Harsh sentences were common for minor offenses among this class. Robert Burns, the New Jersey man whose memoir inspired the Hollywood film, faced six to ten years hard labor for a robbery that netted him $5.80. The South’s transportation infrastructure and expanded industrial base was built on the backs of chain gangs. States raked in tremendous revenues by leasing prisoners to private businesses. Historically, the majority of these laborers were black, but during the Depression more poor whites found themselves swept up in the system.4
Warner Brothers was said to be the most “pro-Roosevelt” studio in Tinseltown. Its top executives were committed to the bottom line, but they were not afraid of social justice issues. I Am a Fugitive from a Chain Gang told of the destruction of the human spirit, and how Allen’s fate was sealed the moment he was thrust into the chain-gang camp. Monotony stalks the prisoners who aren’t literally worked to death. They can do nothing without asking a guard’s permission, not even wipe the sweat from their brows. Nothing better captures the soul-killing process than when the camera pans across the shackled men loaded on a truck and then turns the lens toward a pack of mules. Both herds are mindless beasts of burden. The mule was at the same time meant as a reminder of the backward sharecropper.5
As a northerner, Allen feels as if he has been thrown into alien country. He refuses to let conditions break his will. He alone among the prisoners retains the desire to escape; in time he uses his brainpower to outwit the guards. To pull off his plan, he violates a cardinal rule of the white South by soliciting help from a black convict. It is Sebastian’s superior skill with the sledgehammer that bends Allen’s ankle bracelets. Reversing the pattern set by the Thirteenth Amendment, a southern black man sets a northern white man free. It is a poignant scene. The larger message was crystal clear: the South is backward because of its failure to incorporate black men into the free-market economy.
Yet the talent and labor of poor whites is wasted too. James Allen’s fellow white prisoners are dead on the inside. “To work out, or die out,” they are told. It is the only way out. They learn to appreciate the true meaning of liberty only by watching Allen achieve it. His daring escape is accomplished not by violence but by rational planning. It proves to be a temporary success, but at least he succeeds in offering his comrades a different vision of manhood.
Allen’s dream is to be an engineer. That aspiration represented the pride Americans felt in raising the Empire State Building, one of the decade’s consummate achievements. In 1932, the same year that the film was released, the photographer Lewis Hine published a book about his time with the “sky boys,” as the skilled men who balanced on the beams and built the iconic skyscraper were known. In Men at Work, now a classic, Hine vividly portrayed the courage and imagination of the workers who left their imprint on the urban landscape. “Cities do not build themselves,” he pronounced, “machines cannot make machines, unless back of them all are the brains and toil of men.” At the age of sixty, with an established reputation for reform, the cameraman believed that life was given power through labor. What distinguished humans from beasts was the capacity to solve problems, to create anew, and to apply cognitive energy to the labor process. The quote Hine selected as his epigraph was taken from the late philosopher William James’s “What Makes a Life Significant”: “Not in clanging fights and desperate marches only is heroism to be looked for, but on every bridge and building that is going up to-day, on freight trains, on vessels and lumber-rafts, in mines, among the firemen and the policemen, the demand for courage is incessant and the supply never fails.” Manual laborers deserved the same respect as heroes on the battlefield. If a new breed of human arose when it gave labor enhanced social meaning, then the South, with its dull refusal to appreciate the value of work, remained caught in a primitive state of mind.6
If the Empire State Building, which opened in 1931, represented the highest testament to moral courage, then the tragedy that played out in Washington in the spring and summer of 1932 displayed America at its lowest ebb. Veterans of World War I formed a “Bonus Army,” some twenty thousand unemployed arriving with their hurting families and setting up a shantytown across the river from Capitol Hill. They demanded of Congress their bonus pay. “We were heroes in 1917, but we’re bums now,” said their spokesman in a plea before the House. The House passed the Pateman Bill that would issue the bonuses, but it failed in the Senate. President Herbert Hoover labeled the marchers criminals and called out the U.S. Army to disperse those that remained after the bill failed, using bayonets, tear gas, and tanks. “The most powerful government in the world shooting its starving veterans out of worthless huts,” was how John Henry Bartlett, former governor of New Hampshire, described the disturbing event in his eyewitness account.7
So this was how the image of the “Forgotten Man” was imprinted in the public mind, as I Am a Fugitive from a Chain Gang hit the theaters. Allen’s status as a bumming veteran associated him with the men of the Bonus Army. In the film, he discovers that he can’t pawn his war medal. The pawnbroker pulls out a box filled with such medals—by 1932, discarded junk, like the veterans themselves. The truth could hardly be denied. Class, as defined in terms of dignity, was increasingly insecure.
