Tag Archives: United States

Studs Terkel – Style Icon

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It is the birthday of writer and broadcaster Louis “Studs” Terkel, born in the Bronx, New York (1912). His family moved to Chicago when Terkel was 10 years old and his parents ran rooming houses. Terkel remembers all different kinds of people moving through the rooming houses — dissidents, labor organizers, religions fanatics — and that that exposure helped build his knowledge of the outside world.

Terkel said: “Why are we born? We’re born eventually to die, of course. But what happens between the time we’re born and we die? We’re born to live. One is a realist if one hopes.”

And, “With optimism, you look upon the sunny side of things. People say, ‘Studs, you’re an optimist.’ I never said I was an optimist. I have hope because what’s the alternative to hope? Despair? If you have despair, you might as well put your head in the oven.”

And, “I’ve always felt, in all my books, that there’s a deep decency in the American people and a native intelligence — providing they have the facts, providing they have the information.”

NAME: Studs Terkel
OCCUPATION: Radio Talk Show Host, Journalist
BIRTH DATE: May 16, 1912
DEATH DATE: October 31, 2008
EDUCATION: University of Chicago Law School
PLACE OF BIRTH: New York City, New York
PLACE OF DEATH: Chicago, Illinois
ORIGINALLY: Louis Turkel

BEST KNOWN FOR: Studs Terkel was an American radio personality, interviewer and author who is best remembered for his oral histories of common Americans.

Born May 16, 1912, New York City. Lois Terkel, commonly known as “Studs,” interviewed the common man, probing everyday people for personal narratives about their lives and the historic moments during which they lived. He was a master of pulling out peoples’ best stories, and as such, established oral history as a respected genre.

At the age of 10, Studs Terkel moved with his family to Chicago. Arriving in the Windy City his parents, Samuel and Anna, opened a rooming house which sheltered people from all walks of life. Terkel later credited his curiosity and comfort with the world’s people to the many tenants he met there. “The thing I’m able to do, I guess, is break down walls,” he once told an interviewer. “If they think you’re listening, they’ll talk. It’s more of a conversation than an interview.”

After earning a law degree from the University of Chicago in 1934, he married Ida Goldberg, to whom he stayed wed to the rest of his life. Terkel never pursued a career in law, but instead was hired by the radio division of the WPA’s Federal Writers Project. Before long, he was asked to read a script, play parts in radio soap operas, and read the news. After a short stint in the Air Force, he returned to Chicago and continued writing radio shows and ads.

In 1944, Terkel landed his own program on WENR, the Wax Museum Show. A kind of variety program, he used the time to share his love of folk music, jazz, blues, and any number of other audible curios. A year later, he had his own television show called Stud’s Place, an improvised sitcom where he began developing what later became his interviewing style. People listened and watched, finding his love for the every-man endearing and entertaining.

The Studs Terkel Show first aired on Chicago’s WFMT in 1952. Terkel mostly played music, but slowly introduced his listeners to interviews with both famous and unknown characters. The program eventually became the award-winning The Studs Terkel Program, which ran for 35 years.

In 1956, Terkel published his first book, Giants of Jazz. A decade later, he put out his first book of oral history interviews, Division Street: America, following it with a succession of oral history works. His book were mostly based on interviews with everyday Americans around a single topic. His 1985 book The Good War: An Oral History of World War Two, which detailed ordinary peoples’ accounts of the country’s involvement in World War II, won the Pulitzer Prize. His last oral history book, which came out just after his wife died, was Will the Circle Be Unbroken: Reflections on Death, Rebirth, and Hunger for a Faith (2001). Terkel continued to interview people and make public appearances into his 90s. His last book, P.S.: Further Thoughts from a Lifetime of Listening was released in November 2008.

Terkel died of health complications on October 31, 2008, after a fall in his home. He was 96 years old. Shortly before his death, he requested that his ashes be mixed with those of his wife, and scattered in Bughouse Square, a park near his childhood home. “My father lived a long, satisfying and fulfilling but tempestuous life,” Dan Terkel told the Chicago Tribune after his father’s passing. “It was a life well lived.”

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Waldina Has a New Look – Blatant Self-Promotion

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I gave waldina.com a new look last night.  Some people, after a particularly trying day at work, hit a happy hour somewhere and forget about how top down, almost every single solitary person employed at their company is a lazy fucking idiot.  Some people leave work and play video games all night long just to dull the memories of the antics of morons at their work place.  I think that it has been well-established that my sanity lies in my cardio workouts at the gym.  Thirty minutes of the elliptical or bike, throw in some Piers Morgan and I will have totally forgotten where I was the previous eight-ish hours.

