Categories
1860s Family Farm life Food Harvest Short Story

How the Indian Corn Grows

How the Indian Corn Grows

By Jane Andrews
Annotations by josh benjamin
Henry Ward Ranger. The Cornfield. Oil on canvas, n.d. Smithsonian American Art Museum and its Renwick Gallery, Washington, D.C.

THE children came in from the field with their hands full of the soft, pale-green corn-silk. Annie had rolled hers into a bird’s-nest, while Willie had dressed his little sister’s hair with the long, damp tresses, until she seemed more like a mermaid, with pale blue eyes shining out between the locks of her sea-green hair, than like our own Alice.

They brought their treasures to the mother, who sat on the door-step of the farm-house, under the tall, old elm-tree that had been growing there ever since her mother was a child. She praised the beauty of the bird’s-nest, and kissed the little mermaiden to find if her lips tasted of salt water; but then she said, “Don’t break any more of the silk, dear children, else we shall have no ears of corn in the field, — none to roast before our picnic fires, and none to dry and pop at Christmas time next winter.”

Now the children wondered at what their mother said, and begged that she would tell them how the silk could make the round, full kernels of corn. And this is the story that the mother told, while they all sat on the door-step under the old elm.

“When your father broke up the ground with his plough, and scattered in the seed-corn, the crows were watching from the old apple-tree; and they came down to pick up the corn; and indeed they did carry away a good deal ; but the days went by, the spring showers moistened the earth, and the sun shone, and so the seed-corn swelled, and, bursting open, thrust out two little hands, one reaching down to hold itself firmly in the earth, and one reaching up to the light and air. The first was never very beautiful, but certainly quite useful; for, besides holding the corn firmly in its place, it drew up water and food for the whole plant; but the second spread out two long, slender green leaves, that waved with every breath of air, and seemed to rejoice in every ray of sunshine. Day by day it grew taller and taller, and by and by put out new streamers broader and stronger, until it stood higher than Willie’s head; then, at the top, came a new kind of bud, quite different from those that folded the green streamers, and when that opened, it showed a nodding flower which swayed and bowed at the top of the stalk like the crown of the whole plant. And yet this was not the best that the corn plant could do, — for lower down, and partly hidden by the leaves, it had hung out a silken tassel of pale, sea-green color, like the hair of a little mermaid. Now, every silken thread was in truth a tiny tube, so fine that our eyes cannot see the bore of it. The nodding flower that grew so gayly up above there was day by day ripening a golden dust called pollen, and every grain of this pollen — and they were very small grains indeed — knew perfectly well that the silken threads were tubes; and they felt an irresistible desire to enter the shining passages and explore them to the very end; so one day, when the wind was tossing the whole blossoms this way and that, the pollen-grains danced out, and, sailing down on the soft breeze, each one crept in at the open door of a sea-green tube. Down they slid over the shining floors, and what was their delight to find, when they reached the end, that they had all along been expected, and for each one was a little room prepared, and sweet food for their nourishment; and from this time they had no desire to go away, but remained each in his own place, and grew every day stronger and larger and rounder, even as Baby in the cradle there, who has nothing to do but grow.

Henry Ward Ranger. Untitled. Watercolor, 1883. Smithsonian American Art Museum, Washington, D.C.

“Side by side were their cradles, one beyond another in beautiful straight rows; and as the pollen-grains grew daily larger, the cradles also grew for their accommodation, until at last they felt themselves really full of sweet, delicious life; and those who lived at the tops of the rows peeped out from the opening of the dry leaves which wrapped them all together, and saw a little boy with his father coming through the corn-field, while yet everything was beaded with dew, and the sun was scarcely an hour high. The boy carried a basket, and the father broke from the corn-stalks the full, firm ears of sweet corn, and heaped the basket full.”

“O mother!” cried Willie,“ that was father and I. Don’t you remember how we used to go out last summer every morning before breakfast to bring in the corn? And we must have taken that very ear; for I remember how the full kernels lay in straight rows, side by side, just as you have told.”

Now Alice is breaking her threads of silk, and trying to see the tiny opening of the tube; and Annie thinks she will look for the pollen-grains the very next time she goes to the cornfield.

Andrews, Jane. “How the indian corn grows.” Our Young Folks 1, No. 10 (October 1865): 630-31.
Contexts

This story, while not about large-scale agriculture, did come at a time when the strength of farming in several northern states helped buoy U.S. Civil War efforts. At the start of the war, Indiana, Illinois, Wisconsin, and Iowa were seeing incredible growth in crop production, including wheat, corn, and oats. Plentiful domestic food sources were situated in the north, far from the fighting. The abundance also helped maintain U.S. economic importance for Europe as the Confederate States’ cotton exports dwindled. For more information on the economics of U.S. agriculture during the Civil War, see this paper by Emerson D. Fite.

Resources for Further Study
Contemporary Connections

Organizations like Native Seeds/SEARCH and Native American Food Sovereignty Alliance seek to preserve heirloom seeds and plants as part of larger missions involving food security and sovereignty for Native Americans. Corn is one of the important foods in these efforts, which presents a different philosophy than what makes corn the largest industrial farm product in the U.S. — an industry that supports animal farming, ethanol production, and processed foods.

