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
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
1920s African American Food Poem

The Seedling

The Seedling

By Paul Laurence Dunbar
Annotations by Rene Marzuk
Bauscher’s Seed & Plant Guide. Chromolithograph, 1899, Library of Congress.
As a quiet little seedling,
        Lay within its darksome bed,
To itself it fell a-talking,[1]
        And this is what it said:

"I am not so very robust,
        But I'll do the best I can,"
And the seedling from that moment,
        Its work of life began.

So it pushed a little leaflet,
        Up into the light of day,
To examine the surroundings,
        And show the rest the way.

The leaflet liked the prospect,
        So it called its brother, Stem,
Then two other leaflets heard it.
        And quickly followed them.

To be sure, the haste and hurry,
        Made the seedling sweat and pant;
But almost before it knew it,
        It found itself a plant.

The sunshine poured upon it,
        And the clouds, they gave a shower;
And the little plant kept growing,
        Till it found itself a flower.

Little folks, be like the seedling,
        Always do the best you can,
Every child must share life's labor,
        Just as well as every man.

And the sun and showers will help you,
        Through the lonesome, struggling hours,
Till you raise to light and beauty,
        Virtue's fair, unfading flowers.
Roger Williams University, Nashville, Tennessee, Academic Class. Photograph, 1899, Library of Congress.
DUNBAR, PAUL LAURENCE. “THE SEEDLING,” IN THE DUNBAR SPEAKER AND ENTERTAINER, ED. ALICE MOORE DUNBAR-NELSON, 19-20. NAPERVILLE, ILL: J. L. NICHOLS & CO., 1920.

[1] A-prefixing is a distinctive feature of Southern American White English, particularly Appalachian English. Scholars argue that it may have originated among settlers from southern England.

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.”

Resources for Further Study

Categories
1880s Food Native American Poem Song, Ballad

The Eating of the Poi

The Eating of the Poi

Traditional Hawaiian song
Annotations by JEssica Cory
Photographer unknown. Taro patch, a plant whose root when made into poi forms the principal food of the natives of Hawaiian Islands. Photograph on stereograph card, 1902, Library of Congress Prints and Photographs Division. Thanks to Maggie Murphy for locating this image.  
Oh dear! Oh dear! a very queer
And curious thing I’ve seen,
Which takes the shine completely off,
The wearing of the green;
Potatoes constitute a dish
That Irishmen enjoy,
But it can’t hold a candle to
The eating of the poi. [1]
   
I met a fat kanaka, and he [2]
Asked me to his hale [3]
He wore no clothes to speak of,
But a pa-u and papale.[4]
Upon a mat cross-legged we sat,
And there, and then, my boy,
I was initiated in
The eating of the poi.

A calabash before us stood,
Tutui in a dish, [5]
And in another one, some
Animated shrimps and fish;
We pitched in, and did
No cutlery employ,
The finger is the instrument
For the eating of the poi.

You dip it in, and stir it round,
‘Tis difficult to learn,
And harder to describe the
Proper scientific turn,
Sometimes one finger, sometimes two,
And sometimes three employ,
According to your appetite
When eating of the poi.

To unaccustomed lips, it has,
A most peculiar taste,
A strong similarity
To very ancient paste.
But when you’ve clean’d the calabash,
You’ll want to hiamoe [6]
And soon get fat as butter, just
From eating of the poi.
“The eating of the poi.” In ka buke o na leo mele hawaii no ka pono a me ka pomaikai o na home hawaii na anaina hoolaulea a me na aha mele hoonanea (book of hawaiian songs for the good and the happiness of hawaiian homes for friendly gatherings and for musical assemblies) edited by keakaokalani and j.m. bright, 96.

[1] Poi is a common food in traditional Native Hawaiian cuisine. It is made from pounding or mashing cooked taro root.

[2] Kanaka is short for Kānaka Maoli, the people Indigenous to Hawai’i.

[3] Hale means home or house.

[4] A pa-u is a skirt and papale is a hat, especially a hat made on coconut fronds.

[5] Tutui is candlenut, the seed of the fruit bearing candlenut tree, Aleurites moluccanus.

[6] Hiamoe means to doze or nap.

Contexts

This song does not appear to have an author and, in the publication by Keakaokalani and Bright, did not include any sheet music or other indication of accompaniment. As a traditional song though, it is likely that the publication’s audience would have been familiar with how to perform the tune. Because “The Eating of the Poi” is a traditional song, it has certainly been performed by countless people, including The Waialea Trio. Some sources also note that “The Eating of the Poi” is the first hapa-haole (literally half-white) song, meaning the first song “with lyrics being a combination of English and Hawaiian (or wholly English).”

Resources for Further Study
  • To learn more about traditional Hawaiian foods, check out Kathryn Orr’s presentation, which also includes recipes.A Hawaiian tourism page also includes a glossary of Hawaiian food terms that also might be helpful.
  • For further information about Hawaiian music, the Smithsonian details some of the elements found in a variety of Hawaiian music styles. This wiki by hosted by McGill University provides more in-depth discussion of the evolution of musical styles in Hawai’i.
Pedagogy

When teaching about aspects of Native Hawaiian culture, including music and food, it’s also important to keep in mind the power dynamics that exist between Native Hawaiians and white settlers, both in historical and contemporary times, as well as the power dynamics involved in research. In teaching early Native Hawaiian texts, the dynamics between pro-annexationists and those opposed to annexation are also important to include, particularly in discussions of Native sovereignty.

  • Just as you wouldn’t (hopefully) encourage students to make feathered headdresses as part of a lesson, don’t have them don hula skirts either. Kumu Leilehua explains why both are a problem.
  • For more advanced classrooms, it would be helpful to delve into Indigenous food sovereignty and how U.S. policies (particularly environmental policies) affect the ability to procure some traditional foods. Jeremy Miller provides a good introduction on this issue for The Sierra Club, and Don Heacock, a kalo (taro) farmer, explores the links between agriculture and food sovereignty in Hawai’i.

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