanese Americans would face persecution. He wrote a letter and sent it to various pacifist groups and religious groups, stating that when war was declared, “the persecution of Japanese and Americans of Japanese ancestry, because they are marked by their color and features, will be worse than that of the German-Americans of the First World War.” He wrote in his autobiography, “I managed to persuade them to set up a committee with the absurd title of the American Committee to Protect the Rights of Americans of Oriental Ancestry.” When Rexroth and other members of the Friends Service Committee got word from a “contact in the White House” about the order for internment, they “immediately got on the phones,” and urged each person they called to call five more people. They also called university and political contacts and civil liberties organizations. While perhaps an aggrandizement, Rexroth credited this work with mobilizing opinion in the Bay Area against internment.
Rexroth took more direct action as well. Again according to his autobiography, Rexroth explained a scheme that saved several Japanese-Americans, including a personal friend, from internment. He contacted the Midwest Art Academy in Chicago, which he called a “phony correspondence school” that advertised scholarships “in cheap pulp magazines” for classes on “photo retouching, art, dress design, and knitting.” He convinced the school to sign registration papers for Japanese American students for a fee. He then contacted the “colonel in charge” of evacuation in San Francisco who agreed to provide educational passes for such students despite the school’s organization being “kind of a racket.” He located funding through Jewish residents of San Francisco and worked with Quakers to “set up a student relocation program.” In this way, Rexroth wrote, “we started shoveling people our of the West Coast on educational passes.” The poet Robert Duncan wrote that both Kenneth and Marie were also “working in the camps . . . taking messages back and forth.”
Rexroth’s practice of Buddhism, Taoism, and yoga also influenced his pacifist views and actions. He incorporated this worldview, along with a belief of the transcendental power of love, into his writing. In 1944, New Directions Press published Rexroth’s The Phoenix and the Tortoise, a rumination on history and humanity’s major failings: war and its threat to the natural landscape. In this lengthy poem, there is still hope for humanity in nature and through love. While the tortoise represented the earthly and the mortal, the phoenix represented the transcendent, sublime, and immortal power of love. Likewise, the ocean symbolized nature’s power to transform and serve as sanctuary in a world threatened by war. Literary critic John Palattella explained, “Nature’s indifference to human death is not a threat but a source of consolation, since the ocean’s one unchanging characteristic is that it changes everything.”
While Rexroth and a small number of avante-garde writers flourished in the San Francisco area for several years, the end of the war in 1945 saw an influx of new artists and writers. Many of these new voices were drawn to the area because they had read Rexroth’s works and heard about the creative coterie he had organized: a group of rebellious writers who were exploring anti-establishment and far left politics in their literature along with other cultural critiques. Rexroth believed it was the war itself that created this cultural climate. He wrote in SanFrancisco Magazine:
Just as London under the buzz bombs enjoyed a literary renaissance and a profound change of social relationships . . . so San Francisco during the War woke up from a long provincial sleep and became culturally a world capital.
Rexroth also maintained what Beat scholar John Tytell called “a sort of western salon, a weekly literary gathering,” where Rexroth introduced poets to each other and hosted readings. Out of this meeting of minds came “an entirely new cultural synthesis,” which produced new movements in theater, art, and poetry. One newspaper described this literary gathering in 1948 as “the San Francisco bay area poetry forum,” but the broader movement became known as the San Francisco Renaissance. Rexroth considered the combination of political discussion, poetry, and jazz to be the foundation of the movement. Over the following decade, this San Francisco Renaissance ushered in the rise of the Beat Generation. Rexroth’s role as bandleader of the San Francisco movement was responsible for his gaining the title “Father of the Beat Poets,” though he would later reject the title and the movement.
According to the Academy of American Poets, “Beat poetry evolved during the 1940s in both New York City and on the West Coast, although San Francisco became the heart of the movement in the early 1950s.” The Beat Generation rejected mainstream culture and politics and expressed themselves through new and non-conventional forms of poetry. Beat scholars point to the salon-type meetings organized by Rexroth as essential to bringing the Beats together. In the gatherings, the Beats would explore and embrace influential themes in Rexroth’s prolific writings like anarchism, pacifism, mysticism, and environmentalism. Beat scholar Ann Charters also credits Rexroth’s writings on Asian philosophy as influencing the Beat writers’ interest in “Buddha consciousness.”
