Categories
1840s Family Food Short Story

The Strawberry Woman

The Strawberry Woman

By T. S. Arthur
Annotations by Josh benjamin
Francis Wheatley. Strawberries, Scarlet Strawberries, Plate 9 from The Cries of London.
Stipple engraving in brown, with hand-colored additions, on cream wove paper, 1799. The
Art Institute of Chicago, Chicago, I.L.

“Strawb’rees! Strawb’rees!” cried a poorly clad, tired-looking woman, about eleven o’clock, one sultry June morning. She was passing a handsome house in Walnut street, into the windows of which she looked earnestly, in the hope of seeing the face of a customer. She did not look in vain, for the shrill sound of her voice brought forward a lady, dressed in a silk mourning wrapper, who beckoned her to stop. The woman lifted the heavy tray from her head, and placing it upon the doorstep, sat wearily down.

“What’s the price of your strawberries?” asked the lady as she came to the door.

“Ten cents a box, madam. They’re right fresh.”

“Ten cents!” replied the lady in a tone of surprise, drawing herself up and looking grave. Then shaking her head, and compressing her lips firmly, she added—

“I can’t give ten cents for strawberries. It’s too much. I’ll give you forty cents for five quarts, and nothing more.”

“But madam, they cost me within a trifle of eight cents a quart.”

“I can’t help that. You paid too much for them, and this must be your loss not mine, if I buy your strawberries. I never pay for other people’s mistakes. I understand the use of money much better than that.”

The poor woman did not feel very well. The day was unusually hot and sultry, and her tray felt heavier and tired her more than usual. Five boxes would lighten it, and if she sold her berries at eight cents, she would clear two cents and a half, and that made her something.

“I’ll tell you what I will do,” she said, after thinking a few moments; I don’t feel as well as usual to-day, and my tray is heavy. Five boxes sold will be something. You shall have them at nine cents. They cost me seven and a half, and I’m sure it’s worth a cent and a half a box to cry them about the streets such hot weather as this.”

“I have told you, my good woman, exactly what I will do,” said the customer, with dignity, “If you are willing to take what I offer you, say so; if not we need’nt stand here any longer.”

“Well, I supposed you will have to take them,” replied the strawberry woman, seeing that there was no hope of doing better. “But it’s too little.”

“It’s enough,” said the lady, as she turned to call a servant. Five boxes of fine large strawberries were received, and forty cents paid for them. The lady re-entered the parlor, pleased at her good bargain, while the poor woman turned from the door, sad and disheartened. She walked nearly the distance of a square before she could trust her voice to utter the monotonous cry of

“Strawb’rees! Strawb’rees!

An hour afterwards, a friend called upon Mrs. Mier, the lady who had bought the strawberries. After talking about various matters and things, interesting to lady housekeepers, Mrs. Mier said—

“How much did you pay for the strawberries, this morning?”

“Ten cents.”

“You paid too much. I bought them for eight.”

“For eight! Were they good ones?”

“Step into the dining room, and I will show them to you.”

Christian Olavius Zeuthen. Interior in the House of Lord Chamberlain O’Neill, Strandraede, Copenhagen. Pen and brush and black ink, watercolor, graphite on paper, 1844. Cooper Hewitt, Smithsonian Design Museum, New York, N.Y.

The ladies stepped into the dining room, when Mrs. Mier displayed her large red berries, which were really much finer than she had supposed them to be.

“You did’nt get them for eight cents,” remarked the visitor incredulously.

“Yes, I did; I paid forty cents for five quarts.”

“While I paid fifty, for some not near so good.”

“I suppose you paid just what you were asked.”

“Yes, I always do that. I buy from one woman during the season, who agrees to furnish me at the regular market price.”

“Which you always find to be two or three cents above what you can get them for in the market.”

“You always buy in the market.”

“I bought these from a woman at the door.”

“Did she only ask eight cents for them?”

“Oh, no, she asked ten cents, and pretended that she got twelve and a half for the same quality of berries yesterday. But I never give these people what they ask.”

“Well, I never can find it in my heart to ask a poor tired-looking woman at my door, to take a cent less for her fruit than she asks me. A cent or two, while it is of little account to me, must be of great importance to her.”

“You are a very poor economist, I see,” said Mrs. Mier. “If that is the way you deal with every one, your husband, no doubt, finds his expense account a very serious item.”

“I don’t know about that. He never complains. He allows me a certain sum every week to keep the house, and find my own and the children’s clothes; and so far from ever calling on him for more, I always have a fifty or a hundred dollars lying by me.”

“You must have a precious large allowance, then, considering your want of economy in paying every body just what they ask for their things.”

“Oh, no! I don’t do that exactly, Mrs. Mier. If I consider the price of a thing too high, I don’t buy it.”

“You paid too high for your strawberries, to-day.”

“Perhaps I did, although I am by no means certain.”

Charles Cromwell Ingham. Portrait of Fidelia Marshall. Oil on canvas, c. 1840, Smithsonian American Art Museum, Washington, D.C.

“You can judge for yourself. Mine cost but eight cents, and you own that they are superior to yours at ten cents.”

“Still, yours may have been too cheap, instead of mine too dear.”

“Too cheap! that is funny! I never saw anything too cheap in my life. The great trouble is that everything is too dear. What do you mean by too cheap.”

“The person who sold them to you may not have made profit enough upon them to pay for her time and labor. If this were the case, she sold them to you too cheap.”