I do recognize signs of particularly bad days, however.  If I leave the gym and still want beers (yes, plural), I know it was a doozy.  Still, for whatever reason, I refuse to drink because of a bad day.  It happens, every day can’t be a peach, otherwise it would be called something other than ‘work.’

Instead, I came home and reworked the layout of Waldina.com to more match my other blog Wasp & Pear.  Wasp & Pear is like my life’s super-feed (since I don’t like the facebook over-share syndrome); waldina, instagram, articles I like, photos that inspire me, my own form of tweets, all that get pushed to Wasp & Pear for archiving (and the enjoyment of 24 followers).  It’s a Tumblr, so if you do that, you know what to do.

Let me know.

Wasp & Pear

Wasp & Pear

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Banned Books That Shaped America: Invisible Man

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The Library of Congress created an exhibit, “Books that Shaped America,” that explores books that “have had a profound effect on American life.” Many of the books in the exhibit have been banned/challenged.  Give yourself the gift of a beautiful story and read one and them imagine what your life would be like if you were never given that gift.

Fight censorship.

Invisible Man, Ralph Ellison, 1952

Ellison’s book won the 1953 National Book Award for Fiction because it expertly dealt with issues of black nationalism, Marxism and identity in the twentieth century. Considered to be too expert in its ruminations for some high schools, the book was banned from high school reading lists and schools in Pennsylvania, Wisconsin and Washington state.

invisible man

The grandson of slaves, Ralph Ellison was born in 1914 in Oklahoma City, Oklahoma, and was raised largely in Tulsa, Oklahoma. His father was a construction worker, and his mother was a domestic servant who also volunteered for the local Socialist Party. As a young man, Ellison developed an abiding interest in jazz music; he befriended a group of musicians who played in a regional band called Walter Page’s Blue Devils, many of whom later played with Count Basie’s legendary big band in the late 1930s. Ellison himself studied the cornet and trumpet, and planned a career as a jazz musician. In 1933, he left Oklahoma to begin a study of music at the Tuskegee Institute in Tuskegee, Alabama. The Institute, which is now called Tuskegee University, was founded in 1881 by Booker T. Washington, one of the foremost black educators in American history, and became one of the nation’s most important black colleges. It later served as the model for the black college attended by the narrator in Invisible Man.

Ellison left the Tuskegee Institute in 1936 and moved to New York City, where he settled in Harlem. As an employee of the Federal Writers’ Project, Ellison befriended many of the most important African-American writers of the era, including Langston Hughes and Richard Wright. Ellison also befriended the eminent jazz writer and sociologist Albert Murray, with whom he carried on a lengthy and important literary correspondence, later collected in the book Trading Twelves. After a year editing the Negro Quarterly, Ellison left for the Merchant Marines, in which he served during World War II. After the war, Ellison won a Rosenwald Fellowship, which he used to write Invisible Man. The first chapter appeared in America in the 1948 volume of Magazine of the Year, and the novel was published in its entirety in 1952.

Employing a shifting, improvisational style directly based on Ellison’s experience of jazz performance, Invisible Man ranges in tone from realism to extreme surrealism, from tragedy to vicious satire to near-slapstick comedy. Rich in symbolism and metaphor, virtuosic in its use of multiple styles and tones, and steeped in the black experience in America and the human struggle for individuality, the novel spent sixteen weeks on the best-seller list and won the National Book Award in 1953. Achieving one of the most sensational debuts of any novel in American history, Invisible Man was hailed by writers such as Saul Bellow and critics such as Irving Howe as a landmark publication; some critics claimed that it was the most important American novel to appear after World War II.

Invisible Man was heavily influenced by the work of a number of twentieth-century French writers known as the existentialists. Existentialism, whose foremost proponents included Albert Camus and Jean-Paul Sartre, explored the question of individuality and the nature of meaning in a seemingly meaningless universe. Ellison adapted the existentialists’ universal themes to the black experience of oppression and prejudice in America. He also engaged powerfully with the tradition of African-American social debate. In the character of Dr. Bledsoe, the novel offers a vehement rejection of the philosophy of Booker T. Washington, which advocated that blacks should work toward economic success as a means of achieving racial equality. It also critiques, through the character of Ras the Exhorter, Marcus Garvey’s philosophy of black nationalism.