Rexroth also helped establish jazz as an essential element of Beat poetry. During this period, Rexroth gained fame for combining his poetry with the music of local jazz groups. In San Francisco, he often performed at the Cellar, which became known for jazz and poetry performances and at the Blackhawk club with jazz bands like the Dave Brubeck Quartet. Two such performances were released on vinyl in 1957 and 1959.
Rexroth toured the country, performing regularly in New York City. According to the Academy of American Poets:
Rexroth was among the first twentieth-century poets to explore the prospects of poetry and jazz in tandem. He championed jazz and its musicians, publishing appreciations of players like Charles Mingus and Ornette Coleman, defending jazz in print against critics who deemed the music less than serious, and most importantly, he played in a jazz band himself, helping to define a role for the poet in the jazz world and a role for jazz in the poetry world.
In the liner notes for his 1959 recording Poetry and Jazz at the Blackhawk, Rexroth wrote that jazz poetry “takes the poet out of the bookish, academic world” and returns the poetry to the realm of public entertainment. Rexroth believed that combining music and spoken word connected the audience and poet directly (as opposed to the mediation of the written word) and restored poetry to oral tradition.
Mainly, however, it was his rejection of mainstream culture that aligned Rexroth with the Beat movement early on. For example, in 1951, in a syndicated review of Rexroth’s poem “The Dragon and the Unicorn” one critic noted that these rebellious writers were reacting to the post-war period with disgust. He stated that though in their writing style, they break with tradition, but their rebellion makes them part of a long tradition of creativity.
On October 7, 1955, at a poetry reading at the Six Gallery in San Francisco, Rexroth introduced Allen Ginsberg who read his revolutionary poem “Howl.” Scholars often point to this as the culminating event of the San Francisco Renaissance and solidification of the Beat movement. Charters described the movement as “awakening a new awareness in the audience (at the Six Gallery) of the large group of talented young poets in the city, and giving the poets themselves a new sense of belonging to a community.”
Rexroth championed many of the new writers in a 1957 article for The Nation, including high praise for Ginsberg. He described the scene at the height of the movement:
Poetry readings to large and enthusiastic audiences are at least weekly occurrences – in small galleries, city museums, community centers, church social halls, pads and joints, apartments and studios, and at the very active Poetry Center at San Francisco State College, which also imports leading poets . . . Poetry out here, more than anywhere else, has a direct, patent, measurable, social effect, immediately grasped by both poet and audience.
Rexroth argued that the Beat movement started as a radical literary movement, but quickly turned into a “hipster lifestyle,” that is, the pursuit of fashionable trends and not larger truths. He soon distanced himself from the movement because he felt the East Coast Beats, and especially Jack Kerouac, were opportunists seeking fame and mainstream acceptance. Rexroth was quoted by a reporter in 1958 as saying, “This beat thing, which is a publicity gimmick in the hands of Madison Avenue, will die away.”
Regardless, Rexroth had directly influenced the Beat movement probably more so than any other poet. In 1958, one reporter astutely wrote that Rexroth “seems to fix the entrance requirements.” Charters explained that Rexroth was one of a handful of writers who had “sown the seeds” for the flowering of the Beat movement. She refered to Rexroth as a “mentor” for the younger Beats and “the dominant force in the cultural life of San Francisco for more than half a century.”
Although the Beat movement melted into the counterculture movements of the sixties and rock and roll became the dominant outlet for rebellious youth, Rexroth remained a central figure in American literature. He continued to write poetry and extensive cultural and literary criticism. In addition to his original contributions, his translations of foreign poetry and his writings on literature such as his “Classics Revisited” column in the Saturday Review increased his importance to the literary world.
