Tag: World War II

Braceros in the Corn Belt Part One: Secretary Wickard & the Myth of the Agricultural Labor Shortage in WWII

In 1942, headlines in Indiana newspapers warned:

“Acute Labor Shortage Perils Midwest Farms”
–(Valparaiso) Vidette-Messenger of Porter County

but also

“No Labor Shortage”
– Indianapolis Recorder

So which was it? An acute labor shortage endangering the farms of the corn-belt, and in turn, the country’s war production? Or no labor shortage at all? The answer is surprising and continues to impact policy today.

John Vachon, “Wheat,” photograph, 1941, Farm Security Administration Photographs, IUPUI University Library, http://ulib.iupuidigital.org/cdm/ref/collection/IFSAP/id/562

The Agricultural Front

Just before U. S. entry into the Second World War, large farming and agricultural processing companies—which had become dependent on the cheap labor that was abundant during the Great Depression—warned of an impending labor shortage. They claimed that there was not a sufficient number of workers available to fill the positions left behind by the men enlisting in the armed forces, or by the men and women who left the farm for war-related industrial work.

At the same time, with the introduction of President Roosevelt’s Lend-Lease program (which lent food and supplies to Great Britain and its allies), the U.S. needed to produce more agricultural products than ever before. The battle on the agricultural front would need a larger number of agrarian soldiers. Indiana newspapers worried over how Hoosier farmers would meet production goals as their sons left for the “army camps” and “defense industrial plants.” The Muncie Post Democrat continued:

Now that the sons are gone, the farm operators find it impossible to compete with industrial labor wages for help. This may result in many acres uncultivated this season . . . This condition rates as serious when food production is important in the defense program.

In spring 1942, Purdue University reported that “anticipated shortages of farm labor, resulting from enlistments in the armed forces and attractive industrial wages, have not developed.” However, as the year went on, Indiana newspapers became more frantic in tone. They reported that farmers were selling acreage and animals because they could not find farm hands to help with the work. The weekly industry newspaper, the Prairie Farmer, surveyed eighty-one midwestern counties and reported that  three-fourths of them “were found to be suffering from a shortage of farm hands.”

“Farmers on the Carlin Farm, Monroe Township, Kosciusko County, Ind.,” 1949, Collection of Elaine (Carlin) Brown, Pierceton and Washington Township Library, accessed Indiana Memory.

Indiana Canneries and the “Labor Shortage”

By the fall of 1942, large Indiana agricultural businesses joined the national cry of “labor shortage.” Indiana newspapers gave extensive coverage to the professed concerns of the tomato canning industry.  The Muncie Evening Press ran the headline: “Labor Shortage Hits Tomatoes: Cannery Shutdowns and Crop Losses Threaten.”

The article reported that the “acute war-born labor shortage” would close a dozen canneries and that “picked tomatoes awaiting processing [were] lying idle and periled by rotting.” State government officials and the Indiana Farm Bureau spoke on behalf of the canneries and appealed to local men and women to go to work at the plants. Hasil E. Schenck, president of the Indiana Farm Bureau, stated:

Reduced farm production will be no reflection on the patriotism of farmers, for without manpower they can not produce food and fiber any better than industry can produce ships, tanks and guns without steel.

Indiana Governor Henry Schricker issued “an appeal to housewives and all others available to apply for work at the nearest cannery.” The Evening Press reported that the canneries were already employing WPA workers and were calling for women “peelers” and for school children “packers” to volunteer their services.

“Can label for IT brand Indiana tomatoes packed by R. W. Jones Canning Corporation,” n.d., Trade Catalogs for Indiana Businesses, Digital Images Elkhart Public Library, Auburn Indiana, https://digital.library.in.gov/Record/ISL_p16066coll3-21.