Categories
1910s African American Autobiography Essay Family Farm life Sketch

How I Grew My Corn

How I Grew My Corn

By Helen Stevenson
Annotations by Rene Marzuk
Charles E. Burchfield. Sunlight on Corn. Watercolor on paper, 1916, Burchfield Penney Art Center, Buffalo State College, NY. Public domain.

In the year 1914 all the children schools of Cumberland county, N. J., were given the privilege to enter a contest. The girls were to sew, patch or bake and the boys to grow corn or sweet potatoes.[1] As I liked to work out of doors I entered the corn contest. The rules were that the boys should do all the work themselves; the girls were to do all except the plowing. We were to have one-tenth of an acre and find our own seed.

When I first asked my father for a piece of ground he said, “I can not spare it.” But at last he consented to give me a plot next to the woods, if I could get one-tenth of an acre from it.

One night after school I went down and measured off my ground. On the nineteenth of May I took my old friend, Harry (the horse), whom I had worked in the field before, and went down to my farm, as I called it. There I worked until I had an even seed bed, after which I marked it out and fertilized it. On the next day I planted my corn putting three grains in a hill and covering it with a hoe.

I paid it daily visits and when it was about two inches high I replanted it and hoed the hills which were up. From then on I hoed and cultivated my crop and kept it free from grass until it grew too large to be attended. As it was a dry season that year, the stalks next to the woods did not grow to their full height.

I also had visitors to come and see my corn. This gave me more courage to go on as all the other girls and boys in Fairfield township had given it up. Mother and father had also tried to discourage me, but I kept on.

I did not cut it down until November. I then measured my highest stalks which were from fifteen to sixteen feet. On the day before the contest I stayed home to get my corn ready. Mother and father coaxed me not to take it away, but I did.

After selecting ten of my largest and best ears of corn, I put them in a basket and went to Bridgeton with one of my neighbors, as father would not take them. After arriving in town I carried my corn up to the Court House.

The next day I went to school and in the afternoon my teacher received a telephone message which said I had won a prize. I was very happy indeed; mother and father were surprised.

On Saturday went to the Bridgeton Library annex where things were being exhibited and saw my corn with a prize tag on it which made me feel very proud. I then went to the Commercial League room where the prizes were distributed. I received my prize and went home very happy and full of courage to try again.

The amount I cleared for my corn was $12.00–$5.00 for my fodder, $4.00 for my seed and $3.00 for my prize.

I am going to try again this year and I think all boys and girls who have the privilege of learning to farm should do so–for there is nothing better than life on a farm.

STEVENSON, HELEN. “HOW I GREW MY CORN.” THE CRISIS 8, NO. 6 (OCTOBER 1914): 273-74.
Cover of the State of New Jersey’s Department of Public Instruction’s Leaflet No. 3: Corn Growing (1914).

[1] In February, 1914 the Department of Public Instruction from Trenton, N.J. published an elementary agriculture manual on corn growing. This document’s foreword references “the widespread interested aroused at the present time by the organization of ‘Corn Clubs’ [that] makes a study of corn one of the best ways of introducing agriculture in the elementary grades of the public schools of the State.” The section “Suggestions for Girls’ Participation in the Study of Agriculture” speaks directly to Helen Stevenson’s experience: “The girls may do exactly the same work as the boys . . . Not a few girls will prefer this plan and some of our girls have grown corn quite as successfully as boys.”

Contexts

Starting in 1912, the October issues of The Crisis, the official magazine of the NAACP, were dedicated to children. A typical edition of these children’s numbers would contain a special editorial piece and two or three literary works specifically for children, while still including the serious pieces about contemporary issues with a focus on race that The Crisis was known for. These October numbers were sprinkled with children’s photographs sent in by the readers.

In his first editorial for the Children’s number in 1912, W. E. B. Du Bois wrote that “there is a sense in which all numbers and all words of a magazine of ideas myst point to the child—to that vast immortality and wide sweep and infinite possibility which the child represents.”

The success of The Crisis’ children’s number led to the standalone The Brownies’ Book, a monthly magazine for African American children that circulated from January 1920 to December 1921 under the editorship of Du Bois, Augustus Granville Dill, and Jessie Fauset.

Definitions from Oxford English Dictionary:

fodder: Food for cattle, horses, or other animals.

Resources for Further Study
  • After the Civil War (1861-1865) and the subsequent abolition of slavery, former slaves were notoriously promised “forty acres and a mule” as a compensation for their unpaid work during slavery. Ultimately, this attempted redistribution failed and by the end of the Reconstruction period (1865-1877) lands were returned to their previous white owners.
  • A timeline of interactions between black farmers and the United States Department of Agriculture (USDA) from 1920 to 2021.  
  • Oxford Bibliographies‘ page on African American agriculture and agricultural labor.
  • TED-Ed short animation on the history of corn. Indigenous peoples from southern Mexico domesticated corn about 10,000 years ago. Today, this crop accounts for more than one tenth of our global crop production!
Contemporary Connections

Data on female producers from the 2017 Census of Agriculture.