Despite—or possibly because of—the overwhelming success of Invisible Man, Ellison never published another novel in his lifetime. Though he published two books of essays—Shadow Act in the 1960s and Going to the Territory in the 1980s—Ellison spent his later decades laboring on a vast novel, which he never finished. Upon his death in 1994, Ellison left behind more than 2,000 pages of unedited, incomplete manuscript. In heavily abridged and edited form, this manuscript was published five years after his death under the title Juneteenth, to generally unfavorable reviews.

Fight all forms of censorship.

Fight all forms of censorship.

 

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Happy Birthday Harper Lee

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To-Kill-a-Mockingbird

NAME: Nelle Harper Lee
OCCUPATION: Author
BIRTH DATE: April 28, 1926 (Age: 85)
EDUCATION: Huntington College, University of Alabama at Tuscaloosa, Oxford University
PLACE OF BIRTH: Monroeville, Alabama

Best Known For:  Harper Lee is best known for writing the Pulitzer Prize-winning best-seller To Kill a Mockingbird (1960)—her one and only published novel.

Writer. Born Nelle Harper Lee on April 28, 1926, in Monroeville, Alabama. Lee Harper is best known for writing the Pulitzer Prize-winning best-seller To Kill a Mockingbird (1960)—her one and only novel. The youngest of four children, she grew up as a tomboy in a small town. Her father was a lawyer, a member of the Alabama state legislature, and also owned part of the local newspaper. For most of Lee’s life, her mother suffered from mental illness, rarely leaving the house. It is believed that she may have had bipolar disorder.

One of her closest childhood friends was another writer-to-be, Truman Capote (then known as Truman Persons). Tougher than many of the boys, Lee often stepped up to serve as Truman’s protector. Truman, who shared few interests with boys his age, was picked on for being a sissy and for the fancy clothes he wore. While the two friends were very different, they both shared in having difficult home lives. Truman was living with his mother’s relatives in town after largely being abandoned by his own parents.

In high school, Lee developed an interest in English literature. After graduating in 1944, she went to the all-female Huntingdon College in Montgomery. Lee stood apart from the other students—she could have cared less about fashion, makeup, or dating. Instead, she focused on her studies and on her writing. Lee was a member of the literary honor society and the glee club.

Transferring to the University of Alabama at Tuscaloosa, Lee was known for being a loner and an individualist. She did make a greater attempt at a social life there, joining a sorority for a while. Pursuing her interest in writing, Lee contributed to the school’s newspaper and its humor magazine, the Rammer Jammer. She eventually became the editor of the Rammer Jammer.

In her junior year, Lee was accepted into the university’s law school, which allowed students to work on law degrees while still undergraduates. The demands of her law studies forced her to leave her post as editor of the Rammer Jammer. After her first year in the law program, Lee began expressing to her family that writing—not the law—was her true calling. She went to Oxford University in England that summer as an exchange student. Returning to her law studies that fall, Lee dropped out after the first semester. She soon moved to New York City to follow her dreams to become a writer.

In 1949, a 23-year-old Lee arrived in New York City. She struggled for several years, working as a ticket agent for Eastern Airlines and for the British Overseas Air Corp (BOAC). While in the city, Lee was reunited with old friend Truman Capote, one of the literary rising stars of the time.

She also befriended Broadway composer and lyricist Michael Martin Brown and his wife Joy.

In 1956, the Browns gave Lee an impressive Christmas present—to support her for a year so that she could write full time. She quit her job and devoted herself to her craft. The Browns also helped her find an agent, Maurice Crain. He, in turn, was able to get the publishing firm interested in her first novel, which was first titled Go Set a Watchman, then Atticus, and later To Kill a Mockingbird. Working with editor Tay Hohoff, Lee finished the manuscript in 1959.

Later that year, Lee joined forces with old friend Truman Capote to assist him with an article he was writing for The New Yorker. Capote was writing about the impact of the murder of four members of the Clutter family on their small Kansas farming community. The two traveled to Kansas to interview townspeople, friends and family of the deceased, and the investigators working to solve the crime. Serving as his research assistant, Lee helped with the interviews, eventually winning over some of the locals with her easy-going, unpretentious manner. Truman, with his flamboyant personality and style, also had a hard time initially getting himself into his subjects’ good graces.