Yes, volunteer. These industry giants, many of whom had profitable government contracts, were asking for women and children to freely donate their labor. A few days after the call for volunteers went out, the Elwood Call-Leader praised the response of school staff and students in the Madison County area while rebuking the “apathetic and uncooperative” attitudes of local women—women who likely had increased workloads at home because of the war effort. According to the article, employment service and local government officials complained that “despite all appeals that have been made throughout the past week, many . . . women still do not realize the seriousness of the situation and are not willing to work, even [though] they are needed only to get through the brief critical period the industry is now facing.”

The Call-Leader added that army officials were “alarmed at the situation” and were “making a check to see whether the army will be able to get the tomatoes it has ordered.” The canneries’ message was clear. Without cheap or free labor, American boys on the front would go without food. Like corporations across the country, Indiana businesses began to demand that the government supply them with an inexpensive source of labor.

African American Newspapers and the “Labor Shortage”

And yet, African American newspapers saw “no labor shortage.” The Indianapolis Recorder reported that the companies need only to “hire negroes.” The Recorder, continued:

Nobody has yet proved there is a labor shortage in this country. . .  There is no need to work a few workers to death while others walk the streets hungry, seeking work. There are still enough qualified workers in this country to allow employers to continue their discrimination against workers because of the race, religion, and nationality of such workers.

Indiana’s African American newspapers reported that thousands of African Americans were looking for work and were willing to travel great distances to take jobs, but employers didn’t want them. For example, in November 1942, the Indianapolis Recorder and the Evansville Argus reprinted a report from Graphic Magazine that 3,000 African American men left “the Deep South” at the request of California farmers for help saving the harvest. When they arrived “there were no jobs for them!”

Graphics Magazine, reprinted as “Editors Expose Abuse of Negro Labor,” in Evansville Argus, October 31, 1942, 4, accessed Hoosier State Chronicles and Indianapolis Recorder, November 14, 1942, 9, accessed Hoosier State Chronicles.

The Labor Shortage Myth

The observations of the African American newspapers were correct. There was no labor shortage that the federal government could not meet with domestic workers. However, the myth of the labor shortage had its own power.

Over the previous decade, the Great Depression created a large surplus of workers seeking employment. In 1941, the Department of Agriculture and the Department of Labor reported that farmers had “come to consider this over supply as the normal supply, and to consider any reduction in the surplus supply as a shortage.” These departments concluded, however, that all of the shortages, perceived or real, could be met by moving surplus domestic workers into the areas of need. The catch, however, was that the balanced supply of available workers and demand for their labor required employers to pay a fair wage for agricultural labor.

Spencer Douglass Crockwell, “Work On A Farm This Summer,” poster, 1943, United States Office of War Information, Print Department Collection, Boston Public Library, accessed Digital Public Library of America

A remarkably organized effort of the Farm Security Administration (FSA) and the U. S. Employment Service (USES) was prepared to deal with any real “pockets of labor scarcity.” They expanded the New Deal migratory camp program, setting up permanent and mobile camps around the country to bring American workers across the country for harvests. However, because employers had to pay more reasonable wages, they still complained of shortage. In fact, they cited higher wages as evidence of a shortage.

Statistics from the Indiana division of the U.S. Employment Service show that Indiana’s available labor pool reflected the national situation. J. Bradley Haight, the Director of the U.S. Employment Service (USES) in Indiana estimated in 1942 that there were “100,000 individuals in the state seeking employment. He stated, “The job insurance division issued checks to 40,000 persons. This represents a reservoir of labor which is to be tapped.” However, the large growers, dependent on cheap labor, continued to cry shortage even as they were provided with workers by the FSA and USES—workers that they didn’t want to employ because of racial prejudice or unwillingness to pay a fair wage.

So these wealthy, powerful, and organized growers and processors of agricultural commodities demanded that the federal government respond to their manufactured labor shortage by importing foreign workers. The government quickly gave in to their demands. History professor Cindy Hahamovitch, writing for the Center for Immigration Studies, summarized the government’s response to the labor myth:

The officials who created the guestworker program never believed there was a national labor shortage in agriculture. . . They created the importation program, not because it was necessary, but because it was politically expedient to do so, because the nation’s most powerful growers were demanding the preservation of the cheap, plentiful, and complacent labor force to which they had become accustomed over the previous 20 years of agricultural depression.