“Living off the land: the new sisterhood of Black female homesteaders.”

Categories
1940s African American Farm life Food Harvest Poem

In the Market

In the Market

By Effie Lee Newsome
Annotations by Karen Kilcup
French botanical print, 19thC. Public Domain.
When vegetables go to the market in town
They wear the most wonderful frills on their frocks—
Broccoli and lettuce and gay Brussels sprouts
And plump country turnips in bright purple socks.

The cabbage comes wrapped in a satiny shawl,
The carrots in tight orange skirts,
Tomatoes all grinning like red country girls,
And parsley so fancy in little green curls,
Cucumbers with warts on each long, smileless face
That seems quite displeased with the town,
And beets very shabby with dull sweaters on,
Limp skirts with red streaks up and down.
Newsome, Effie Lee. “In the Market.” Gladiola Garden: Poems of Outdoors and Indoors for Second Grade Readers. Washington, DC: Associated Publishers, 1940, 61.

Contexts

Newsome worked among the many celebrated writers of the Harlem Renaissance, who included Langston Hughes, Countee Cullen, James Weldon Johnson, Zora Neale Hurston, and Anne Spencer, many of them poets. Among her noteworthy contributions to that movement was her writing and editing for W. E. B. Du Bois’s magazine, The Crisis, the official publication of the NAACP (National Association for the Advancement of Colored People). As John Claborn points out, Du Bois’s political goals embraced the idea of access to natural spaces, and the magazine featured environmental writing by such notable authors as Arna Bontemps, Claude McKay, and Hughes. Newsome contributed to and edited “The Little Page” (“Whimsies for the Younger Folk”), where much of her work emphasized nature. This poem, like many others in The Envious Lobster, whimsically enacts a natural history lesson.

Resources for Further Study
Contemporary Connections

Anonymous. Reading of Newsome’s poem, “The Bronze Legacy.” The illustrations for Gladiola Garden were done by prominent Black artist Loïs Mailou Jones (1905-1998).

Johnston, Amber O’Neal. “African American Poetry: Effie Lee Newsome. Heritage Mom blog.

Categories
1940s African American Farm life Insects Life and Death Poem Wild animals

Johnny Greenjacket

Johnny Greenjacket

By Effie Lee Newsome
Annotations by Karen Kilcup
Grasshopper, colored pring, late 17th-early 18th century.
Attributed to Maria Sybilla Merian (1647-1717). Public Domain.
Johnny Greenjacket, a grasshopper, gay,
Gave a great banquet one midsummer day.
The geese were all present, some quail and a pheasant—
This part is unpleasant—
While waiting for dinner, just after the toast,
The guests became hungry,
And ate up their host.
Newsome, Effie Lee. “Johnny Greenjacket.” Gladiola Garden: Poems of Outdoors and Indoors for Second Grade Readers. Washington, DC: Associated Publishers, 1940, 10.

Contexts

Newsome worked among the many celebrated writers of the Harlem Renaissance, who included Langston Hughes, Countee Cullen, James Weldon Johnson, Zora Neale Hurston, and Anne Spencer, many of them poets. Among her noteworthy contributions to that movement was her writing and editing for W. E. B. Du Bois’s magazine, The Crisis, the official publication of the NAACP (National Association for the Advancement of Colored People). As John Claborn points out, Du Bois’s political goals embraced the idea of access to natural spaces, and the magazine featured environmental writing by such notable authors as Arna Bontemps, Claude McKay, and Hughes. Newsome contributed to and edited “The Little Page” (“Whimsies for the Younger Folk”), where much of her work emphasized nature. This poem, like many others in The Envious Lobster, whimsically enacts a natural history lesson.

Resources for Further Study
Contemporary Connections

Anonymous. Reading of Newsome’s poem, “The Bronze Legacy.” The illustrations for Gladiola Garden were done by prominent Black artist Loïs Mailou Jones (1905-1998).

Johnston, Amber O’Neal. “African American Poetry: Effie Lee Newsome. Heritage Mom blog.

Categories
1880s Education Farm life Humor Native American Poem

Mary’s Goat

Mary’s Goat

By Anonymous
Annotations by Karen Kilcup
The Goat. Colored engraving. Compte de Buffon, Histoire Naturelle, c. 1749.
Mary had a William goat,[1]
	And he was black as jet;
He followed Mary round all day,
	And liked her? you just bet!

He went with her to school one day;
	The teacher kicked him out;
It made the children grin, you know,
	To have that goat about.

But though old Whack’em kicked him out,
	Yet still he lingered near;
He waited just outside the door
	Till Whack’em did appear.

Then William ran to meet the man—
	He ran his level best;
He met him just behind, you know—
	Down just below the vest.