During their time in Kansas, the Clutters’s suspected killers, Richard Hickock and Perry Smith, were caught in Las Vegas and brought back for questioning. Lee and Capote got a chance to interview the suspects not long after their arraignment in January 1960. Soon after, Lee and Capote returned to New York. She worked on the galleys for her forthcoming first novel while he started working on his article, which would evolve into the nonfiction masterpiece, In Cold Blood. The pair returned to Kansas in March for the murder trial. Later that spring, Lee gave Capote all of her notes on the crime, the victims, the killers, the local communities, and much more.

Soon Lee was engrossed in her literary success story. In July 1960, To Kill a Mockingbird was published and picked up by the Book-of-the-Month Club and the Literary Guild. A condensed version of the story appeared in Reader’s Digest magazine. The work’s central character, a young girl nicknamed Scout, was not unlike Lee in her youth. In one of the book’s major plotlines, Scout and her brother Jem and their friend Dill explore their fascination with a mysterious and somewhat infamous neighborhood character named Boo Radley. But the work was more than a coming-of-age story, however. Another part of the novel reflected racial prejudices in the South. Their attorney father, Atticus Finch, tries to help a black man who has been charged with raping a white woman to get a fair trial and to prevent him from being lynched by angry whites in a small town.

The following year, To Kill a Mockingbird won the prestigious Pulitzer Prize and several other literary awards. Horton Foote wrote a screenplay based on the book and used the same title for the 1962 film adaptation.

Lee visited the set during filming and did a lot of interviews to support the film. Earning eight Academy Award nominations, the movie version of To Kill a Mockingbird won four awards, including Best Actor for Gregory Peck’s portrayal of Atticus Finch. The character of Atticus is said to have been based on Lee’s father.

By the mid-1960s, Lee was reportedly working on a second novel, but it was never published. Continuing to help Capote, Lee worked with him on and off on In Cold Blood. She had been invited by Smith and Hickock to witness their execution in 1965, but she declined. When Capote’s book was finally published in 1966, a rift developed between the two friends and collaborators. Capote dedicated the book to Lee and to his longtime lover Jack Dunphy, but he failed to acknowledge her contributions to the work. While Lee was very angry and hurt by this betrayal, she remained friends with Truman for the rest of his life.

That same year, Lee had an operation on her hand to repair damage done by a bad burn. She also accepted a post on the National Council of the Arts at the request of President Lyndon B. Johnson. During the 1970s and 1980s, Lee largely retreated from public life.

She spent some of her time on a nonfiction book project about an Alabama serial killer, which had the working title The Reverend. But the work was never published.

Lee continues to live a quiet, private life in New York City and Monroeville. Active in her church and community, she usually avoids anything to do with her still popular novel.

 

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Banned Books That Shaped America: Leaves of Grass

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The Library of Congress created an exhibit, “Books that Shaped America,” that explores books that “have had a profound effect on American life.” Many of the books in the exhibit have been banned/challenged.  Give yourself the gift of a beautiful story and read one and them imagine what your life would be like if you were never given that gift.

Fight censorship.

Leaves of Grass, Walt Whitman, 1855

If they don’t understand you, sometimes they ban you. This was the case when the great American poem Leaves of Grass was first published and the New York Society for the Suppression of Vice found the sensuality of the text disturbing. Caving to pressure, booksellers in New York, Massachusetts and Pennsylvania conceded to advising their patrons not to buy the “filthy” book.

leaves-of-grass_mm

This book is notable for its discussion of delight in sensual pleasures during a time when such candid displays were considered immoral. Where much previous poetry, especially English, relied on symbolism, allegory, and meditation on the religious and spiritual, Leaves of Grass (particularly the first edition) exalted the body and the material world. Influenced by Ralph Waldo Emerson and the Transcendentalist movement, itself an offshoot of Romanticism, Whitman’s poetry praises nature and the individual human’s role in it. However, much like Emerson, Whitman does not diminish the role of the mind or the spirit; rather, he elevates the human form and the human mind, deeming both worthy of poetic praise.

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Banned Books That Shaped America: Bury My Heart at Wounded Knee

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The Library of Congress created an exhibit, “Books that Shaped America,” that explores books that “have had a profound effect on American life.” Many of the books in the exhibit have been banned/challenged.  Give yourself the gift of a beautiful story and read one and them imagine what your life would be like if you were never given that gift.

Fight censorship.

Bury My Heart at Wounded Knee, Dee Brown, 1970

Subtitled “An Indian History of the American West,” this book tells the history of United States growth and expansion into the West from the point of view of Native Americans. This book was banned by a school district official in Wisconsin in 1974 because the book might be polemical and they wanted to avoid controversy at all costs. “If there’s a possibility that something might be controversial, then why not eliminate it,” the official stated.