The federal government complied because the myth was persuasive. A false labor shortage would have the same effect on agricultural production as a real one. No amount of statistics or economic reports could allay the fears of farmers worrying if sufficient help would be available at harvest time. Therefore, farmers anticipating a lack of aid and picturing their produce rotting in the fields, would plant less, and the country wouldn’t meet its production goals—just as if there was a real labor shortage.

Despite their best efforts to meet the real pocket labor shortages with domestic workers and their distribution of reports on the available domestic labor pool, the federal government needed to allay the small farmer’s growing fear of a massive shortage. By 1942, the Roosevelt administration was cornered into responding to the shortage myth by importing foreign workers. As Congress tore apart the Farm Security Administration and its program of migrating workers to areas of need, U. S. Secretary of Agriculture, Claude R. Wickard, left for Mexico to negotiate a deal that would affect agricultural and immigration policy for decades.

Hoosier Dirt Farmer as U. S. Secretary of Agriculture

Claude R. Wickard was a Hoosier dirt farmer through and through. He was born in 1893 and raised in Carroll County on his family’s farm. His father, a staunch democrat named for Andrew Jackson, was a strict disciplinarian who raised his son with every expectation that the farm was his present, future, and legacy. The younger Wickard, however, grew ambitious. He saw that the farm could be more productive and efficient with the application of modern methods. Against his father’s wishes, he enrolled in classes at Purdue, where he learned about scientific farming and got hands-on experience with sanitary hog care and breeding. He soon vastly improved the farm and received recognition from farming organizations as a leader in modern farming methods. His influence in local Farm Bureau organizations grew in the 1920s and he advanced to several leadership positions where he took on the challenges of his fellow farmers.

“Secretary of Agriculture Wickard Tours the Family Farm…” in Dean Albertson, Roosevelt’s Farmer: Claude R. Wickard in the New Deal (New York and London: Columbia University Press, 1961), 82. [Claude Wickard on left]
Beginning at Purdue and continuing throughout his career, Wickard remained focused on rural social justice and “the farm problem.” To Wickard, social justice for rural folks meant that farmers should have equal buying power as urban workers. The inextricably related farm problem was what economists called a parity problem, that is, the prices farmers received for their products was not in balance with their expenses. Wickard, like many leaders of the New Deal, spent his early career trying to figure out how the state and federal government could achieve parity for farmers by solving the problem of overproduction.

By 1930, several factors made Wickard a prime political candidate. First and foremost, while most Indiana farmers were Republicans, Wickard was born into a staunchly Democratic family and remained loyal to the party despite the fact that the national party had not prioritized rural concerns through the 1920s. Thus, Wickard was one of the few farmers with influence in the Farm Bureau and other organizations who was also a Democrat. Second, Wickard’s embrace of scientific farming ideas made him open to production control as a method to achieving parity for farmers. Most farmers, who were already barely making ends meet while operating their farms at full production could not imagine cutting down on output. Wickard, however, could see that farmers needed help from the federal government to make the drastic, nationwide economic shift required to give them the same standard of living as the urban people they fed. This way of thinking aligned with the ideas of the men who would soon take over leadership of the nation. Wickard was poised to join them.

His political career began modestly. A group of county organizers convinced him to run for a state senate seat and he reluctantly agreed. Wickard stated in an interview:

I didn’t like politics . . . [but] like all other things, sometimes you’ve got to make your contributions to your community and to the Democratic Party . . . I had a feeling of responsibility toward my fellow citizen.

Wickard was elected state senator November 8, 1932 as Democrats swept elections across the country and Franklin Delano Roosevelt won the U. S. presidency.