“Suppose she paid too high for them? Is the purchaser to pay for her error?”

“Whether she did so, it would be hard to tell, and even if she had made such a mistake, I think it would be more just and humane to pay her a price that would give her a fair profit, instead of taking from her the means of buying bread for her children. At least, this is my way of reasoning.”

“And a precious lot of money it must take to support such a system of reasoning. But how much, pray, do you have a week to keep the family. I am curious to know.”

“Thirty-five dollars.”

“Thirty-five dollars! You are jesting.”

George Linen. Portrait of a New York Lady. Oil on canvas mounted on aluminum, c. 1840. Smithsonian American Art Museum, Washington, D.C.

“Oh, no! That is exactly what I receive, and as I have said, I find the sum ample.”

“While I receive fifty dollars a week,” said Mrs. Mier, “and am forever calling on my husband to settle some bill or other for me. And yet I never pay the exorbitant prices asked by every body for every thing. I am strictly economical in my family. While other people pay their domestics a dollar and a half and two dollars a week, I give but a dollar and a quarter each to my cook and chambermaid, and require the chambermaid to help the washerwoman on Mondays. Nothing is wasted in my kitchen, for I take care in marketing, not to allow room for waste. I don’t know how it is that you save money on thirty-five dollars with your system, while I find fifty dollars inadequate with my system.”

The exact difference in the two systems will be clearly understood by the reader when he is informed that although Mrs. Mier never paid anybody as much as was at first asked for an article, and was always talking about economy, and trying to practise it, by withholding from others what was justly their due, as in the case of the strawberry woman, yet she was a very extravagant person, and spared no money in gratifying her own pride. Mrs. Gilman, her visitor, was on the contrary, really economical, because she was moderate in all her desires, and was usually as well satisfied with an article of dress or furniture that cost ten or twenty dollars, as Mrs. Mier was with one that cost forty or fifty dollars. In little things, the former was not so particular as to infringe the right of others, while in large matters she was careful not to run into extravagance in order to gratify her own or children’s pride and vanity, while the latter pursued a course directly opposite.

Mrs. Gilman was not as much dissatisfied on reflection, about the price she had paid for her strawberries, as she had felt at first.

“I would rather pay these poor creatures two cents a quart too much than too little,” she said to herself—“dear knows they earn their money hard enough, and get but a scanty portion after all.”

Although the tray of the poor strawberry woman, when she passed from the presence of Mrs. Mier, was lighter by five boxes, her heart was heavier, and that made her steps more weary than before. The next place at which she stopped, she found the same disposition to beat her down in her price.

“I’ll give you nine cents, and take four boxes,” said the lady.

“Indeed madam, that is too little,” replied the woman; ten cents is the lowest at which I can sell them, and make even a reasonable profit.”

“Well, say thirty-seven and a half for four boxes, and I will take them. It is only two cents and a half less than you ask for them.”

“Give me a fip, ma!—there comes the candy-man!” exclaimed a little fellow, pressing up to the side of the lady. “Quick ma! Here candy man!”

“Get a levy’s worth mother, do, won’t you? Cousin Lu’s coming to see us to-morrow.”

“Let him have a levy’s worth, candy-man. He’s such a rogue, I can’t resist him,” responded the mother. The candy was counted out, and the levy paid, when the man retired in his usual good humor.

“Shall I take these strawberries for thirty-seven and a half cents?” said the lady, the smile fading from her face. “It is all I am willing to give.”

“If you won’t pay any more, I must n’t stand for two cents and a half,” replied the woman, “although they would nearly buy a loaf of bread for the children,” she mentally added.

The four boxes were sold for the sum offered, and the woman lifted the tray upon her head, and moved on again. The sun shone still hotter and hotter as the day advanced. Large beads of perspiration rolled from the throbbing temples of the strawberry woman, as she passed wearily up one street and down another, crying her fruit at the top of her voice. At length all was sold but five boxes, and now it was past one o’clock. Long before this, she ought to have been at home. Faint from over-exertion, she lifted her tray from her head, and placing it upon a door-step she sat down to rest. As she sat thus, a lady came up and paused at the door of the house as if about to enter.

Artist Unknown. Portrait of a Praline Seller. Ink on paper, c. 1910. Smithsonian Natural
Museum of African American History and Culture, Washington, D.C.

“You look tired, my good woman,” she said, kindly. “This is a very hot day for such hard work as yours. How do you sell your strawberries?”

“I ought to have ten cents for them, but nobody seems willing to give ten cents, to-day, although they are very fine, and cost me as much as some I have got twelve and a half for.”

“How many boxes have you?”

“Five, ma’am.”

“They are very fine, sure enough,” said the lady, stopping down and examining them; and well worth ten cents. I’ll take them.”

“Thanky, ma’am. I was afraid I should have to take them home,” said the woman, her heart bounding up lightly.

The lady rang the bell, for it was at her door that the tired strawberry-woman had stopped to rest herself. While she was waiting for the door to be opened, the lady took from her purse the money for her strawberries, and handing it to the woman, said,

“Here is your money. Shall I tell the servant to bring you a glass of cool water? You are hot and tired.”

“If you please, ma’am,” said the woman, with a grateful look.

The water was sent out by the servant who was to receive the strawberries, and the tired woman drank it eagerly. Its refreshing coolness flowed through every vein, when she took up her tray to return home, both heart and step were lighter.