Old Whack’em turned a summersault;[2]
	The goat stood on his head,
And Mary laughed herself so sick
	She had to go to bed. 
Anonymous. “Mary’s Goat.” The Youth’s Companion 19, no. 2 (December 1882): 196.

[1] A male goat. The author plays with the common term “billy goat.”

[2] A somersault.

Contexts

Begun in 1881, The Youth’s Companion—a name that many nineteenth-century publications shared—was a monthly student magazine that published articles written by pupils of the Catholic-run boarding school located on the Tulalip Indian Reservation. A federally recognized tribe located in the mid-Puget Sound area, the Tulalip Tribes received reservation lands—22,000 acres—in 1855, with its legal boundaries established by President Ulysses S. Grant in 1873. According to the Tulalip Tribes website, “it was created to provide a permanent home for the Snohomish, Snoqualmie, Skagit, Suiattle, Samish, and Stillaguamish Tribes and allied bands living in the region.”

Nineteenth-century Indian boarding schools aimed to assimilate Native Americans into white culture. They separated children from their families, required students to dress like white Americans, and prohibited them from speaking their language. They also emphasized so-called “industrial” training: boys learned agricultural and industrial skills, while girls learned how to cook, sew, and clean a household. Students were often expected to become servants or to provide manual labor help for whites.

Like many contributions to Native American student periodicals, this poem was published anonymously. Students living on reservations during this time often received educations governed by white religious authorities who emphasized moral training. Here the author eludes a moral by parodying “Mary’s Lamb,” which was a popular nineteenth-century endeavor. This form also enables the author to indirectly criticize—and imaginatively injure—someone who punished students regularly and without cause: “old Whack’em.”

Resources for Further Study
Contemporary Connections

Tulalip History Minute 04—The Tulalip Indian School presented by Mary Jane Topash,” the Tulalip History Project. Provides Tulalip-sponsored background on the tribe.

Editorial: Getting to the truth of Tulalip boarding school,” September 26, 2021, HeraldNet (Everett, Washington). Caution: includes information about abuses at the school.

Categories
1880s Birds Farm life Native American Poem Seasons

Spring’s Return

Spring’s Return

By Anonymous
Annotations by Karen Kilcup
Tulalip Indian School and Bandstand, 1910 photo.
Tulalip Indian School and Bandstand, 1910. Photograph. Ferdinand Brady. Courtesy UW Special Collections (NA1464).
Icy winter has departed,
	And the balmy spring has come,
The birds sing forth their melody,
	And the bees begin to hum.

The bobolink now sounds his note,[1]
	His song so clear and sweet,
He tells us of the balmy spring,
	We’ve longed so much to greet.

The fields have changed their dark gray robe
	For one of loveliest green, 
And on the hills and in the vales
	The flocks and herds are seen.

Out on the fresh green sward
	The hen now leads her tender brood, 
And seeks for them with anxious care
	The choicest bits of food.

The gentle river now is studded
	With many a white-sailed craft,
That swiftly o’er its bosom
	The genial breezes waft.

But summer soon will come,
	And to us she will bring
More blessings and more pleasures
	Than did the welcome spring.

Now let us well remember,
	That their beauty cannot last,
For when cometh bleak December,
	He’ll destroy it with his blast.
Anonymous. “Spring’s Return.” The Youth’s Companion 11, no. 1 (April 1882): 272.

[1] Notable for its song, the Bobolink is a black and white bird with a yellow “cap.” ItDuring migration it occupies much of the southeastern quarter of the United States, and it summers (and breeds) in the U.S. Northeast, upper Midwest, and much of southern Canada. It rarely appears in the Tulalip region. Mentioning the bird here suggests that a teacher who came from the eastern part of the country may have described it to the author, or that the author read about it.

Contexts

Begun in 1881, The Youth’s Companion—a name that many nineteenth-century publications shared—was a monthly student magazine that published articles written by pupils of the Catholic-run boarding school located on the Tulalip Indian Reservation. A federally recognized tribe located in the mid-Puget Sound area, the Tulalip Tribes received reservation lands—22,000 acres—in 1855, with its legal boundaries established by President Ulysses S. Grant in 1873. According to the Tulalip Tribes website, “it was created to provide a permanent home for the Snohomish, Snoqualmie, Skagit, Suiattle, Samish, and Stillaguamish Tribes and allied bands living in the region.”

Nineteenth-century Indian boarding schools aimed to assimilate Native Americans into white culture. They separated children from their families, required students to dress like white Americans, and prohibited them from speaking their language. They also emphasized so-called “industrial” training: boys learned agricultural and industrial skills, while girls learned how to cook, sew, and clean a household. Students were often expected to become servants or to provide manual labor help for whites.

Like many contributions to Native American student periodicals, this poem was published anonymously.Students living on reservations during this time often received educations governed by white religious authorities who emphasized moral training. In describing the spring, this poem mirrors much of the nineteenth century’s natural history writing for children. Its emphasis on agriculture indirectly demonstrates the U.S. official policy of eliminating these tribes’ traditional lifeways of fishing, hunting, and gathering.