In May 1933, the Agricultural Adjustment Act took effect and farmers saw that the new administration recognized their plight. The Agricultural Adjustment Administration (AAA or Triple-A), a division of the Department of Agriculture, was tasked with creating parity through taxing companies that used agricultural produce and decreasing production. Wickard was quickly elected chairman of the Corn-Hog Section of the Indiana Triple-A. He soon became the Assistant to the Chief of the National Corn-Hog Division, and in July 1933 Wickard went to Washington.

When he arrived in Washington as second in command of the Corn-Hog Section of the AAA, he was overwhelmed by the job. In his own words, Wickard was “just a farmer” and had to work to understand the complex economic issues the administration faced. And he got frustrated with the pace of bureaucracy. However, he was likeable, earnest, easy to work with, and his ideas about parity aligned with those of Henry Wallace, the Secretary of Agriculture. Most important to Wickard’s rise, however, was that he was known as a loyal Democrat and commanded the respect of midwestern farmers.

When the Department of Agriculture reorganized by region, as opposed to commodity in 1936, Wickard became Assistant Director of the North Central Division. By this point, Wickard was on Wallace’s radar and the secretary saw potential in the Hoosier dirt farmer. Wallace later noted that Wickard was rare in a department of apolitical technocrats and subject experts in that he was actually a Democrat. Wallace stated: “He was about the only one of the whole crowd in agriculture that had any claim to being a democratic politico.” In the fall of 1936, Wallace brought Wickard with him as he stumped for FDR throughout the Midwest. When FDR won reelection, Wickard continued to make himself useful to Wallace at the USDA and was quite successful and well-liked in  his division.

“A Speech to the Nation,”  in Dean Albertson, Roosevelt’s Farmer: Claude R. Wickard in the New Deal (New York and London: Columbia University Press, 1961), 340.

In January 1940, Wallace recommended Wickard to FDR for the position of Undersecretaty of Agriculture. After making sure he was not aligned with Roosevelt’s Hoosier adversary Paul McNutt, the president agreed. Wickard was sworn in February 29, 1940. He served less than six months before Wallace resigned as Secretary of Agriculture to run as FDR’s vice president. Wallace recommended Wickard to succeed him and Wickard was sworn in as the U. S. Secretary of Agriculture September 1940.

Wickard, The Labor Issue, and The Bracero Program

With much of Europe dependent on U.S. agricultural production, the Secretary of Agriculture’s job was even more important than in peace time. Meeting war production goals was paramount. Wickard faced many challenges, among them, the increasing claims of a labor shortage.  In December 1941, Wickard testified before the U.S. House of Representatives Agriculture Committee:

The farm labor shortage is not as serious as generally believed. Farm production has suffered, of course, from the loss of farm hands who have been drafted or got higher pay in defense plants. But the situation is not alarming.

While he downplayed the labor shortage claims, he did make it clear that farmers would “have to pay more for their help” than they had before the war stimulated the economy and reduced the labor surplus. As the earlier examination of newspaper articles has shown, this was not an option many corporations were willing to consider.

Less than a year later, Wickard had changed his approach to the issue. The (Richmond) Palladium-Item reported :

Secretary of Agriculture Wickard warned that the United States would face a food shortage unless it quickly solves the problem of manning the farms. He estimated the armed forces and factories may drain off approximately 2,000,000 farm workers by the end of 1942 in addition to those who have already gone.

By this point, it seemed like Wickard was treating the labor shortage claims as a legitimate threat to production goals. However, this same Palladium article still noted that “the most mentioned causes” of the shortage “were high wages.” Even at the peak of industry claims of a labor shortage, the crux of the issue was still that companies would “have to pay more for their help,” as Wickard told the House in 1941.