The lady, whose benevolent feelings had prompted her to the performance of this little act of kindness, could not help remembering the woman’s grateful look. She had not done much—not more than it was one’s duty to do; but the recollection of even that was pleasant, far more pleasant than could possibly have been Mrs. Mier’s self-congratulations at having saved ten cents on her purchase of five boxes of strawberries, notwithstanding the assurance of the poor woman who vended them, that, at the reduced rate, her profit on the whole would only be two cents and a half.

After dinner, Mrs. Mier went out and spent thirty dollars in purchasing jewelry for her eldest daughter, a young lady not yet eighteen years of age. That evening, at the tea-table, the strawberries were highly commended as being the largest and most delicious in flavor of any they had yet had; in reply to which Mrs. Mier stated, with an air of peculiar satisfaction, that she had got them for eight cents a box when they were worth at least ten cents.

“The woman asked me ten cents,” she said, “but I offered her eight and she took it.”

While the family of Mrs. Mier were enjoying their pleasant repast, the strawberry woman sat at a small table, around which were gathered three young children, the oldest but six years of age. She had started out in the morning with thirty boxes of strawberries, for which she was to pay seven and a half cents a box. If all had brought the ten cents a box, she would had made seventy-five cents; but such was not the case. Rich ladies had beaten her down in price—had chaffered with her for the few pennies of profits to which her hard labor entitled her—and actually robbed her of the meagre pittance she strove to earn for her children. Instead of realizing the small sum of seventy-five cents, she had cleared only forty-five cents [1]. With this, she bought a little Indian meal [2] and molasses for her own and her children’s supper and breakfast.

William Morris Hunt. Violet Girl. Lithograph with tint stone on paper, 1857.
Smithsonian American Art Museum, Washington, D.C.

As she sat with her children, eating the only food she was able to provide for them, and thought of what had occurred during the day, a feeling of bitterness toward her kind came over her; but the remembrance of the kind words and the glass of cool water, so timely and thoughtfully tendered to her, was like leaven in the waters of Marah [3]. Her heart softened, and with the tears stealing to her eyes, she glanced upward, and asked a blessing on her who had remembered that, though poor, she was still human.

Economy is a good thing and should be practised by all, but it should show itself in denying ourselves, not in oppressing others. We see persons spending dollar after dollar foolishly one hour, and in the next trying to save a penny piece of a wood-sawyer, coal-heaver, or market woman. Such things are disgraceful if not dishonest.

Arthur, T.S. “The STrawberry Woman.” The youth’s companion 21, No. 19 (September 1847): 73-74.

[1] The forty-five cents that the strawberry woman makes would be equivalent to $15.87 in 2022. Mrs. Gilman’s $35 a week would be $1,234, and Mrs. Mier’s $50 a week for the household would be $1,763. Over the course of a year, Mrs. Mier receives the equivalent of nearly $92,000 (an inadequate amount), she pays each of her domestic staff a yearly salary the equivalent of just under $2,300.

[2] Indian meal is a term for cornmeal, which was used for many recipes, such as these, from 1800s cookbooks: https://vintagerecipesandcookery.com/cooking-with-corn-meal/

[3] Holy Bible, New King James Version: “So Moses brought Israel from the Red. Sea; then they went out into the Wilderness of Shur. And they went three days in the wilderness and found no water. Now when they came to Marah, they could not drink the waters of Marah, for they were bitter. Therefore the name of it was called Marah. And the people complained against Moses, saying, ‘What shall we drink?’ So he cried out to the Lord, and the Lord showed him a tree. When he cast it into the waters, the waters were made sweet.” (Exodus 15:22-25)

Contexts

Timothy Shay Arthur moved to Philadelphia in 1841, and given the mention of Walnut Street and the Pennsylvania slang noted in the definitions below, this story is likely set in Philadelphia. Much of Arthur’s writing concerned morality, particularly temperance, which inspired his 1854 publication Ten Nights in a Bar-Room and What I Saw There, the most successful temperance book of the time. The Pennsylvania Center for the Book has a brief biography of Arthur’s life and career.

This story appeared amid ongoing riots and violence perpetrated by white Philadelphians against Black neighborhoods and churches, which were only exacerbated by the growing abolition movement and the Pennsylvania State Constitution of 1838 rescinding the right for free Black men to vote. The Nativist movement continued to gain ground in Philadelphia and elsewhere throughout the 1840s and extended to anti-Irish Catholic sentiment, which was further formalized during the next decade with the American or Know Nothing Party.

Definitions from Oxford English Dictionary:

chaffer: To treat about a bargain; to bargain, haggle about terms or price.

chambermaid: A woman employed to clean the bedrooms in a house or hotel.

dear: At a high price; at great cost; usually with such verbs as buycostpaysell, etc.

domestic: A household servant or attendant.

fip: Short for fipenny bit; 1860 usage from J.R. Bartlett’s Dictionary of Americanisms: In Pennsylvania, and several of the Southern States, the vulgar name for the Spanish half-real

levy: U.S. regional ‘The sum of twelve and a half cents; a “bit” (Cent. Dict.); from J.R. Bartlett’s Dictionary of Americanisms: In Pennsylvania, Maryland, and Virginia, the Spanish real…twelve and a half cents.

trifle: A ‘small sum of money, or a sum treated as of no moment; a slight ‘consideration’.