Resources for Further Study
Contemporary Connections

Tulalip History Minute 04—The Tulalip Indian School presented by Mary Jane Topash,” the Tulalip History Project. Provides Tulalip-sponsored background on the tribe.

Editorial: Getting to the truth of Tulalip boarding school,” September 26, 2021, HeraldNet (Everett, Washington). Caution: includes information about abuses at the school.

Categories
1880s Essay Farm life Harvest Native American Seasons Sketch

The Four Seasons

The Four Seasons

By William Lear
Annotations by Karen Kilcup
The Four Seasons, by William Clarke Rice. Oil on fabric, 1923. Courtesy Smithsonian American Art Museum.

Spring is a very lovely season. Everybody delights to be out doors, to enjoy the pure air. In the fields some of the farmers are plowing, others are sowing their crops or preparing the ground for their vegetables. We see the birds in the trees flying about. They seem very happy, and are singing their sweetest songs. In the woods spring up beautiful wild flowers which we pick, some for our church, and others for our little oratory of St. Aloysius in our schoolroom.[1]

Then summer comes; it is the hottest of all the seasons. The berries are ripe and people, old and young, are picking them for their use. When it is very hot, no one likes to work outside in the sun, but the hay and grain must be cut and stored away. This is a very busy season for farmers.

After this we have autumn. The heat of the summer is gone, and we must now provide wood and fill up our sheds as much as we can, to keep us warm in the cold winter days, for we already feel the cold a little in the morning. Besides this we gather our vegetables and fruits, and keep them in a safe place, but sometimes the rats and mice have a good time with them.

Now comes the terrible and dreaded winter. How we like to have warm clothes, and fire is a precious thing. But there are many poor people who have no homes, and no fire to keep them warm. On the western coast of North America the winters are milder than on the eastern coast. We have snow in December and January. It does not stay long, but people make good use of it while it lasts.

Lear, William. “The Four Seasons.” The Youth’s Companion 6, no. 1 (November 1881): 143.

[1] St. Aloysius (1568-1591) was an Italian-born nobleman who relinquished his wealth to become a Jesuit priest in the Roman Catholic church. White religious leaders considered him to be an important spiritual model for students in the Tulalip Indian School.

Contexts

Begun in 1881, The Youth’s Companion—a name that many nineteenth-century publications shared—was a monthly student magazine that published articles written by pupils of the Catholic-run boarding school located on the Tulalip Indian Reservation. A federally recognized tribe located in the mid-Puget Sound area, the Tulalip Tribes received reservation lands—22,000 acres—in 1855, with its legal boundaries established by President Ulysses S. Grant in 1873. According to the Tulalip Tribes website, “it was created to provide a permanent home for the Snohomish, Snoqualmie, Skagit, Suiattle, Samish, and Stillaguamish Tribes and allied bands living in the region.”

Nineteenth-century Indian boarding schools aimed to assimilate Native Americans into white culture. They separated children from their families, required students to dress like white Americans, and prohibited them from speaking their language. They also emphasized so-called “industrial” training: boys learned agricultural and industrial skills, while girls learned how to cook, sew, and clean a household. Students were often expected to become servants or to provide manual labor help for whites.

Unlike many contributions to Native American student periodicals, this conversation was published with an author’s name. William Lear (Lummi) appears in the 1885-1940 Native American Census Rolls in 1901, when he was thirty-six, so he would have been about fifteen when he composed “The Four Seasons.” He was the father of thirteen-year-old Clara and fifteen-year-old Florance, who are listed in 1910 school census. Students living on reservations during this time often received educations governed by white religious authorities who emphasized moral training. In describing the seasons, this story mirrors much of the nineteenth century’s natural history writing for children. The sketch of winter veers from convention, focusing on the region’s poverty and ending with a hint of pleasure.

Resources for Further Study
Contemporary Connections

Tulalip History Minute 04—The Tulalip Indian School presented by Mary Jane Topash,” the Tulalip History Project. Provides Tulalip-sponsored background on the tribe.

Editorial: Getting to the truth of Tulalip boarding school,” September 26, 2021, HeraldNet (Everett, Washington). Caution: includes information about abuses at the school.

urrent significance.

Categories
1880s Birds Farm life Native American Short Story Sketch

The Farmer and the Parrot

The Farmer and the Parrot

By Anonymous
Annotations by Karen Kilcup
Carolina parrot. Late 18th-century colored engraving. Courtesy Getty Images.

There once lived, in a small village, a farmer who kept a parrot, which was in the habit of keeping bad company. One day, after the farmer had finished planting his corn, the crows, together with the parrot, soon occupied themselves with feasting upon it. The farmer, seeing this, resolved to punish the black robbers. Seizing his gun, he crept slyly along the fence until he came within a few yards of them, and then fired. Walking over to the corn to see what effect the shot produced, to his great surprise, he found that he had wounded his parrot. Poor Polly was taken home and kindly cared for. The children asked their father how the parrot came to be shot. “Bad company,” answered the father; “Bad company,” repeated Poll.