“Photograph [of Wickard] used for a newspaper owned by the Oklahoma Publishing Company,” 1946, Oklahoma Publishing Company Photography Collection, Oklahoma Historical Society, accessed Gateway to Oklahoma History.
While Wickard described his understanding of complex economic issues as limited and his progress in grasping what his statistician colleagues reported as slow and labored, he deeply understood and cared about agricultural issues and maintained a strong moral decision-making process throughout his career. Like most government officials with access to labor statistics, Wickard would have known that, while there was no labor shortage, a fictional labor shortage was just as dangerous to the war effort. It is, however, possible that his tenuous grasp of complex economic issues meant that he thought the shortage was real. (His biographer Dean Albertson implies the second). Wickard’s career record shows that he would not have acted to address the labor shortage had he not believed it was the best thing for the American people. There are many instances during his career when a different vote or decision would have furthered his political career, but he did what he believed to be the right thing for American farmers.*

Dorthea Lange, “Braceros,” ca. 1942, photograph, Oakland Museum of California, accessed Online Archive of California.

Tasked with addressing the issue, Wickard left for the Second Inter-American Conference on Agriculture in Mexico City early in July 1942, to make a deal that would import Mexican workers and ensure the United States met its production goals. Several agencies were involved in creating a plan to import Mexican agricultural workers, but it was Wickard who was responsible for negotiating an agreement between the interests of the Mexican government, the United States government, American farmers, labor organizations, and large farming and processing conglomerates.

Mexican Secretary of Foreign Affairs Evequiel Padilla Peñaloza was reluctant to agree because of U.S. exploitation of and discrimination against Mexican workers in the past. Padilla insisted that any agreement include a number of guarantees for the rights of braceros. Padilla demanded Mexican workers receive the same guarantees of wages and working and living conditions as American workers. Wickard agreed to a minimum wage and work and living standard. However, there were no such guarantees for American workers. Thus, as labor organizations were quick to point out, these workers were guaranteed, at least in theory, more protection by the U. S. government than domestic farm laborers. After ten days of negotiations Wickard formalized the agreement August 4, 1942. In less than a year’s time, Indiana farms were benefiting from foreign labor. Hoosier response to these guest workers was mixed.

In Part Two of this post we will look at the stories of these farmers and foreign workers as told through Indiana newspapers:

Further Reading:

Albertson, Dean. Roosevelt’s Farmer: Claude R. Wickard in the New Deal. New York: Columbia University Press, 1961.

Bracero History Archive. Roy Rosenzweig Center for History and New Media, George Mason University, Smithsonian National Museum of American History, Brown University, and the Institute of Oral History at the University of Texas El Paso, http://braceroarchive.org/

Collingham, Lizzie. The Taste of War: World War II and the Battle for Food. New York: Penguin Books, 2011.

Claude R. Wickard. State Historical Marker. Indiana Historical Bureau, https://www.in.gov/history/markers/4420.htm

Craig, Richard B. The Bracero Program: Interest Groups and Foreign Policy. Austin: University of Texas Press, 1971.

Hahamovitch, Cindy .”The Politics of Labor Scarcity: Expediency and the Birth of the Agricultural ‘Guestworkers’ Program,” Report for the Center for Immigration Studies, December 1, 1999, accessed https//cis.org/Report/Politics-Labor-Scarcity.

Hurt, Douglas R. American Agriculture: A Brief History. Ames, IA: Iowa State University Press, 1994.

Pride and Pollutants: Federated Metals

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.

“Hammond Plant Makes Various Metal Alloys,” The Times (Munster), June 13, 1949, accessed Newspapers.com.

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.

Cpl. Glen Kirkman transporting war material from Federated Metals Whiting location on Indianapolis Blvd. to the company’s Chicago headquarters, The Times (Munster), June 19, 1945, accessed Newspapers.com.

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.

Drums at Federated Metals’s Whiting-Hammond plant, The Times (Munster), January 9, 1949, accessed Newspapers.com.

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.”

Deputy Coroner Dr. Richard H. Callahan, The Times (Munster), January 20, 1949, accessed Newspapers.com.

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.

The Fort Wayne Visiting Nurse League

Josephine Shatzer, first paid nurse, image courtesy of Visiting Nurse Archives.

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.”