BuryMyHeartBury My Heart at Wounded Knee by American writer Dee Brown is a history of Native Americans in the American West in the late nineteenth century that expresses a Native American perspective of the injustices and betrayals of the US government. Brown portrays the government’s dealings as continued efforts to destroy the culture, religion, and way of life of Native American peoples in describing the people’s displacement through forced relocations and years of warfare waged by the United States federal government. Helen Hunt Jackson’s A Century of Dishonor is often considered a 19th-century precursor to Dee Brown’s writing.

Prior to the publication of Bury My Heart at Wounded Knee, Dee Brown had become well versed in the history of the American Frontier. Having grown up in Arkansas, Brown developed a keen interest in the American West and, during his graduate education at George Washington University and his career as a librarian for both the U.S. Department of Agriculture and the University of Illinois at Urbana-Champaign, he wrote numerous books on the subject. Brown’s works maintained a focus on the American West, but ranged anywhere from western fiction to histories to even children’s books. Many of Brown’s books revolved around similar Native American topics, including his Showdown at Little Bighorn (1964) and The Fetterman Massacre (1974).

Bury My Heart at Wounded Knee was first published in 1970 to generally strong reviews. Published at a time of increasing American Indian activism, the bestseller has never gone out of print and has been translated into 17 languages. The title is taken from the final phrase of a 20th-century poem titled “American Names” by Stephen Vincent Benet. The full quotation, “I shall not be here/I shall rise and pass/Bury my heart at Wounded Knee,” appears at the beginning of Brown’s book. Although Benet’s poem is not about the plight of Native Americans, Wounded Knee was the location of the last major confrontation between the U.S. Army and American Indians.

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Banned Books That Shaped America: Catch-22

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The Library of Congress created an exhibit, “Books that Shaped America,” that explores books that “have had a profound effect on American life.” Many of the books in the exhibit have been banned/challenged.  Give yourself the gift of a beautiful story and read one and them imagine what your life would be like if you were never given that gift.

Fight censorship.

Catch-22, Joseph Heller, 1961

A school board in Strongsville, OH refused to allow the book to be taught in high school English classrooms in 1972. It also refused to consider Cat’s Cradle as a substitute text and removed both books from the school library. The issue eventually led to a 1976 District Court ruling overturning the ban in Minarcini v. Strongsville.

catch 22

Joseph Heller was born in Brooklyn in 1923. He served as an Air Force bombardier in World War II and enjoyed a long career as a writer and a teacher. His best-selling books include Something Happened, Good as Gold, Picture This, God Knows, and Closing Time, but his first novel, Catch-22, remains his most famous and acclaimed work. He died of a heart attack in December 1999.

Heller wrote Catch-22 while working at a New York City marketing firm producing ad copy. The novel draws heavily on his Air Force experience and presents a war story that is at once hilarious, grotesque, cynical, and stirring. The novel generated a great deal of controversy upon its initial publication in 1961. Critics tended either to adore it or despise it, and those who hated it did so for the same reasons as the critics who loved it. Over time, Catch-22 has become one of the defining novels of the twentieth century. It presents an utterly unsentimental vision of war, stripping all romantic pretenses away from combat, replacing visions of glory and honor with a kind of nightmarish comedy of violence, bureaucracy, and paradoxical madness. This kind of irony has come to be expected of war novels since the Vietnam War, but in the wake of World War II, which most Americans believed was a just and heroic war, Catch-22 was shocking. It proved almost prophetic about both the Vietnam War, a conflict that began a few years after the novel was originally published, and the sense of disillusionment about the military that many Americans experienced during this conflict.

Unlike other antiromantic war novels, such as Erich Maria Remarque’s All Quiet on the Western Front, Catch-22 relies heavily on humor to convey the insanity of war, presenting the horrible meaninglessness of armed conflict through a kind of desperate absurdity rather than through graphic depictions of suffering and violence. Catch-22 also distinguishes itself from other antiromantic war novels through its core values: the story of Yossarian, the protagonist, is ultimately not one of despair but one of hope. He believes that the positive urge to live and to be free can redeem the individual from the dehumanizing machinery of war. The novel is told as a series of loosely related, tangential stories in no particular chronological order. The narrative that emerges from this structural tangle upholds the value of the individual in the face of the impersonal, collective military mass; at every stage it mocks insincerity and hypocrisy, even when such values appear triumphant.