• • •
The Depression was associated with waste. Wasted lives, wasted land, human waste. The stock market crash unleashed a nightmarish downside to the much-vaunted American dream, its unpredictable and unpreventable downward mobility. The traditional marks of poverty were now appearing everywhere. There were Hoovervilles not just in Washington but at the New York City dump. St. Louis had the largest shantytown, with twelve hundred men; Chicago’s makeshift community, on order of the mayor, was burned to the ground. The poor could no longer be considered outcasts, “untouchables,” or even hoboes.8
The lines separating the poor from the working and middle classes seemed more permeable. The poor were simply men and women without jobs, and those who still had gainful employment sensed that they were at risk of experiencing the same fate. This fear was captured in Edward Newhouse’s novel You Can’t Sleep Here (1934), about a New York City Hooverville. On weekends, Newhouse wrote, hundreds came to watch the men in the shantytown as if they were, collectively, a “monkey in a cage.” Instead of looking at them with disgust, “Sunday tourists” wondered if they might be next.9
Old clichés rang hollow. Upward mobility was not a destination to be reached, nor a ladder to be scaled by diligence and hard work. In an autobiographical novel about bumming, called Waiting for Nothing (1935), Tom Kromer put it best when he wrote that his journey in life went nowhere: “What is before is the same as that which is gone. My life is spent before it started.” Long admired for his competitive spirit, in the literature of the thirties the “rugged individualist” appeared ruthless and greedy. The towering giants of the business world were now “great little men.” An investment banker from New York scoffed, “The American Standard of Living—the proudest boast of several administrations [is] the subject of international gibe.” The “City upon a Hill” lay in ruins.10
Margaret Bourke-White used her camera to express the new critical outlook. Working for Life magazine, she shot a line of somber black men and women waiting for relief. They stood before a garish billboard that featured a ruddy-cheeked, smiling family of four driving down the road in a nice car—that’s who and what hung over these real victims of an Ohio Valley flood. Irony shouted at the magazine’s readers like the slogans that blared from the cartoonish billboard image of the idealized white, middle-class family: “World’s Highest Standard of Living”; “There’s No Way Like the American Way.” By the time this provocative photograph appeared in 1937, most Americans had already come to accept the uncomfortable truth about their national situation: equal opportunity was a grand illusion. In the very same issue of Life were photographs of black men in chain gangs, shoring up levees in Tennessee.11
Bourke-White did another, similar photo essay that
year. This time her aim was to dispute the myth of the classless society. Visiting Muncie, Indiana, the city made famous in the 1929 study Middletown, the photographer questioned the idea of “typical Americans” that the community had supposedly come to represent. She angered the residents when she featured the insides of homes, contrasting a poor white hovel of “Shedtown” with the opulent parlor of one of the wealthiest families. Her critics charged that she was focused on the upper crust and “soaked bottom,” while ignoring the “middle filling” of the “community pie.” But that was her point. There was no single representative American way of life.12
The stock market’s “crash” and ensuing “Depression” invoked obvious metaphors of physical collapse. One highly cynical observer compared the bottoming out of Wall Street to a buried Egyptian tomb, “filled with the debris of delusions and false hopes.” Town and country supplied competing images of ruin: boarded-up stores and banks in ghost towns, city breadlines—both symbols of idleness. In rural settings, once-prosperous farms had either dried up or become buried in dust, and fertile fields were scarred by cavernous gullies. “Depression” was another word for what the eighteenth-century governor of Virginia called his impoverished neighbor North Carolina: a “sinkhole.”13
In the writings that suffused 1930s periodicals as well as government reports, economic failure was associated with the old notion of wasteland. When Roy Stryker was put in charge of the Historical Section of the Resettlement Administration in 1935, he hired a team of talented photographers to record images of barren land dotted with abandoned farms and long stretches of terrain destroyed by dust storms, floods, and gullies—all caused by destructive farming, irresponsible lumbering, and traditional mining techniques. In this literary and visual construction of reality on the ground, class identity was not just a slippery slope; it was closer in nature to the erratically formed, man-made furrows of the gully. People were seen in the numerous images of the FSA as scattered and anonymous, squatting along roads, worn, beaten, set adrift, washed up. The absence of active laborers conveyed its own unmistakable message—a Life story explained that it was hard to “see” depression because of “business not being done.” Documentary photographer Arthur Rothstein took a haunting picture of an Ohio farm community. Only a few buildings were visible, and there were no people present. His camera focused on a sign planted in the frozen mud, marking the identity of this unincorporated town. It read, “Utopia.”14
Arthur Rothstein’s powerful image of erosion and wasteland (1937). Here the Alabama land is scarred by massive gullies as a forlorn tenant farmer stands helplessly by his barn.