Afterwards, whenever the parrot would see the children quarreling and wrangling among themselves, Poll would cry out, “Bad company! Bad company!”

Thus, dear young readers, when you are tempted to associate with bad companions, remember the story of the parrot and its punishment.

American crow. Lithograph. Birds of Pennsylvania, 1897. Public domain.
Anonymous. “The Farmer and the Parrot.” The Youth’s Companion 5, no. 1 (October 1881): 112.

Contexts

Begun in 1881, The Youth’s Companion—a name that many nineteenth-century publications shared—was a monthly student magazine that published articles written by pupils of the Catholic-run boarding school located on the Tulalip Indian Reservation. A federally recognized tribe located in the mid-Puget Sound area, the Tulalip Tribes received reservation lands—22,000 acres—in 1855, with its legal boundaries established by President Ulysses S. Grant in 1873. According to the tribe’s website, “it was created to provide a permanent home for the Snohomish, Snoqualmie, Skagit, Suiattle, Samish, and Stillaguamish Tribes and allied bands living in the region.”

Nineteenth-century Indian boarding schools aimed to assimilate Native Americans into white culture. They separated children from their families, required students to dress like white Americans, and prohibited them from speaking their language. They also emphasized so-called “industrial” training: boys learned agricultural and industrial skills, while girls learned how to cook, sew, and clean a household. Students were often expected to become servants or to provide manual labor help for whites.

Like many contributions to Native American newspapers, this sketch was published anonymously. Students living on reservations during this time often received educations governed by white religious authorities who emphasized moral training. This story typifies the didactic texts that students were expected to compose. Its humor, however, suggests the author may be resisting the “parroting” of conventional morality.

Resources for Further Study
Contemporary Connections

Tulalip History Minute 04—The Tulalip Indian School presented by Mary Jane Topash,” the Tulalip History Project. Provides Tulalip-sponsored background on the tribe.

Editorial: Getting to the truth of Tulalip boarding school,” September 26, 2021, HeraldNet (Everett, Washington). Caution: includes information about abuses at the school.

Categories
1920s African American Farm life Harvest Poem

To the Negro Farmers in the United States

To the Negro Farmers in the United States

By Alice Dunbar-Nelson
Annotations by Rene Marzuk
Plowing in South Carolina. Original illustration by James E.Taylor from Frank Leslie’s Illustrated Newspaper, 23, no. 577 October 1866): 6. Library of Congress. Public Domain.
God washes clean the souls and hearts of you,
His favored ones, whose backs bend o'er the soil,
Which grudging gives to them requite for toil
In sober graces and in vision true.
God places in your hands the pow'r to do
A service sweet. Your gift supreme to foil
The bare-fanged wolves of hunger in the moil 
Of Life's activities. Yet all too few
Your glorious band, clean sprung from Nature's heart; 
The hope of hungry thousands, in whose breast
Dwells fear that you should fail. God placed no dart 
Of war within your hands, but pow'r to start 
Tears, praise, love, joy, enwoven in a crest
To crown you glorious, brave ones of the soil.

DUNBAR-NELSON, ALICE. “TO THE NEGRO FARMER OF THE UNITED STATES,” IN THE DUNBAR SPEAKER AND ENTERTAINER, ED. ALICE MOORE DUNBAR-NELSON, 240. NAPERVILLE, ILL: J. L. NICHOLS & CO., 1920.

Contexts

The Dunbar Speaker and Entertainer‘s dedication reads: “To the children of the race which is herein celebrated, this book is dedicated, that they may read and learn about their own people.” In the foreword, Leslie Pinckney Hill, an African American educator, writer, and community leader who graduated from Harvard University in 1903, criticizes the one-sidedness of prevailing reading courses: “In vain may you search their pages—those pages upon which all our reading has been founded—for anything other than a patronizing view of that vast, brooding world of colored folk—yellow, black and brown—which comprises by far the largest portion of the human family.” Hill further writes that Alice Dunbar-Nelson’s book seeks to prove “that the white man has no fine quality, either by heart or mind, which is not shared by his black brother.”

Think of reading this poem out loud. Elocution (or public speaking) was a highly valued and widely taught skill in nineteenth-century America. In her introduction to the Dunbar Speaker, Alice Dunbar-Nelson offers some advice: “Before you begin to learn anything to recite, first read it over and find out if it fires you with enthusiasm. If it does, make it a part of yourself, put yourself in the place of the speaker whose words you are memorizing, get on fire with the thought, the sentiment, the emotion–then throw yourself into it in your endeavor to make others feel as you feel, see as you see, understand what you understand. Lose yourself, free yourself from physical consciousness, forget that those in front of you are a part of an audience, think of them as some persons whom you must make understand what is thrilling you–and you will be a great speaker.”

Definitions from Oxford English Dictionary:

moil: Toil, labour, drudgery.