Despite its World War II setting, Catch-22 is often thought of as a signature novel of the 1960s and 1970s. It was during those decades that American youth truly began to question authority. Hippies, university protests, and the civil rights movement all marked the 1960s as a decade of revolution, and Heller’s novel fit in perfectly with the spirit of the times. In fact, Heller once said, “I wasn’t interested in the war in Catch-22. I was interested in the personal relationships in bureaucratic authority.” Whether Heller was using the war to comment on authority or using bureaucracy as a statement about the war, it is clear that Catch-22 is more than just a war novel. It is also a novel about the moral choices that every person must make when faced with a system of authority whose rules are both immoral and illogical.

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Banned Books That Shaped America: Native Son

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The Library of Congress created an exhibit, “Books that Shaped America,” that explores books that “have had a profound effect on American life.” Many of the books in the exhibit have been banned/challenged.  Give yourself the gift of a beautiful story and read one and them imagine what your life would be like if you were never given that gift.

Fight censorship.

Native Son, Richard Wright, 1940

Richard Wright’s landmark work of literary naturalism follows the life of young Bigger Thomas, a poor Black man living on the South Side of Chicago. Bigger is faced with numerous awkward and frustrating situations when he begins working for a rich white family as their chauffer. After he unintentionally kills a member of the family, he flees but is eventually caught, tried and sentenced to death. The book has been challenged or removed in at least eight different states because of objections to “violent and sexually graphic” content.

native-son

Richard Wright was born on September 4, 1908, on a farm in Mississippi. He was the first of two sons born to Nathan Wright, an illiterate sharecropper, and Ella Wilson Wright, a schoolteacher. When Wright was a small child, his father abandoned the family to live with another woman. Wright’s mother subsequently became chronically ill, and the family was forced to live with various relatives. During one particularly tumultuous period, Wright and his brother spent a month in an orphanage. The family eventually settled with Wright’s grandmother. Though Wright attended a Seventh-Day Adventist school where his aunt taught, he rebelled against religious discipline, much like the character of Bigger Thomas in Native Son.

The illnesses suffered by Wright’s mother drained the family financially, forcing Wright to work a number of jobs during his childhood and adolescence. Despite sporadic schooling, he became an avid reader and graduated as valedictorian of his junior high school. Financial troubles worsened, however, and Wright was forced to drop out of high school after only a few weeks to find work. Shortly before the beginning of the Great Depression, the family moved to Chicago, where Wright devoted himself seriously to writing.

In 1934, Wright became a member of the Communist Party and began publishing articles and poetry in numerous left-wing publications. Still his family’s sole financial support, Wright took a job with the Federal Writers’ Project helping research the history of blacks in Chicago. In 1937, he moved to New York, where he was Harlem editor for the Daily Worker, a communist newspaper. Around this time, he wrote and published Uncle Tom’s Children, a collection of short stories that addresses the social realities faced by American black men. The novel—like its namesake, Harriet Beecher Stowe’s Uncle Tom’s Cabin—was banned or censored in parts of the United States.

However, it was Wright’s 1940 novel, Native Son, that stirred up real controversy by shocking the sensibilities of both black and white America. The reaction to Uncle Tom’s Children had disappointed Wright—though he had worked hard to describe racism as he saw it, he still felt he had written a novel “which even bankers’ daughters could read and feel good about.” With his next work, Native Son, he was determined to make his readers feel the reality of race relations by writing something “so hard and deep that they would have to face it without the consolation of tears.” The protagonist of the novel, Bigger Thomas, hails from the lowest rung of society, and Wright does not infuse him with any of the romantic aspects or traits common to literary heroes. Rather, given the social conditions in which he must live, Bigger is what one might expect him to be—sullen, frightened, violent, hateful, and resentful.

In his essay “How Bigger Was Born,” Wright explains that Bigger is a fusion of men he had himself known while growing up in the South. Confronted by racism and oppression and left with very few options in their lives, these men displayed increasingly antisocial and violent behavior, and were, in effect, disasters waiting to happen. In Chicago, removed from the terrible oppression of the South, Wright discovered that Bigger was not exclusively a black phenomenon. Wright saw, just as Bigger does in Native Son that millions of whites suffered as well, and he believed that the direct cause of this suffering was the structure of American society itself. Native Son thus represents Wright’s urgent warning that if American social and economic realities did not change, the oppressed masses would soon rise up in fury against those in power.