Eroded land on tenant’s farm, Walker County, Alabama (Arthur Rothstein, 1937), LC-USF34-025121, Library of Congress Prints and Photographs Division, Washington, DC
Henry Wallace, FDR’s secretary of agriculture, argued that what had always made America unique was the constant “pressing upon social resources” and the general belief in a “limitless and inexhaustible soil.” But the soil was not limitless, and the frontier was officially closed by the government in 1934. Writers of all stripes, not just agricultural experts, lamented how valuable topsoil was washing down America’s rivers, the resulting waste made worse by levees. In this way, the Depression was an upheaval that portrayed class leveling with disordered images of land erosion. The washing away of topsoil and debris was relatedly seen in the washing away of different classes of people, churned up and let loose in mass migrations caused by economic disaster. In Dorothea Lange’s An American Exodus (1939), a photo-essay book, images capture the turning of the landscape into wasteland. The middle American Dust Bowl swept up clouds of soil, and dislodged humans were driven down the road “like particles of dust.”15
Poor whites remained at the forefront of the American consciousness in the thirties. The Bonus Army’s Hooverville was an urban manifestation of the old squatter’s shack. Tenant farmers in the southern states continued to reside in run-down cabins, a highly mobile, migratory labor force that was the very antithesis of self-sufficiency. After the drought and dust bowls that hit during the middle years of the decade, “Okies” and “Arkies” captured the media. Families in old jalopies crammed with everything they owned headed west to California; en route, they set up camps along major highways. They were visible on the roads in the Golden State, taking seasonal jobs as crop pickers. As migrant workers, they called themselves “Migs,” while others labeled them “rubber tramps” or “shantytowns on wheels.” In his “Talking Dust Bowl Blues,” the legendary folksinger Woody Guthrie expressed the mobile-home theme with the lyric “I swapped my farm for a Ford machine.” Like the refugees from Arkansas who poured into Missouri during the Civil War, the Migs formed a modern-day caravan of vagrants and nomads. John Steinbeck and John Ford made this cross-country trek famous, Steinbeck in his bestselling 1939 novel The Grapes of Wrath, and Ford in his dark and disquieting 1941 Hollywood film of the same name about the Joads’ pilgrimage.16
Another chaotic migration was the “Back to the Land” movement that led to numerous rural communes. Some of these had outspoken leaders. Ralph Borsodi, who set up a subsistence homestead on the outskirts of New York City, helped to organize a cooperative village near Dayton, Ohio. Similar ventures appeared in other states. The southern journalist Charles Morrow Wilson described these folks as “American peasants,” but they are perhaps better described as the heirs of James Oglethorpe’s eighteenth-century Georgia colonists. One such group from Tulsa established a community in the Ozark hills. They founded a corporation, much like the older joint-stock companies, and adopted a set of bylaws, in which each member was a shareholder and had a vote. They sold timber, raised hogs and chickens, repaired the lumbering shanties on the property, and set up a school.17
Unlike Arkansas tenant farmers and sharecroppers, the Tulsa colonists owned the land, albeit land of little value, which lowered them to the level of subsistence farmers. The common pattern in Arkansas was different. Here, nearly 63 percent of farmers worked as tenants. The Arkies were unlike the Tulsans, many of whom were educated, willing to work collectively, and devised a plan for the future. They might be slumming as white trash and living in shanties, but when the economy improved, the city folk would return to their former lives. For them the land was a “refuge,” not a permanent source of class identity.18