Resources for Further Study
  • The Encyclopedia of Greater Philadelphia has a summary of the riots of the 1830s and 1840s, along with a wealth of essays about the city’s history in the first half of the 19th century.
  • During the riots, many all-white volunteer firefighting companies refused to help, and when Good Will Engine Company responded to a fire rioters set at the California House, a rioter shot and killed one of the white firefighters.
  • A silver trumpet presented to the Good Will Engine Company is an emblem of part of the complex history of philanthropy in the U.S. While this essay suggests a charitable attitude toward the less fortunate, the National Museum of American History and the Smithsonian’s Philanthropy Initiative looks at the “complicated legacy” of helping others.
Contemporary Connections

While this story doesn’t engage with the growing nativist sentiment of its time, Lorraine Boissoneault argues that the movement’s effects are still visible in American politics.

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
1920s African American Family Poem

Motherhood

Motherhood

By Georgia Douglas Johnson
Annotations by Rene Marzuk
Henry Ossawa Tanner. Portrait of the Artist’s Mother. Oil on canvas, 1897, Philadelphia Museum of Art. Public Domain.
Don’t knock on my door, little child,[1] 
I cannot let you in;
You know not what a world this is, 
Of cruelty and sin.
Wait in the still eternity
Until I come to you.
The world is cruel, cruel, child, 
I cannot let you through.

Don't knock at my heart, little one, 
I cannot bear the pain
Of turning deaf ears to your call, 
Time and time again.
You do not know the monster men 
Inhabiting the earth.
Be still, be still, my precious child, 
I cannot give you birth.
JOHNSON, GEORGIA DOUGLASS. “MOTHERHOOD.” THE CRISIS 24, NO. 6 (OCTOBER 1922): 265.

[1] Also in 1922, Georgia Douglas Johnson, one of the key figures of the Harlem Renaissance, published Bronze: A Book of Verse, which included the poem “Motherhood” under a different title: “Black Woman.” This significant change illuminates the racial component of Johnson’s concerns.

Contexts

In the same number of The Crisis that included Georgia Douglas Johnson’s poem, W. E. B. Du Bois wrote that “birth control is science and sense applied to the bringing of children into the world.” Writing about the responsibilities associated with large families, specifically in African American communities, he added that “parents owe their children, first of all, health and strength. Few women can bear more than two or three children and retain strength for the other interests of life. And there are other interests for women as for men and only reactionary barbarians deny this.”

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.

Resources for Further Study
  • The Comstock Act of 1873 made it illegal to mail “obscene, lewd or lascivious,” “immoral,” or “indecent” materials, a category that included texts or instruments associated with contraception and abortion. The act’s birth control provisions were overturned in 1936, thanks to the work of activist Margaret Sanger (1879-1966).
  • The Nineteenth Amendment to the United States Constitution, passed by Congress in June, 1919, granted American women the right to vote and, consequently, paved the way for women’s reproductive and economic progress. However, voting restrictions in the Jim Crow South kept African American women (and men) unable to exercise their voting rights.
  • Georgia Douglas Johnson’s poem foregrounds the speaker’s choice and heartbreaking logic, but it is important to recognize that the United States has a long history of forced sterilization, experimentation and reproductive coercion aimed at poor women and women of color.
  • Georgia Douglas Johnson: Rereading the Harlem Renaissance.
Contemporary Connections

In her book Racial Innocence: Performing American Childhood from Slavery to Civil Rights, Robin Bernstein illustrates how the American idea of childhood innocence became racialized and excluded black children.

Choice Words: Writers on Abortion, edited by Annie Finch, is an anthology of poems concerned with reproductive rights that includes works from African American writers, among them Georgia Douglas Johnson’s “Motherhood.”

SisterSong: Women of Color Reproductive Collective, is a national organization that wants to “build an effective network of individuals and organizations to improve institutional policies and systems that impact the reproductive lives of marginalized communities.”

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
1910s African American Family Folktale

A South African Red Riding Hood

A South African Red Riding Hood

By Anonymous
Annotations by Rene Marzuk
Original image and caption from “A South African Red Riding Hood” as it appeared in The Crisis, volume 14, number 6, from October 1917, p. 287.

(Selected by Monroe N. Work)

Once upon a time there was a Bechuana man who had a daughter named Tsélané.[1] One day he set off with his family and flocks to seek fresh pastures; but his daughter would not go with him. She said to her mother, “I won’t go. Our home is so pretty that I cannot leave it.”

Her mother said, “Since you are naughty you may stay here all alone. But shut the door fast, lest a Marimo (a cannibal) comes and eats you.”

With that the mother went away, but in a few days came back bringing food for the daughter She called “Tsélane, my child, Tsélané, my child, take this bread and eat it.”

“I hear my mother speaking.” said Tsélané, “like a bird coming out of the wood.”

For a long time the mother brought food to Tsélané. Whenever she came she would call, “Tsélané, my child, take this bread and eat it.”

One day Tsélané heard a gruff voice saying, “Tsélané, my child, Tsélané, my child, take this bread and eat it.”

Tsélané laughed and said, “That gruff voice is not my mother’s. Go away, naughty Marimo.”

The Marimo went away. He lit a big fire, took an iron hoe, heated it red hot and swallowed it to clear his voice. Then he came back and again tried to beguile Tsélane. But he could not, because his voice was still rough and harsh.

The Marimo went and heated another hoe and swallowed it red hot. Then he came back and said in a small voice, “Tsélane, my child, Tsélané, my child, take this bread and eat it.”