Writing for the Chicago Review, Rexroth scholar Ken Knabb looked back on the over 800 columns that Rexroth wrote for the San Francisco Examiner, the San Francisco Bay Guardian and San Francisco Magazine during the 1960s and 1970s. Knabb wrote in admiration of the diversity of topics that Rexroth covered: reviews of jazz and classical concerts, operas, films, Chinese theater, performances of Shakespeare; discussions of art, literature, fishing, architecture, drugs, wine, Civil Rights, war, and politics; observations from his world travels; arguments for the women’s liberation and ecological movements; and criticisms of the past cultural movements through which he lived and participated. Knabb concluded that “as an ensemble . . . they add up to a social document and critical commentary of remarkable range.”
While Rexroth had begun translating poetry from other languages in the 1950s, he dedicated more and more of his time to the task later in life. He paid special attention to translating the work of women poets starting in the 1970s in works such as The Orchid Boat: Women Poets of China (1972) andThe Burning Heart: The Women Poets of Japan (1977). By this point, his own work incorporated imagery and meter learned through decades of translating Chinese and Japanese poetry.
In his review of Rexroth’s collection The Morning Star (1979), critic Emiko Sakurai praised these poems especially as “extraordinary poems, rich and sensuous, always immediate, febrile and powerful” and called Rexroth “a poet of the first rank.” However, Sakurai had a hunch about Rexroth. He noted that “The Love Poems of Marichiko” were “ostensibly” written by a young Japanese woman. Indeed, they were actually written by Rexroth from this imagined perspective. Critics noted the transformative power his work as a translator had on his own original work and his ability to write convincingly from the a feminine perspective of his invented character.
Upon Rexroth’s death in 1982, the New York Times described this “poet, author, critic and translator of Chinese, Japanese and classic Greek poetry” as greatly influential on later generations of writers. The Times obituary noted that he received acclaim from both radical literary and political circles as well as “honors and awards from more orthodox literary corners,” such as Guggenheim fellowships and a prestigious grant from the National Institute of Arts and Letters in 1964.
Although he came to despise being called “Father of the Beats,” Rexroth created a cultural movement that influenced the voice and worldview of some of America’s best poets. Frankly, there would be no Ginsberg or Kerouac without Rexroth. However, it is his own unique voice that will forever hold his place in this country’s literary canon. Perhaps the best summary of his significance comes from poet and publisher James Laughlin, who described his friend Kenneth Rexroth aptly as “an American cultural monument.”
Linda Hamalian, A Life of Kenneth Rexroth (New York and London: W. W. Norton & Company, 1991).
Ann Charters, ed., The Portable Beat Reader (New York: Penguin Books, 1992).
During his 50 year career, Norman Norell crafted beautiful costumes, worked under war-time limitations, resisted pressure to substitute quality for quantity, and worked to bring the NYC fashion houses on Seventh Avenue on par with those of Paris. During his time in the industry, Norell managed to escape the pomp and circumstance of New York City and is remembered for leading a simple, “moral” life in the often cutthroat world of high-class fashion design.
Norman Norell was born Norman David Levinson on April 20, 1900 in Noblesville, Indiana. His father, Harry, owned and operated a men’s clothing store in the town and this is undoubtedly where he developed an eye for fashion. Harry soon opened a men’s hat store in Indianapolis, and in 1905 moved the family to the city once the business experienced success. Norman completed high school in Indianapolis then moved to New York to begin his fashion education at Parsons Institute. At 19, he began studying at the Pratt Institute, where he studied drawing and fashion illustration. It was here that he combined the first syllable of his first name with the “l” sound of the beginning of his last name and adopted the name Norell.
His early years in the fashion industry were spent designing costumes. He designed for a variety of projects, including silent film, burlesque, vaudeville, and nightclub acts. Norell costumed Rudolph Valentino in The Sainted Devil and Gloria Swanson in Zaza, but soon shifted his focus to women’s apparel. In 1928 he began a 12 year stint working for Hattie Carnegie. While a “fierce perfectionist . . . brilliant in her own way,” her process was considered fairly unoriginal – she bought pieces from Parisian couturiers, pulled them apart in New York, and turned them into more affordable clothes for her American clientele. Original or not, working with Carnegie gave Norell invaluable experience by visiting the Paris fashion houses and allowed him to fully understand the construction of women’s clothing. After a falling out with Carnegie over his designs for the Broadway production Lady in the Dark, Norell left and joined forces with Anthony Triana to form Triana-Norell in 1941.