Resources for Further Study
  • After the Civil War (1861-1865) and the subsequent abolition of slavery, former slaves were notoriously promised “forty acres and a mule” as a compensation for their unpaid work during slavery. Ultimately, this attempted redistribution failed and by the end of the Reconstruction period (1865-1877) lands were returned to their previous white owners.
  • A timeline of interactions between black farmers and the United States Department of Agriculture (USDA) from 1920 to 2021.  
Contemporary Connections

A profile on John Boyd Jr., founder of the National Black Farmer’s Association, highlights the discrimination that Black American farmers still face today. According to the article, “the number of black farmers in America peaked in 1920,” at around the same time Dunbar Nelson’s poem appeared in print.

Categories
1920s African American Autobiography Farm life Short Story

Behind a Georgia Mule

Behind a Georgia Mule

By James Weldon Johnson
Annotations by Rene Marzuk
Mule Barometer. Color zinc engraving and fiber, 1906, Library of Congress.
                                     Now if you wish to travel fast
                                     I beg you not to fool
                                     With locomotion that's procured
                                     Behind a Georgia mule.[1]  

When I was teaching school in the backwoods of Georgia I had, one day, to attend to some business in Mudville, an embryo city about eleven miles from my school. Now you must know that a country school teacher can do nothing without first consulting his Board of Trustees; so I notified that honorable body that there was some business of vast importance to be attended to, and asked them to meet me on Friday afternoon; they all promised to be on hand “two hours b’sun.”[2] Friday afternoon, after school was dismissed, they came in one by one until they had all gathered.

As the chairman called the meeting to order, he said: “Bredren, de objick ob dis meeting is to consider de ways ob pervidin de means ob transposing de ‘fessar to Mudville.”[3] Now, by the way, the chairman of the Board was undoubtedly intended by nature for a smart man. He had a very strong weakness for using big words in the wrong place, and thought it his special duty to impress the “’fessar” at all times with his knowledge of the dictionary. Well, after much debate it was finally decided that “Brudder” Whitesides would “furnish the mule” and “Brudder Jinks de buggy” and that I should start early the next morning.

The next morning I was up quite early, because I wished to start as soon as possible in order to avoid the heat of the day. I ate breakfast and waited—six o’clock, seven o’clock, eight o’clock—and still that promised beast had not put in appearance. Knowing the proclivity of the mule to meander along as his own sweet will dictates, especially when the sun shines hot, I began to despair of reaching Mudville at all that day; but “Brudder” Jinks, with whom I boarded, seeing my melancholy state of mind, offered to hitch up Gypsy, an antiquated specimen of the mule, whose general appearance was that of the skeleton of some prehistoric animal one sees in a museum.

I accepted this proposition with haste, and repented at leisure.

I could see a weary, long-suffering look in that mule’s eye, and I could imagine how his heart must have sought the vicinity of his tail, when they disturbed his dreams of green fields and pleasant pastures, and hitched him to an old buggy, to encounter the stern realities of a dusty road. “Verily, verily,” I soliloquized, “the way of the mule is hard.” But, putting aside all tender feelings, I jumped into the buggy and grasping a stick of quite ample proportions began to urge his muleship on his way.

Nothing of much consequence hampered our onward journey except the breaking down of three wheels and the excessive heat of the sun, which great luminary seemed not more than ninety-five miles away.

I arrived at Mudville sometime between 12 [P.?]M. and 6 P.M. After having finished my business and having bountifully fed my mule on water and what grass he could nibble from around his hitching post, I bought a large watermelon and started for home. Before I was out of sight of the town, I began to have serious misgivings about reaching home before a very late hour. In the morning by various admonitions and applications of the hickory, I had been able to get my mule into a jog trot, but on the homeward journey he would not even get up to a respectable walk. Well, we trudged on for two hours or more, when to my dismay he stopped,—stopped  still. As the hour was getting late and it was growing dark, I began advising him—with the hickory—that it was best to proceed, but he seemed to have hardened his heart, and his back also, and paid me no heed. There I sat—all was as still as the grave, save for the dismal hoot of the screech-owl.[4] There I was, five and a half miles from home with no prospect of getting there.

Seed Catalog Cover, Livingston’s Nabob Watermelon. Advertising ephemera (paper), c. 1891-1904, Smithsonian Gardens, Horticultural Artifacts Collection.

I began to coax my mule with some words which perhaps are not in the Sabbath School books, and to emphasize them with the rising and falling inflection of the stick across his back; but still he moved not. Then all at once my conscience smote me. I thought perhaps the faithful beast might be sick. My mind reverted to Balaam, whose beast spoke to him when he had smitten him but three times and here I had smitten my beast about 3,333 times. I listened almost in expectation of hearing say, “Johnson, Johnson, why smites thou me 3,333 times?”[5]

I got out of the buggy and looked at the mule; he gazed at me with a sad far-away expression in his eye, which sent pangs of remorse to my heart. I thought of the cruel treatment I had given him, and on the impulse of the moment I went to the buggy, got out my large, luscious melon, burst it open and laid it on the ground before the poor animal; and I firmly resolved to be a friend of the mule ever after, and to join the Humane Society as soon as I reached Atlanta.[6]