Tsélané thought it was her mother’s voice and opened the door. The Marimo entered, put her in his sack and carried her off. Soon he felt thirsty and, leaving his bag in the care of some little girls, went to a village to get some beer. The little girls peeped into the bag, saw Tsélané and ran and told her mother, who happened to be near. The mother let her daughter out of the bag and stuffed it, instead, with a dog, a scorpion, a snake, and bits of broken pots and stones.

When the Marimo got home with his bag and opened it, intending to take Tsélané out to cook and eat her, the stones bruised him, the bits of broken pots wounded him, the scorpion stung him, and the dog and snake bit him. In great pain and agony he rushed out and threw himself into a refuse heap and was changed into a tree.

The bees made honey in the bark of this tree. In the spring the young girls gathered the honey and made honey cakes.

This bit of African folk-lore reminds at once of two truths: first, how like the races of men are and how curiously their minds run in the same direction. Second, how peculiar and exquisite is African genius and how different from the ways of other folk. Could one conceive a more original tale than this?

George Harper Houghton, [Tree]. Photograph, 1861-62, Library of Congress Prints and Photographs Division, Washington, D.C. Public Domain.
“A SOUTH AFRICAN RED RIDING HOOD.” THE CRISIS 14, NO. 6 (OCTOBER 1917): 287.

[1] The Bechuanaland Protectorate, established in 1885 by the United Kingdom, became the Republic of Bostwana in 1966.

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:

  • Bechuana: A member of a black African people inhabiting the country between the Orange and Zambezi rivers in southern Africa, and speaking a Bantu language, Tswana (formerly called Sechuana).
Resources for Further Study
  • The University of Southern Mississippi’s The Little Red Riding Hood Project gathers sixteen English versions of the well-known fairy tale that were published between 1729 and 1916.
  • The Oxford Bibliographies‘ overview of cannibalism or anthropophagy reveals that the term “cannibal” first came to use in the context of the European colonization of the Americas. The trope of cannibalism followed European imperialistic incursions in Africa and Southeast Asia, wherein, in some cases, accusations of cannibalism justified cruelty and conquest.
  • The Morgan State University’s African Folk Tale Library project seeks to gather African “folk tales from both historical sources and contemporary informants in the original language with English translations.”
Categories
1920s African American Education Family Short Story

The Yellow Tree

The Yellow Tree

By DeReath Byrd Busey
Egon Schiele. Small Tree in Late Autumn. Oil on wood, 1911, Leopold Museum, Vienna, Austria. Public Domain.
Annotations by Rene Marzuk

Plum Street is a firm believer in “signs.” It is not an ordinary street—not even physically, for it begins at Ludlow, stops on Clark where the trolley passes, picks itself up a half block south on Clark and rushes across the railroad straight uphill to the Fair Grounds. In the early nineties it was the thoroughfare for the “southend,” but Jasper Hunley, who bought Lester Snyder’s house at public auction, proved to be a “fair” Negro. Then the Exodus![1] In 1919 Negroes had been in undisputed possession for twenty years.[2]

Like the colors of their faces, the houses vary. There is Jasper Hunley’s big brown house with built-in china cabinet and bookcases, hardwood floors and overstuffed furniture. On either side of him in white houses live the Reverend Burns and Policeman Jenkins in a little less state, with portable furniture sparsely upholstered, and carpets. Across the street lives Mother Stewart and Reverend Gordon in plain barefaced houses with scarred pine furniture.

At the close of the January day, Mary Hunley sat watching at her window for Eva Lou’s home-coming from the office. Again she recalled vividly the June day she had sat with bed-ridden Mother Stewart while Lucy went to market. She had been sitting at the second story window feasting her eyes upon her hardwon home across the street—a big house in a big yard with flowers and young trees in spring garb. The roses were beginning to open. She had smiled contentedly as her eyes lingered on each bush and shrub but a puzzled frown crossed her brow as she noticed her youngest maple had yellowed. She wondered if worms were at its root.

She turned her eyes to gaze down at the Reverend Mr. Gordon, who pulled his broad brimmed hat further over his eyes, squared himself on his bare board bench in the corner of the yard and sank into a revery. Unpainted palings enclosed the tiny grassless yard about his unpainted weather-stained house, distinguished from its neighbors only by a bright blue screen door. The Reverend, tall, broad, his brown face growing darker with age, had lived on Plum street ever since he had been called from the janitorship of the Mecklin Building to the pastorate of the St. Luke’s Baptist Church. He had come to be the oracle of the street.

His dreams were respectfully broken by the greetings of returning marketers. Mary listened idly until Lucy stopped for a conversation. They spoke of the movies and the man there to whom the whole town was flocking for advance information on the future. Lucy thought his amazing replies all a trick. Mr. Gordon concurred.

Mary Vaux Walcott. Carolina Maple. Watercolor on paper, 1923, Smithsonian American Art Museum. Public Domain

“Yet,” he said, “the Lawd do give wahnin’ of things t’come t’them that believes, Miss Lucy. Ah’m not a-tall supstitious but when ah gits a sign ah knows it.”

“Yassuh,” Lucy nodded.

“Las’ yeah,” he continued, “ah says to Mrs. Reveren’ Burns that somebody in that house on the cornuh o’ Clark would die ‘fore spring come agin. She laffed. In Feb’uary the oldest boy died o’ consumption. The new leaves on d’tree in d’front yahd turned yeller. When a tree does that, Miss Lucy, death comes in the fam’ly fore a yeah is gone.”

He paused portentously. Mary Hunley leaned unsteadily closer to the window. He spoke solemnly as he pointed his long finger.