The “Back to the Land” movement had a marked influence on New Deal policy. So it made sense when Milburn Lincoln Wilson, a trained social scientist and expert in agriculture, became the first director of the Subsistence Homesteads Division in 1933. The government’s goal was to give tenants and sharecroppers the resources and skills to rise up the agricultural ladder and help city folk without jobs. Like the soil, the dispossessed had to be rehabilitated. Land, he insisted, was not just a source of profit, but was part of a “well integrated democracted [sic] community,” one that knit people together by attending to the resilience of families. In Wilson’s grand scheme, the homestead community was a laboratory, a demonstration of how government could ease the impact of a flagging economy and make it possible for low-income rural and urban families to become self-sufficient homeowners. The families involved were given long-term loans so that they could buy their homes. The program contributed better housing for the unemployed while acting to humanize living conditions for poor whites.19
At its most visionary, Wilson saw rehabilitation as the process of taking stranded coal miners in abandoned towns, displaced factory workers without jobs, and tenants trapped on unproductive land and helping them all adopt a new way of life. The modern homestead of his design was a source of a genuine democracy, producing “a sturdy rather than servile citizenry.” If ever there was a proactive policy for creating the yeoman republic of Thomas Jefferson’s imagination, this was it.
It was inevitable that poor southerners became a greater concern for the agency. Wilson directed attention to the South’s one-crop system and “rural slum areas” in t
he countryside, which guaranteed the pernicious cycle of poor white and black sharecroppers’ poverty from one generation to the next. Two-thirds of the nation’s tenant farmers were in the South, and two-thirds were white. These facts cannot be overstated. The agricultural distress of the Depression exposed the South’s long-standing dependence on submarginal land and submarginal farmers.20
In this way, the federal government drew national attention to the South’s oppressive class environment. The homestead became a symbol of class security, sustenance, and normalcy. In 1935, the Subsistence Homesteads Division produced a pamphlet that contrasted West Virginia coal miners’ dark and dismal shacks with bright new homesteads (portrayed through a published image of children playing outside on grass). A year later, the President’s Committee on Tenancy made the point clearer by comparing the rungs of the agricultural ladder to prison bars. Tenancy was a cage, class status a jail. Chains tied poor whites to rotten soil and locked them away in abysmal shacks that weren’t really homes at all. There was more than one chain gang in the South.21
Arthur Raper, one of the leading authorities on tenancy in the South, explained conditions in his 1936 study Preface to Peasantry. Most southern tenants were in debt to landlords, had little cash, no education; hookworm and pellagra still haunted them. Unlike the fugitive James Allen, they had no place to run. Rarely did poor whites stay on a single plantation for more than two or three years; in the winter months, they could be seen filling carts with their children and their junk and moving on. This annual phenomenon of southeastern tenant dispersion was already occurring before the mass western exodus of Okies and Arkies.22
The entire tenant system operated by coercion and dependence. Landowners did not want their tenants to improve, because then they would have less control over them. A hungry worker was the best worker, or so many southern cotton growers believed. No one—neither tenants nor their landlords—had any problem making children and women work in the fields. For all the above reasons, then, education remained crucial to the subsistence homestead program. Prospective clients required not only guidance in modern agricultural practices, but also schools, churches, and training in the methods of home food production. Wilson introduced a psychological element often lacking in traditional forms of charity. For poor whites, this meant they had to overcome the feeling that they were “just trash,” a breed lacking the capacity for change. The homestead program would prove above all that poor whites were completely normal people.23
White Trash Page 27