Disenchanted over the Communist Party’s attempts to control the content of his writing, Wright quietly split with the Party in 1942. He continued to be active in left-wing politics, however, and was the subject of intense FBI scrutiny throughout his life. In the late 1940s, Wright moved to Paris with his wife and daughter. He became deeply interested in the philosophical movement of existentialism, often socializing with Jean-Paul Sartre and Simone de Beauvoir, two of the movement’s leading figures.

Though Wright continued writing, his career never again reached the heights it attained when Native Son and Black Boy—his popular autobiographical novel—were published in the early and mid-1940s. Wright died of a heart attack in 1960. Today he is honored as one of the finest writers in African-American literature, a tremendous influence on such eminent contemporaries and followers as Ralph Ellison, James Baldwin, and Toni Morrison, among many others.

Fight all forms of censorship.

Fight all forms of censorship.

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Banned Books That Shaped America: The Red Badge of Courage

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The Library of Congress created an exhibit, “Books that Shaped America,” that explores books that “have had a profound effect on American life.” Many of the books in the exhibit have been banned/challenged.  Give yourself the gift of a beautiful story and read one and them imagine what your life would be like if you were never given that gift.

Fight censorship.

The Red Badge of Courage, Stephen Crane, 1895

Restricting excess and refusing to allow teachers to teach books is still a form of censorship in many cases. Crane’s book was among many on a list compiled by the Bay District School board in 1986 after parents began lodging informal complaints about books in an English classroom library.

red badge

Stephen Crane was born in 1871 in Newark, New Jersey. The fourteenth child of highly religious Methodist parents, Crane lapsed into a rebellious childhood during which he spent time preparing for a career as a professional baseball player. After brief flirtations with higher learning at Lafayette College and Syracuse University, Crane turned to writing full-time. Convinced that he must invest his work with the authenticity of experience, he often went to outlandish lengths to live through situations that he intended to work into his novels. For his first book, Maggie, a Girl of the Streets (1893), Crane lived in poverty in the Bowery slum of New York City. Similarly, he based his short story “The Open Boat” on his experience as a castaway from a shipwreck.

Crane’s most enduring work, the short novel The Red Badge of Courage, was published in 1895. Though initially not well received in the United States, The Red Badge of Courage was a massive success in England. The attention of the English critics caused many Americans to view the novel with renewed enthusiasm, catapulting the young Crane into international literary prominence. His realistic depictions of war and battle led to many assignments as a foreign correspondent for newspapers, taking him to such locales as Greece, Cuba, and Puerto Rico. He published volumes of poetry as well as many works of fiction, including the landmark “The Open Boat” (1897). In 1899, Crane moved into a medieval castle in England with his lover, the former madam of a Jacksonville brothel. Here Crane wrote feverishly, hoping to pay off his debts. His health began to fail, however, and he died of tuberculosis in June 1900, at the age of twenty-eight.

Ironically, for a writer so committed to the direct portrayal of his own experience, Crane’s greatest work is almost entirely a product of his imagination. When he wrote The Red Badge of Courage, Crane had neither fought in war nor witnessed battle, and was forced to rely on his powers of invention to create the extraordinarily realistic combat sequences of the novel. His work proved so accurate that, at the time of the book’s publication, most critics assumed that Crane was an experienced soldier.

Based loosely on the events of the Civil War Battle of Chancellorsville (May 2–6, 1863)—though neither the battle, the war, nor the armies are named in the book—The Red Badge of Courage shattered American preconceptions about what a war novel could be. In the decades before Crane’s novel, most fiction about the Civil War was heavily idealistic, portraying the conflict as a great clash of opposed ideals. Whereas previous writers had taken a large, epic view, Crane focused on the individual psychology of a single soldier, Private Henry Fleming, during his first experiences of battle. In this narrowed scope, Crane represents Henry’s mind as a maze of illusions, vanity, and romantic naïveté, challenged by the hard lessons of war. Crane does not depict a world of moral absolutes, but rather a universe utterly indifferent to human existence.

This startling and unexpected shift drew the world’s attention to The Red Badge of Courage, as did the novel’s vivid and powerful descriptions of battle. With its combination of detailed imagery, moral ambiguity, and terse psychological focus, The Red Badge of Courage exerted an enormous influence on twentieth-century American fiction, particularly, on the writings of the modernists. These qualities continue to make the work absorbing and important more than a century after it was written.

 

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Banned Books That Shaped America: Moby-Dick

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The Library of Congress created an exhibit, “Books that Shaped America,” that explores books that “have had a profound effect on American life.” Many of the books in the exhibit have been banned/challenged.  Give yourself the gift of a beautiful story and read one and them imagine what your life would be like if you were never given that gift.