“That tree yonde’ in Jasper Hunley’s yahd turned yeller las’ night. This is June, Miss Lucy. The Lawd do give wahnin’s to them as believes.”

Mary Hunley never knew how she got home. She only knew the Lord had sent her warning. She had always believed in signs—and the few times she had ignored them they had told truth with a vengeance.

When but a girl a circus fortune-teller had drawn a picture of her future husband who should bring money and influence. When Jasper Hunley, carpenter, came a-wooing, his likeness to the picture made the match. She never really loved him, but he was her Fate so they married.

William Bullard. Portrait of Martha (Patsy) Perkins. Photograph, 1901, courtesy of Frank Morrill, Clark University and the Worcester Art Museum. Public Domain.

The first year of her marriage she dreamed three nights that they had moved into a big brown house. When Lester Snyder went bankrupt—Jasper bought the house. They moved in and their neighbors moved out. Racial gregariousness was stronger than economy, so houses went for a song.[3] Enough of them came to Jasper to make him potential potentate of Plum street. But Jasper was slow, not given to show, and contented to be hired.

Mary came to realize that he would only bring the money. She must make the influence. She had received diploma and inspiration from one of those Southern Missionary Schools for colored youth, and she had thoroughly imbibed “money and knowledge will solve the race problem.” [4] In ten years she had made Jasper a contractor. She read, she joined “culture clubs,” she spoke to embroidery clubs on suffrage when it was a much ridiculed subject, she managed Jasper’s business, drew up his contracts, and still found time to keep Eva Lou the best dressed child in Plum street school.

On Plum street as in some other Negro communities color of skin is a determining factor in social position.[5] Mary had cared for that. Jasper was fair and she became fair. From the days of buttermilk and lemon juice to these of scientific “complexion beautifier” she kept watch on herself and Eva Lou.[6] When Eva Lou came back from school in Washington she was whiter and more fashionable than ever; the street wondered, envied, resented.

Gradually Mary grew to feel that the glory of her ambition would come through her daughter. She centered all her love and energies upon Eva Lou—the promise and fulfillment of her life. Occasionally she thought Eva Lou indiscreet in bringing city fashions among small town people, yet she trusted her to have learned on her expensive trips what the great world does. Eva Lou and a few kindred spirits who had ventured far afield—to Chicago and Washington, Boston and New York—had established a clique of those who wore Harper’s Bazaar clothes unadulterated, smoked cigarettes in semi-privacy, and played from house to house. Plum street’s scandalized gossip joyfully reported by Lucy she ascribed to envy. Lucy, black and buxom, hated Eva Lou’s lithe pallor. Mary smiled. Only those in high places are envied.

William Bullard. Portrait of Betty and Willis Coles. Photograph, circa 1902, courtesy of Frank Morrill, Clark University and the Worcester Art Museum. Public Domain.

That June morning as she sat at Mother Stewart’s window, she had breathed a sigh of relief. At last, she could relax. Jasper was a thirty-third degree Mason and Eva Lou was engaged to Sargeant Hawkins of Washington.[7]

Then Gordon’s prophecy smashed in upon her soul. For one panic stricken hour she was filled with terror. But the qualities that had fought for her family for twenty-five years came to her rescue. She knew the prophecy was of Eva Lou. And she who had believed implicitly and fearfully set out to give that yellow tree the lie. She shuddered with dread but she would not retract.

“If I tell Babe,” she reasoned, “wor’y will make her sick. I’ll just have to fight it out alone.”

January was here now. Never a winter before had Eva Lou been so plagued with good advice and flannels. At first she had listened civilly but unheedingly. Finally she firmly refused both. She wore as many as she needed. As for spats and rubber—

“Well, I’ll say not. Pumps ah the thing this wintuh. An’ what if I do cough! Ev’rybody’s got a cold this weathuh. You have yuhself.”

Daily tears did not move her. Fear and a hacking cough were breaking the splendid courage of Mary. Plum street, informed by Lucy, waited the prophecy’s fulfillment in sympathetic certainty.

Down the street Mary saw Dr. Dancey’s car come slowly rolling. She had heard him say flu and pneumonia were rampant again. Suppose Eva should get either! She could not recover. That yellow tree would win and life come crashing to her feet.

“I’ll just have to take care of myself and get rid o’ this grip I have—”[8]

Dr. Dancey was stopping at her door and helping Eva Lou alight.

“O Babe!” Mary cried as she dragged her unwilling body to the door and snatched it open. “Babe, are you sick? Are y’sick?”

Dr. Dancey tried to quiet her. Eva Lou had an attack of grip—nothing more. A hot bath, hot drink, and long night’s sleep would set her right. Mary knew he lied. Grip did not make you look as Babe did. Mary knew for days that the aching limbs and throbbing head she had were signs of grip. When she asked Babe she said she just felt weak.

After Jasper and Eva Lou were asleep, Mary lay in bed and racked her fevered brain for means to thwart the threatening evil. Ah—the sure solution shone clear before her. Her tortured mind felt free and calm. A smile of cunning triumph crept over her face. She eased out of bed, slipped on her flannelette kimono and bedroom slippers. She crept in to look at Babe. She stared, then stooped and kissed the girl’s hot lips. Sweet little Babe! Mother would save her. She raised her head and smiled in calm defiance across the sleeping girl at the shrouded figure of the waiting Death Angel near the window. Not yet would it get her!

She smiled with cunning triumph again at the silent figure. Why didn’t it move? She knew. It was sorry. It had come in vain.