Nurse with a Ford Model T purchased in the 1920s, so that nurses could more efficiently reach patients, image courtesy of Visiting Nurse Archives.

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.

Fort Wayne Daily News, September 29, 1900, 5, accessed Newspapers.com.

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.

Nurse treating a young burn victim, image courtesy of Visiting Nurse Archives.

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.

Nurse visiting a patient, likely just after World War II, image courtesy of Visiting Nurse Archives.

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.

Before It Was Legal: a black-white marriage, 1945-1987

Photograph from Nancy Poling’s personal collection.
  •  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.

The Richmond Item, August 30, 1935, 11, accessed Newspapers.com.

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.

Daniel working at International Harvester, courtesy of Nancy Poling’s personal collection.

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.

Learn more about the struggles Daniel and Anna faced as a biracial couple in Before It Was Legal: a black-white marriage (1945-1987), available wherever books are sold.

* Daniel died five months after the interview; Anna is also deceased.

Bertita Carla Camille Leonarz de Harding: Jewels, War, and Writing in Indianapolis

Bertita Harding
“Bertita Harding Is Satisfied With Movie Based on Her Book,” Indianapolis News, June 5, 1939, accessed Newspapers.com

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.

Chapultepec castle, courtesy of the National History Museum.

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.'”

Ill-fated royal couple Empress Carlota and Emperor Maximilian, photographic print on carte de visite mount, created ca. 1864-1880, courtesy of the Library of Congress.

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.'”

Juarez promotional material, accessed IMDb.

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 the House 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.'”

Jack Harding
Lt. Col. Jack Harding, Indianapolis News, August 10, 1944, accessed Newspapers.com.

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.”

“A Satirist with a Heart, a Moralist with a Whoopee Cushion:” Kurt Vonnegut in Indiana

Kurt Vonnegut Jr., “The Annual,” Shortridge High School Yearbook, 1940, accessed Indy Public Library.

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’s childhood home in Indianapolis at 44th and Illinois streets, courtesy of Century 21 Sheetz, accessed Indianapolis Monthly.

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.

Vonnegut-Mueller cottage, pictured in an 1898 edition of the Culver City Herald, accessed Culver-Union Township Library.

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.

Kurt Vonnegut Jr. next to Madelyn Pugh, headwriter of I Love Lucy, “The Annual,” Shortridge High School Yearbook, 1938, accessed Indy Public Library.

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.

Fall out from the Dresden bombing in 1945, courtesy of Walter Hahn/Library of Congress, accessed theAtlantic.com.

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.

Advertisement for book signing, Indianapolis News, May 1, 1969, accessed Newspapers.com.

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)!

Kurt Vonnegut mural in Indianapolis, courtesy of Flickr, accessed National Endowment for the Arts.

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.

Reeling in the Legend: A Quick Dive into the Creek Chub Bait Company

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.

Creek Chub Wiggler. Courtesy Fin & Flame Vintage Fishing Tackle.
#2009 Creek Chub Darter in Greenback. Courtesy Dr. Harold E. Smith, Collector’s Encyclopedia of Creek Chub Lures & Collectibles, 2002, page 73.

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.

Creek Chub’s famous #700 Pikie, first introduced in 1920. Courtesy Dr. Harold E. Smith, Collector’s Encyclopedia of Creek Chub Lures & Collectibles, 2002, page 65.

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.

Dills’ 1915 patent application featuring the addition of a metal lip to fishing lures. Courtesy United States Patent Office via Google Patents.

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 . . .”

Dills’ 1918 patent application for the addition of imitation scales to improve the appearance of artificial lures. Courtesy United States Patent Office via Google Patents.

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.

