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
1880s Essay Farm life Harvest Native American Seasons Sketch

The Four Seasons

The Four Seasons

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

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

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

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

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

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

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

Contexts

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

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

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

Resources for Further Study
Contemporary Connections

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

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

urrent significance.

Categories
1920s African American Farm life Harvest Poem

To the Negro Farmers in the United States

To the Negro Farmers in the United States

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

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

Contexts

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

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

Definitions from Oxford English Dictionary:

moil: Toil, labour, drudgery.

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

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

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