Down the back stairs and into Jasper’s tool room she floated. All pain had left her. Her thinking was clear and her body light as air. As she bent over the tool box she chuckled. She had never felt so certain of success since the day she married Jasper. Softly she drew out the bright, keen saw. In the kitchen she stopped for salt to sprinkle on the ice. She might slip. She floated around the house and to the youngest maple. Carefully she anointed its ice covered trunk and limbs with salt. Every crackle of the melting ice brought joy to her heart. When she felt a bare wet space on the tree she began sawing—haltingly, unrhythmically. Over and over she whispered exultantly.

“The yellow tree lied! The yellow tree lied!”

Once she stopped to wonder why she was not cold, but she was so light and warm it seemed a waste of time. Not even her feet were cold.

The saw was almost through the tree. She raised herself to gloat over its fall.

But it was not a tree. It was that same Angel of Death. The laugh froze in her throat. His face was uncovered and he was smiling. He swayed toward her once —twice. Suppose he should rush over her and get Babe anyway! She laughed now— sweet, carefree. She still would win. She would hold him—if it were forever. The Angel swayed again and fell into her outstretched arms. They held each other.

Early in the morning slow moving Jasper found her there on the ice with the tree over her.

They buried her yesterday. Eva Lou wore white mourning. Lucy, voicing the query of Plum street, asked Reverend Gordon why the yellow tree took the wrong one.

Anne Brigman. The Heart of the Storm. Print, 1914, The J. Paul Getty Museum, LA, Gift of the Michael and Jane Wilson Collection. Public Domain.
BUSEY, DEREATH BYRD. “THE YELLOW TREE: A STORY.” THE CRISIS 24, NO. 6 (OCTOBER 1922): 253-56.

Jun Fujita. Couple Moving During the 1919 Chicago Race Riots. Photographic print, 1919, Chicago History Museum. Public Domain.

[1] A likely reference to the Great Migration (1910-1970), one of the largest movements of people within the United States. Almost six million African American southerners moved to Northern, Midwestern, and Western states to escape racial violence and pursue better opportunities.

[2] In the year 1919, a particularly brutal outburst of violence against African Americans across the United States became what we know now as the Red Summer.

[3] “White flight,” which refers to the movement of white city residents to the suburbs to escape the influx of minorities, explains why racial gregariousness would have caused house prices to drop in African American neighborhoods. Redlining and blockbusting promoted a wave of “white flight” to the suburbs after World War II; however, a new study suggests that “white flight” really started during the first decades of the twentieth century.

[4] During Reconstruction (1863-1877), missionary societies and African Americans established over 3,000 schools in the South for the pubic education of freedmen.

[5] Colorism, which refers to the prejudice against dark skin, is prevalent within African American communities.

[6] In her essay “Black No More: Skin Bleaching and the Emergence of New Negro Womanhood Beauty Culture,” Treva B. Lindsey connects the popularity of bleaching products and procedures in African American communities during the late nineteenth and early twentieth centuries to “perceived and real desires for social mobility and aesthetic valuation within a cultural hierarchy premised upon white cultural supremacy.”

Illustration From a Prince Hall Masonic Convention, 1920. Wikimedia Commons. Public Domain.

[7] Jasper Hunley probably belonged to the Prince Hall Masons, a Masonic lodge for African American men that dates back to 1787. Due to racism and segregation, African Americans could not join most Masonic lodges until the late twentieth century. The thirty-third degree is an honorary Masonic degree.

[8] The grip is a common name for epidemic influenza (flu).

Contexts
Original cover from The Crisis‘ number that included “The Yellow Tree.”

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.

According to the Early Black American Playwrights and Dramatic Writers: A Biographical Directory and Catalog of Plays, Films, and Broadcasting Scripts, in the same year The Crisis published “The Yellow Tree” Irene DeReath Busey adapted her short story into a dramatic play produced by the Howard University Players in Washington, DC.

Definitions from Oxford English Dictionary:

exodus: The departure or going out, usually of a body of persons from a country for the purpose of settling elsewhere. Also, the title of the book of the Old Testament which relates the departure of the Israelites out of Egypt.

for a song: For a mere trifle, for little or nothing.

thoroughfare: A passage or way through.

Resources for Further Study
Contemporary Connections

Coates, Ta-Nehisi. “The Case for Reparations.”

Greenidge, Kaitlyn. “Why Black People Discriminate Among Ourselves: The Toxic Legacy of Colorism.”

Hall, Ronald. “Women of Color Spend More Than $8 Billion on Bleaching Creams Worldwide Every Year.”

Categories
1910s African American Family Lullaby Poem

A Lullaby

A Lullaby

By Cora J. Ball Moten
Annotations by Rene Marzuk
Daguerrotype of a Woman with a Child on Her Lap. Daguerrotype, 1839-1865, Smithsonian National Museum of African American History and Culture, Washington, D.C. Public Domain.
Dusky lashes droop and fall,
Night-winds whisper, night-birds call.
Closed your tired sleepy eyes,
Earth is singing lullabies.
Kindly twilight shadows creep
O’er a world that longs for sleep.
Little dusky babe of mine
Close those sleepy eyes of thine.
Mother’s love will softly keep
Watch above you while you sleep.
Cruel hate and deadly wrong
Cannot silence mother’s song
Though against thy soft brown cheek
She may hide her face and weep.
Sleep, brown baby, while you may
Peacefully, at close of day.
Oh, that mother’s love could guard,
Keep thee safe ‘neath watch and ward
From the cruel deadly things
That await thee while she sings.
Prejudice and cold white hate:
These, my baby, these, thy fate,
Little, gentle, trustful thing,
Thus, these sobs, the while I sing. 