Although he was a salaried employee of Triana, Norell was the designer of the company and as such was making waves in the fashion world. Bonwit Teller said of the new fashion house in the October 1941 edition of VOGUE, “The House of Traina-Norell comes on the season like an electrical storm. Its designer, young Mr. Norell, creates a collection so alive that everyone’s talking.” Just two months after that article ran, the United States’ entry into World War II changed nearly every industry in America, including fashion.
Up until this point in the 20th century, women’s clothing styles changed at a faster pace than ever before. Silhouettes changed entirely about every 10 years, much more quickly than in previous eras. War time restrictions stopped this fast progress in its tracks. On March 8, 1942 the War Production Board issued limitation order number 85, or L-85, which set rules for the production of women’s clothing. Manufactures were banned from making blouses with hoods, blouses with more than one pocket, coats with epaulets, coats with sleeve circumference larger than 16 ½ inches, and reversible skirts. All of these measures reduced the use of material used for clothing production. Hems, which for the previous years had been widening from the sleek, narrow skirts of the 1920s, were reduced from 81 inches to 78 inches. These restrictions challenged American fashion designers, one which Norman Norell met.
Drawing inspiration from his favorite era of fashion, the 1920s, Norell introduced the chemise dress, or shirt dress in 1942. This design featured a simple round neckline, a departure from the “fussy” necklines of the time. The simplicity of this trend worked well within the restrictions imposed by L-85 and chemise dresses, along with a fur-trimmed trench coat, became the staple of the Traina-Norell label.
World War II cut American designers off from their long time inspirational lifeline of the Paris fashion houses. Until this point, American designers took their lead almost exclusively from Paris (recall Hattie Carnegie’s method of deconstructing Parisian pieces previously discussed). In 1942, Coty, Inc. introduced the Coty American Fashion Critic’s Awards to address this issue by promoting original American fashion design during the war. Fashion editor Bernadine Morris later wrote, “What Norman Norell had accomplished in the first collection was to give American fashion – producers and wearers alike – a freedom from dependence on foreign sources of inspiration. The American industry felt it could set its own directions, its own styles.”
Norell never compromised on quality; oftentimes, a single suit jacket would take a week to stitch. This quality came with a price tag, though. One article said, “Women purchasing a Traina-Norell garment were buying, at great cost, an American-made status symbol that would likely remain in their closets for decades.” The prices for a Traina-Norell piece ranged from $500 for a simple jersey dress to upwards of $4,000 for an evening gown.
The Traina-Norell brand continued to set trends throughout it’s nearly twenty year existence. Oftentimes, competitors would copy his designs and sell them for much less. This was so common that the year before he introduced his revolutionary wool culottes suit, he offered the pattern to any manufacturer who wanted it in order to prevent the manufacture of inferior versions of the design. One of his signature evening looks, the “mermaid dress” would not look out-of-place at a gala today. Other signature designs of Norell included the 1961 wide-flaring skirt, impeccably designed coats, the evening jumpsuit, and sweater topped dresses.
In 1960, Anthony Traina retired and Norell began his solo carter with the Norell fashion house. Although the name of the brand had changed, the reputation for high quality, long-lasting clothing stayed the same. During his career, Norell won the Coty award three times and was inducted into the Coty Hall of Fame. When the Coty Awards were discontinued in 1985, Coty’s parent company said it was because they had achieved their goal of bringing American fashion houses to the same level of those in Paris, and there’s little doubt that Norell played a big role in that.
Norman Norell became known as the dean of American Fashion and was active in the industry up until his death on October 25, 1972, just before a retrospective exhibit of his work was to open at The Metropolitan Museum of Art in New York City was to open. Even today, Norell pieces are highly sought after and sell for high prices in vintage clothing shops. In December 2010, former First Lady Michelle Obama wore a vintage Norell dress at a White House Christmas party, one of the few times a first lady has worn a vintage piece at an official White House event.
View over 200 Traina-Norell and Norell pieces on the Metropolitan Museum of Art’s website.