Image: Dr. Harold E. Smith’s Collector’s Encyclopedia of Creek Chub Lures & Collectibles, 2002, page 279. In 1932, George Perry caught the world record largemouth bass in Lake Montgomery, Georgia using Creek Chub’s Perch Scale Wigglefish. The record stood for over seventy-five years. On July 2, 2009, Manabu Kurita caught a largemouth bass in Lake Biwa (Japan) tying Perry’s record of 22 lbs. 4 oz. According to articles in the Indianapolis Star in 2014, the International Game Fish Association took six months to verify the record. It became official on January 8, 2010.
Hunter Trader Trapper, June 1922, page 123. Courtesy Google Books.
Zoomed in letter from George McWilliams submitted to Hunter Trader Trapper, June 1922, page 123.

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.

Employees apply a scale finish to the lure bodies by spray painting through netting. Courtesy Dr. Harold E. Smith,  Collector’s Encyclopedia of Creek Chub Lures & Collectibles, 2002, page 27.

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.

Painting eyes on Creek Chub lures. Courtesy Dr. Harold E. Smith, Collector’s Encyclopedia of Creek Chub Lures & Collectibles, 2002, page 28.

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.

Creek Chub Bait Company in Garrett, Indiana. Courtesy the Garrett Historical Society.

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.

1931 Creek Chub catalog. Courtesy Old Fishing Lure.

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.

Creek Chub Victory Bomber lure introduced in 1942. Courtesy Fin and Flame Vintage Fishing Tackle.

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.

Popular Mechanics, May 1962, p. 204. Courtesy Google Books.

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.

Courtesy Russell Lewis, Classic Fishing Lures: Identification and Price Guide, 2005, page 38, via Google Books.

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.

[Muncie] Star Press, April 6, 1979. Courtesy Newspaper.com.
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.

[Des Moines] Register, September 16, 1979. Courtesy Newspapers.com.
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.

Courtesy Traces of Indiana and Midwestern History (Summer 2002), page 20.

“Blacks Must Wage Two Wars:” The Freeman Field Uprising & WWII Desegregation

Registration at Freeman Field in 1944, courtesy of the Indiana State Archives.

In 1945, at Freeman Field 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.”

Indianapolis Recorder, April 7, 1945, accessed Hoosier State Chronicles.

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.

Freeman Field Airport and Industrial Field, 1947, Indiana Historical Society, Digital Images Collection.

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.

Officers, Tuskegee Army Air Field, Alabama, circa March 1945, Clanin Collection, M0783, Box 3, Folder 68, Indiana Historical Society.

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.”

Quentin P. Smith (center) with honor graduates of Class 45-A, Tuskegee Army Air Field, Alabama, circa March 1945, Clanin Collection, M0783, Box 3, Folder 68, Indiana Historical Society.

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.”

Administrative reprimand of Smith by Selway, courtesy of Clanin Collection, M0783, Box 38, Folder 3, Indiana Historical Society.
Roger C. Terry, courtesy of indianamilitary.org

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, non-violent protests, as well as the violence against returning black servicemen, likely 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.'”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Further reading:

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

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

Norman Norell: Dean of American Fashion

Norman Norell with models wearing Traina-Norell designs from his spring/summer 1949 collection. Image courtesy of New School Archives and Special Collections Digital Archives.

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 attending 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.

Gloria Swanson in “Zaza.” Norman Norell designed the costumes for Swanson in this 1939 silent film. Photo courtesy of “Glorious Gloria Swanson.”

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 Traina to form Traina-Norell in 1941.

Although he was a salaried employee of Traina, 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.

Cover of January 1942 edition of VOGUE. This, their first issue after US entry into WWII, addressed the changes fashion experienced due to the war. Image: Mason, Meghann, “The impact of World War II on women’s fashion in the United States and Britain” master’s thesis, University of Nevada, Las Vegas, 2011.

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. Wartime 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. Manufacturers 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.

Norman Norell design “Subway” from the 1942 Traina-Norell collection. This piece is an example of Norell’s war time work, with the simple neck and sleek, waist-less design he helped popularize. Image courtesy of Metropolitan Museum of Art.

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.

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In 1960, Anthony Traina retired, and Norell began his solo career 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.

Former First Lady, Michelle Obama, wearing a Norman Norell dress in 2010.

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. 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.