MOTEN, CORA J. BALL. “A LULLABY.” THE CRISIS, VOL. 8, NO. 6 (OCTOBER 1914): 296.

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:

watch and ward: The performance of the duty of a watchman or sentinel, esp. as a feudal obligation. Now only (as often in earlier times) a rhetorical and more emphatic synonym of watch.

Resources for Further Study
  • In her 2006 book Children’s Literature of the Harlem Renaissance, Katharine Capshaw Smith refers to Cora J. Ball Moten’s poem “A Lullaby” within the context of The Crisis Magazine as representative of “maternal sorrow songs,” in which mothers “sing lullabies tinged with despair over the cribs of sleeping, still innocent, babes” (Smith 18). Smith connects this genre to the NAACP’s antilynching efforts.
  • In her 2011 book Racial Innocence: Performing American Childhood from Slavery to Civil Rights, Robin Bernstein illustrates how the American idea of childhood innocence became racialized and excluded black children starting in the mid nineteenth century. A poem like Cora J. Ball Moten’s “A Lullaby,” enacts a powerful corrective to this ideological trend while also bringing attention to the anxieties of black motherhood.
  • In 1943, Cora J. Ball Moten wrote “Negro Mother to Her Soldier Son,” a poem in which the speaker addresses her son lost in a war, perhaps World War II. Against the background of “A Lullaby,” the beginning of “Negro Mother to Her Soldier Son” is particularly poignant:

    “Your tiny fingers kneaded my dark breast
    like wind-stirred petals on the jungle bloom
    of my fierce love for you, flesh of my flesh.
    My knotted hands, work-calloused thru the years,
    Once smoothed the fleecy softness of your hair.
    That touch, remembered, thrills my fingers still.”

    The poem appears in its entirety on volume 21 of Opportunity: Journal of Negro Life (1943), available through Google Books.
Categories
1900s Family Poem Seasons

Little Light Moccasin

Little Light Moccasin

By Mary Austin
Annotations by Rene Marzuk
Curtis, Edward S. Umatilla Child. Photograph, 1910, Library of Congress.
Little Light Moccasin swings in her basket,
   Woven of willow and sinew of deer,
Rocked by the breezes and nursed by the pine tree,
   Wonderful things are to see and to hear.

Wide is the sky from the top of the mountain,
   Sheltered the canon from glare of the sun,
Ere she is wearied of watching their changes,
   Little Light Moccasin finds she can run.

Brown is her skin as the bark of the birches,
   Light are her feet as the feet of a fawn,
Shy little daughter of mesa and mountain,
   Little Light Moccasin wakes with the dawn.

All of the treasures of summer-time canons,
   These are the playthings the little maid knows,
Berry time, blossom time, bird calls, and butterflies,
   Columbine trumpets, and sweet brier rose.[1]

Bear meat and deer meat, with pine-nuts and acorns,
   Handsful of honey-comb dripping with sweet,
Tubers of joint grass the meadows provide her,
   Bulbs of wild hyacinth, pleasant to eat.[2]

When on the mesa the meadow lark stooping,
   Folds her brown wings on the safe hidden nest,
Hearing the hoot of the owlets at twilight,[3]
   Little Light Moccasin goes to her rest.

Counting the stars through the chinks of the wickiup,
   Watching the flames of the campfire leap,
Hearing the songs of the wind in the pine trees,
   Little Light Moccasin falls fast asleep.
Pair of Moccasins. Hide and beads, early 20th century, Brooklyn Museum, NY.
AUSTIN, MARY. “LITTLE LIGHT MOCCASIN.” THE SOUTHERN WORKMAN XXIX, NO. 4 (APRIL 1900): 237-38

[1] The Eastern Red Columbine is a branching perennial known for its drooping flowers which attract long-tongued insects and hummingbirds. According to the Lady Bird Johnson Wildflower Center’s website, Native American men rubbed their palms with its crushed seeds as a love charm.

[2] Wild hyacinth bulbs have a nutty flavor and can be used like potatoes. They were an important food source for Native American tribes and early European settlers.

[3] Listen to various North American owls’ calls.

Contexts

Mary Austin’s poem appeared in The Southern Workman magazine, an American journal “devoted to the interests of the black and red races of this country,” according to its cover page. The magazine included sections on education and suggestions for school lessons. The U.S. Congress had passed several Indian Appropriations Acts (in 1851, 1871, 1885, and 1889) that made Native American lands available to white settlers and confined their original inhabitants to reservations they could not leave without permission.

Definitions from Oxford English Dictionary:

  • canon: An alternate spelling of cañon (together with cannon and canyon), a deep gorge or ravine at the bottom of which a river or stream flows between high and often vertical sides; a physical feature characteristic of the Rocky Mountains, Sierra Nevada, and the western plateaus of North America.
  • mesa: A flat-topped hill of plateau of rock with one or more steep sides, usually rising abruptly from a surrounding plain and common in the arid and semi-arid areas of the United States.
  • moccasin: A kind of soft-soled leather shoe originally worn by North American Indians.
  • wickiup: A dwelling used by certain North American Indian peoples of the west and south-west consisting of a dome-shaped frame covered with brushwood.
Resources for Further Study

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