In May 1943, Indiana newspapers advertised a new pool of workers who could alleviate the farm labor crisis caused by World War II. Hoosier farmers just had to provide equipment, tools, materials, and transportation. The only snag? The new laborers were Italian prisoners of war that Allied troops had recently captured in North Africa. These prisoners were currently interned at Camp Atterbury, a military training camp just outside Edinburgh, Indiana. Would the enemy soon fill Hoosier fields, picking tomatoes and detasseling corn? The Franklin Evening Star speculated
It is entirely likely that more than one farmer will apply for this Italian labor. The farmers are badly behind their work…Industry and the draft have created a serious farm labor shortage at the very time most farmers are trying to increase production…for the food needed for victory.
Farmers across the nation felt the pressure of wartime demands. In addition to soldiers, an unprecedented number of workers were needed to produce food, clothing, supplies, and munitions for troops. Balancing all these demands proved difficult. The Bureau of Agriculture reported that between April 1940 and July 1942, two million men had left their agricultural jobs for employment in the military or war industries. Reports surfaced of farmers unable to get all their work done without additional help. The Tribune in Seymour Indiana reported that a Maryland farmer, “another victim of the manpower situation,” had to plow under thirty five acres of beans after his call for pickers came up empty. Hoosier farmers hoped the situation wouldn’t repeat in Indiana.
Meanwhile, the federal government emphasized farmers’ need to produce more, despite the labor shortages, to help win the war. President Roosevelt created Farm Mobilization Day on January 12, 1943. He declared “food is the life line of the forces that fight for freedom.” Soon after, the Office of War Information produced pamphlets, posters, and films filled with catchy slogans like “Food Fights for Freedom!” “Food is a Weapon-don’t waste it!” and “Raising Food is a Real Job!” The government created various labor programs, including the Women’s Land Army and the Bracero Program, to mobilize civilian women and Mexican guest workers respectively to help fill the void on the nation’s farms.
After the US entered the war in 1941, prisoner of war (POW) labor became another possible solution to the labor crisis. The first POW arrived in the country in April 1942 from the Pacific. As the war continued, up to 30,000 POWs arrived in the US each month from battlefields abroad. The War Department decided to utilize this labor force and created camps across the nation to bring POWs work sites across the nation. At the war’s end, nearly 425,000 Japanese, Italian, and German POWs were held in prisoner of war camps across 46 states.
Hoosier farmers and food processors jumped at the chance to hire the first of many POWs to arrive in Indiana, despite their enemy status. In Johnson County alone, 250 people attended a meeting on May 24, 1943 to discuss the farm labor shortage and to learn how to register for potential POW labor from Camp Atterbury. After POWs filled positions within the camp to keep it running, such as bakers and cooks, launderers, repairmen, and gardeners, the rest could be employed outside the camp at local farms and factories. To the dismay of many farmers, at first the POWs could only work within a 25 mile radius of the camp. They picked apples, beans, and tomatoes, and hoed, detasseled, and picked corn. However, since their labor became so vital, the radius was soon lifted. In the summer of 1943, some Italian POWs also worked in tomato and corn canning plants as far away as Austin and Elwood, Indiana.
POW labor came with stipulations. POWs could not engage in dangerous work or labor that directly benefited the war effort. They could also only be employed in cases where civilian labor could not be found. In addition, farmers paid the US Treasury and the War Department the standard prevailing wage in the area so POWs would not usurp local, civilian labor. In turn, those departments paid the POWs 10 cents an hour, up to 80 cents per day for their labor, which was less than the prevailing wage.
POWs did not receive cash, but scrip they could spend only at their camp’s canteen. The War Department reinvested canteen profits back into the camps, often to buy “extras” to occupy the POWs in their spare time, such as musical instruments, art supplies, sports equipment, and books. In time, the POWs organized their own choral contests, soccer and volleyball leagues, and boccie ball games.
Canteen profits may have been used to finance construction of a small chapel POWs built at Camp Atterbury in 1943. Most of the POWs at the camp were Catholic and wanted a place of their own to attend daily Mass. Prior to construction, prisoners held mass in their rec room and had an altar in an open field. POWs who were employed as skilled artisans before the war designed and built a new brick and stucco 11’x16’ foot chapel for worship. They also painted frescos inside on the ceiling and walls. The chapel still stands at Camp Atterbury.