As I watched that mule slowly munching away at my melon, I began to wonder if I had not acted a little too hastily in giving it to him, but I smothered that thought when I remembered the pledge I had just taken. When he had finished he looked around with a satisfied air which encouraged me; so I took hold of his bridle and after stroking him gently for a moment, attempted to lead him off. But he refused to be led. He looked at me from under his shabby eyebrows, but the sad, far-away expression had vanished and in its stead was a mischievous gleam, born of malice afore-thought.[7] I remonstrated with him, but it only seemed to confirm his convictions that it was right for him to stand there. I thought of my melon he had just devoured; then I grew wrathy, and right there and then renounce all my Humane Society resolutions, and began to shower down on that mule torrents of abuse and hickory also, but all to no effect. Instead of advancing he began to “revance.” I pulled on the bridle until my hands and arms were sore, but he only continued to back and pull me along with him. When I stopped pulling he stopped backing, and so things went on for the space of about half an hour.

I wondered what time was. Just then the moon began to rise, from which I knew it was about 9 o’clock. My physical exertion began to tell on me and I hungered. Oh, how I hungered for a piece of that watermelon! And I hit the mule an extra blow as a result of those longings.

I was now desperate. I sat down on the side of the road and groaned; that groan came from the depths of my soul, and I know that I presented a perfect picture of despair. However, I determined to gather all my remaining strength for one final effort; so I caressed him up and down the backbone two or three times as a sort of persuader, then grasping the bridle with both hands, I began to pull, pull as hard as I had never pulled before and as I never hope to pull again. And he began to back. I continued to pull and he continued to back.

How long this order of things might have gone on I do not know, but just then a brilliant idea struck me so forcibly as to come near knocking me down. I took the mule out, and by various tying, buckling and tangling, I hitched him up again, upside down, or wrong side out, or, well, I can’t exactly explain, but anyhow when I got through his tail pointed in the direction I wanted him to go. Then I got back in the buggy and taking hold of the bridle began to pull, and he began to back; and I continued to pull, and he continued to back; and will you believe me, that mule backed all the way home! It is true we did not travel very fast but every time he would slow down, I would put a little extra force into my pull and he would put a little extra speed into his back. Ever and anon he would glance at me with that mischievous, malicious twinkle, which seemed to say “I’ve got you tonight,” and I would smile back a quiet, self-satisfied smile and give an extra pull.

But when we got home, that mischievous, malicious twinkle changed, and he looked at me in a dazed sort of way and I smiled back quite audibly. And do you know, that mule has been in a dark brown study ever since.[8] He is trying to get through his slow brain how I managed to make him pull me home that night.

As I jumped out of the buggy the clock struck twelve. And there at that solemn hour of the night, as the pale moon shed her silvery beams all around and as the bright stars peeped down upon me from the ethereal blue, and the gentle zephyrs wafted to me the odor of a hog-pen in the near distance, I vowed a vow, an awful vow, that so long as I breathed the vital air, never, no, never again, would I attempt to drive a Georgia mule.

Muybridge, Eadweard. Animal Locomotion: Mule. Photograph, c1887, Library of Congress.
Johnson, James weldon. “behind A Georgia mule,” in the upward path: a reader for colored children, ed. myron t. pritchard and mary white ovington, 66-72. harcourt, brace and howe, 1920.

[1] Mules are the offspring of a male donkey and a female horse. They are mostly infertile.

[2] Perhaps “before sundown.”

[3] ‘fessar: i.e. professor.

[4] The Eastern Screech Owl is Georgia’s most common owl. This strictly nocturnal bird is often more heard than seen.

[5] Balaam is a non-Israelite prophet featured in the Bible’s Old Testament’s Book of Numbers. While riding his donkey on his way to Moab (modern Jordan), an angel that only his donkey could see blocked their way. When the animal refused to continue, Balaam beat it three times with a staff until the donkey addressed him and asked him why.

Anderson, Alexander. Balaam. Wood Engraving, 19th century, Davison Art Center, Wesleyan University, CT. Public Domain.

[6] Probably a reference to the American Humane Society, founded in 1877 to promote the humane treatment of children and animals.

[7] Premeditated; deliberate.

[8] A state of deep reverie or intense thought. The term “brown study” seems to have appeared first in the sixteenth century and came into regular usage in the nineteenth century.

Contexts

Weldon Johnson wrote this autobiographical piece during the Jim Crow Era, when Southern schools were racially segregated and extremely unequal. In addition to being a writer and an educator, Weldon Johnson was a civil rights activist and a leader of the NAACP.

Definitions from Oxford English Dictionary:

  • coax: To influence or persuade by caresses, flattery, or blandishment.
  • ever and anon: Ever and again, every now and then; continually at intervals.
  • hamper: To obstruct the free movement of (a person or animal), by fastening something on, or by material obstacles or entanglements.
  • hickory: The wood of a North America hickory tree. Also, a stick or switch made of hickory (or sometimes another wood).
  • wrathy: Feeling, or inclined to, wrath; wrathful, very angry, incensed.
  • zephyr: The west wind.
Resources for Further Study
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