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Moby-Dick; or The Whale, Herman Melville,1851

In a real head-scratcher of a case, a Texas school district banned the book from its Advanced English class lists because it “conflicted with their community values” in 1996. Community values are frequently cited in discussions over challenged books by those who wish to censor them.

MobyDick

Herman Melville was born in New York City in 1819, the third of eight children born to Maria Gansevoort Melville and Allan Melville, a prosperous importer of foreign goods. When the family business failed at the end of the 1820s, the Melvilles relocated to Albany in an attempt to revive their fortunes. A string of further bad luck and overwork, however, drove his father to an early grave, and the young Melville was forced to start working in a bank at the age of thirteen.

After a few more years of formal education, Melville left school at eighteen to become an elementary school teacher. This career was abruptly cut short and followed by a brief tenure as a newspaper reporter. Running out of alternatives on land, Melville made his first sea voyage at nineteen, as a merchant sailor on a ship bound for Liverpool, England. He returned to America the next summer to seek his fortune in the West. After settling briefly in Illinois, he went back east in the face of continuing financial difficulties.

Finally, driven to desperation at twenty-one, Melville committed to a whaling voyage of indefinite destination and scale on board a ship called the Acushnet. This journey took him around the continent of South America, across the Pacific Ocean, and to the South Seas, where he abandoned ship with a fellow sailor in the summer of 1842, eighteen months after setting out from New York. The two men found themselves in the Marquesas Islands, where they accidentally wandered into the company of a tribe of cannibals. Lamed with a bad leg, Melville became separated from his companion and spent a month alone in the company of the natives. This experience later formed the core of his first novel, Typee: A Peep at Polynesian Life, published in 1846. An indeterminate mixture of fact and fiction, Melville’s fanciful travel narrative remained the most popular and successful of his works during his lifetime.

Life among these natives and other exotic experiences abroad provided Melville with endless literary conceits. Armed with the voluminous knowledge obtained from constant reading while at sea, Melville wrote a series of novels detailing his adventures and his philosophy of life. Typee was followed by Omoo (1847) and Mardi and a Voyage Thither (1849), two more novels about his Polynesian experiences. Redburn, also published in 1849, is a fictionalized account of Melville’s first voyage to Liverpool. His next novel, White-Jacket; or The World in a Man-of-War, published in 1850, is a generalized and allegorical account of life at sea aboard a warship.

Through the lens of literary history, these first five novels are all seen as an apprenticeship to what is today considered Melville’s masterpiece, Moby-Dick; or The Whale, which first appeared in 1851. A story of monomania aboard a whaling ship, Moby-Dick is a tremendously ambitious novel that functions at once as a documentary of life at sea and a vast philosophical allegory of life in general. No sacred subject is spared in this bleak and scathing critique of the known world, as Melville satirizes by turns religious traditions, moral values, and the literary and political figures of the day.

Melville was influenced in the writing of Moby-Dick by the work of Nathaniel Hawthorne, author of The Scarlet Letter, whom he met in 1850 and to whom he dedicated Moby-Dick. Melville had long admired Hawthorne’s psychological depth and gothic grimness and associated Hawthorne with a new, distinctively American literature. Though the works of Shakespeare and Milton and stories in the Bible (especially the Old Testament) influenced Moby-Dick, Melville didn’t look exclusively to celebrated cultural models. He drew on sources from popular culture as well; whaling narratives, for example, were popular in the nineteenth century. Melville relied on Thomas Beale’s encyclopedic Natural History of the Sperm Whale and the narrative Etchings of a Whaling Cruise, by J. Ross Browne.

By the 1850s, whaling was a dying industry. Whales had been hunted into near extinction, and substitutes for whale oil had been found. Despite its range of cultural references and affiliation with popular genres, Moby-Dick was a failure. Its reception led Melville to defy his critics by writing in an increasingly experimental style and eventually forsaking novels in favor of poetry. He died in 1891.

Moby-Dick remained largely ignored until the 1920s, when it was rediscovered and promoted by literary historians interested in constructing an American literary tradition. To these critics, Moby-Dick was both a seminal work elaborating on classic American themes, such as religion, fate, and economic expansion, and a radically experimental anachronism that anticipated Modernism in its outsized scope and pastiche of forms. It stands alongside James Joyce’s Ulysses and Laurence Sterne’s Tristram Shandy as a novel that appears bizarre to the point of being unreadable but proves to be infinitely open to interpretation and discovery.

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