Entertainment, rations as large as American enlisted men’s, and payment for labor sprouted media reports accusing the War Department of “coddling” the POWs. However, the War Department had logical reasons for providing proper treatment to the POWs in their care besides abiding by stipulations of the Geneva Convention, which laid out rules for proper POW care. Providing good food, leisure activities, and small payment for their work promoted internal camp security and helped sustain a more productive POW labor force. Leaders also hoped good treatment of POWs at home would encourage similar treatment of American prisoners abroad in enemy hands.
Italy’s surrender to Allied forces in the fall of 1943 threatened Hoosier food producers’ new labor supply. In February of 1944, the War Food Administration advised farmers not to count on Italian POW labor during the upcoming summer. After surrender, Italy became a “cobelligerent” nation and joined the Allied forces. The Italians at Camp Atterbury and across the nation were no longer really prisoners of war, but still were not free until the war ended. Italy’s new leader, Marshal Pietro Badoglio, encouraged all former Italian POWs to help the Allied cause and join labor battalions, called Italian Service Units. Italians were still guarded by American soldiers like other POWs, but now could perform labor that directly benefited the war effort and received other benefits, like increased wages. The War Department began to transfer Italians at Camp Atterbury in January 1944 to these units. All were gone by May 4.
Soon after, German POWs arrived and replaced the Italian POWs, just in time to help out in the fields during peak production months in the summer and fall. Several smaller, temporary camps, called “branch camps” were established at Austin, Windfall, Vincennes, Eaton, and Morristown, Indiana to bring some of the Camp Atterbury POWs closer to additional work sites across the state. By October, there were nearly 9,000 POWs in the Camp Atterbury system. Living conditions at the branch camps were less accommodating than Camp Atterbury, which contained proper barracks, a recreation room and a mess hall. Since the branch camps were temporary, POWs often lived in tents close to their work sites. At the Austin camp, prisoners lived in a fenced area behind the Morgan Packing Company where many of them worked. At Windfall, a local farm across from the town’s high school served as the branch camp’s location.
The arrival of POWs made an impact on everyday life in these Indiana towns and influenced Hoosiers’ perception of the war. Windfall only had a population of 835 in 1940. 750 German POWs and 100 American guards arrived in the town on August 24, 1944, doubling the town’s population. The POWs arrived by train late at night. Gretchen Cardwell, Windfall native, remembered nearly everyone in the area came to town to watch the POWs step off the train and march to the camp. As the train whistle sounded, she remembered
“The crowd of onlookers grew silent. It was almost as if everyone held his breath as we awaited the sight of our hated enemies. This group was quite different than we expected.”
Instead of proud, haughty, frightening enemy soldiers Gretchen recalls seeing missing buttons, tears and tatters in their uniforms and slumping shoulders. “It was hard to accept this new vision of the enemy.”
As the POWs began working in fields and factories in communities across Indiana, native Hoosiers began to identify similarities between them and the enemy. Farmers appreciated the hard work ethic many of the POWs exhibited harvesting tomatoes and detassling corn. At Windfall, POWs worked in 40 food processing plants in the area. In Morristown, 400 POWs worked at 17 canning plants. POWs peeled and packed tomatoes, canned corn and peas. At the Morgan Packing Plant in Austin, POWs stacked cans in the warehouse, cooked tomatoes before they were canned, helped run the labeling machine, and loaded canned tomatoes for shipping. When the German POWs returned to Camp Atterbury in the fall of 1944, locals at Windfall admitted they would miss the POWs, especially “the outdoor concerts of a large chorus of voices” of the prisoners singing as they worked or rested in the evening.
By the end of the war, more than half of all the prisoners of war held in the US during World War II provided essential agricultural manpower. Farmers saw POW labor as so essential, President Truman eventually gave into pressure and kept them in the states to work in farms, canneries, and food processing plants through the fall of 1945 and into 1946 before repatriation. In all, POWs saved hundreds of acres of crops from going to waste, in Indiana and the nation.