Friday, October 30, 2009
In class we discussed the face that Sandburg's poems may seem a bit aged or dated, and although this is almost impossible to avoid, I think he manages to write poetry that stands up to the test of time. Last Spring I attended a panel at the AWP conference that discussed the differences between works that are only relevant to their time period vs works that do stand up to the test of time. Many novels, poems or shorts stories fail to speak to future generations, because their audiences is alienated by references to pop culture, and the reader is unable to grab onto or fully understand the significance of the author's references. However, I think that an author's work can still speak to future generations, even if their style seems dated. For example, Theodor Dreiser, in "Sister Carrie," is writing a novel that very much reflects Chicago at the turn of the century. However, he avoids alienating the reader by referring to "a popular singer of the day," rather than referencing the actual singer. So although "Sister Carrie" is absolutely dated to a very specific time period, the reader does not feel the need to look up specific names in order to understand that Dreiser is referring to a popular singer of the day. What really stands out in the novel then, is the character of Carrie, who I at least, find to be a relatable character, a young woman in a new place, trying to find her place in the world. Scared, lonely, confused and seeking guidance are all feelings I know I can relate to as a young woman, and I imagine that most people, male or female have felt or feel this way at some point, so it is more important for the author to connect the reader to those sorts of themes, rather than trying to reach the reader through references to a specific time period that will not speak to a future generation in the same way.
I find that Carl Sandburg also manages to speak to all generations in this same sort of way. Walt Whitman, in his "Preface to Leaves of Grass," stated, "A great poem is for ages and ages in common, and for all degrees and complexions, and all departments and sects, and for a woman as much as a man and a man as much as a woman. A great poem is no finish to a man or woman but rather a beginning." I find this quote to speak to Sandburg's ability to draw in all readers of all generations. Although sometimes his word choice can be questionable, as far as approiate language, as we discussed in class, for the most part his language is clean, and speaks to such topics as, love, what it is to be happy or find happiness, friendship, and loneliness. These are themes that do not lose power or validity over the generations, and so poems such as, "At a Window," where speaks of what he is willing to give up in order to be left with love,
"Give me hunger,
O you gods that sit and give
The world its orders.
Give me hunger, pain and want,
Shut me out with shame and failure
From your doors of gold and fame,
Give me your shabbiest, weariest hunger!
But leave me a little love,"
The poem goes on, and is on page 53 from out text. Everything in this poem speaks to past or future generations, because at the end of the day, no matter how old, or what year you are/were from, one needs to be loved.
Thursday, October 29, 2009
Back in the day...
our UIC police station today....
As a young boy, Samuelson became fascinated by old buildings and figured out how to take public transportation on his own so that he could sneak away and explore. When Samuelson was 13-years old, he landed a meeting with architect Mies van der Rohe, who at the time was designing a building which was chosen to replace a Sullivan building slated for demolition.
Glass and Ware present this narrative as a 96-page book (a bit larger in size than the DVD which it houses) of drawings, notebook pages, close-ups of intricate details and patterns in Sullivan's work, black and white photographs with corresponding text, and personal documents, as well as a 22-minute documentary film made from hundreds of drawings by Ware. Samuelson's story and the tone of his voice as he relates it, and the story of Nickel's earnest pursuit of Sullivan's rapidly vanishing buildings, accompanied by Ware's cartoons is heart-breaking.
Public outcry in response to the announcement that the city intended to demolish Sullivan's Chicago Stock Exchange did not ultimately preserve the building. While the story of Lost Buildings is melancholic and nostalgic through and through, it culminates in tragedy -- Nickel was killed while salvaging parts when one of the floors of the Stock Exchange collapsed. Samuelson was waiting to meet up with Nickel at the Exchange when the accident occured, and he admits that he avoids walking near the building which replaced it.
Lost Buildings reprints letters written by Nickel, as well as pages from Nickel's notebook. An opening page of one notebook states in red letters inside a black rectangle: Ornament Salvage Workbook. In this workbook, Nickel painstakingly catalogued all of the fragments that he collected from the Garrick Theater, before the pieces were transferred to museums or into storage.
You may watch a short clip from the DVD here:
Wednesday, October 28, 2009
Tuesday, October 27, 2009
The language of Algren's prose is married to Chicago (and to that specific era in Chicago as we have learned). Unlike that of Sandburg or Sinclair or, certainly, Larson, Algren's language is inseparable from Chicago and is therefore Chicago painting Chicago. It's the city in a mirror put down on paper. It sees its flaws but looks past them and is still able to love what it sees. Algren certainly makes no effort to skirt the city's flaws--rather, he thrives on them.
"For always our villains have hearts of gold and all our heroes are slightly tainted. It always takes somebody like The Hink, in whom avarice and generosity mingled like the hot rum and the cold water in his own Tom-and-Jerries, to run a city wherein warmth of heart and a freezing greed beat, like the blood and the breath, as one."Even Sandburg wasn't this woefully honest (and maybe this is why Algren wasn't well-like by the Chicagoans of his time) but it's easy to pick up on Algren's love for this unique quality of Chicago--its tainted Hustlers and heroes. "Once you've become a part of this particular patch, you'll never love another. Like loving a woman with a broken nose, you may well find lovelier lovelies, but never a lovely so real."
Indeed, like Shakespeare's Macbeth, Chicago is a lovable character with tremendous aspirations (1893 Columbian Exposition, 2016 Olympic bid, etc.) but insurmountable flaws come along with that tragic narrative. In true tragic form these flaws lead to the downfall of the character--or in this case the city. In Algren's eyes such a transformation is already taking place. "Giants lived here once. It was the kind of town, thirty years gone, that made big men out little ones. It was geared for great deeds then, as it is geared for small deeds now." Algren isn't hopeful for Chicago's future as he sends it down the path of the tragic hero. It--like Macbeth and Othello--has to fail due to its unwieldy flaws.
Algren was the perfect author for this portrait because of his attachment to the city. He was able to look on it realistically and love it for what it really was and his prose captured the tragic personality of the second city.
(Notice the green trim on this Pullman House's front stoop)
Today the area is a National Historic District, which means the owners of the former worker’s cottages, executive homes and boarding houses must comply with certain guidelines for the upkeep and renovation of their homes. For example, the officially company paint colors were a light green, a slightly darker green and a red, and these colors are a staple feature of many
I can only guess as to the looks I was getting on the train when I was reading about the initial tour of the slaughter houses. Multiple times I had to put the book down and think about something else for a brief amount of time because I just could not stand to read the scene. Sinclair has an uncanny ability to send you on an imaginary journey and thrown you head first into a scene that would rumble the stomachs of even the most burly of men. But as disgusted as I was while reading, it was interested in this facet of life. These people needed the stockyards and needed these horrible positions. That got me wondering, what were the stockyards all about?
That’s when I stumbled across this website, http://www.chicagohs.org/history/stock.html
It’s perhaps one of the most interesting sites I’ve been to in a long time. I highly recommend at least going through the different pages to look at the pictures taken of the area to get a better more concrete feel for what Sinclair was talking about. It helped me to view the scenes of Jurgis in his work environment much more vividly. Previously, I had wondered while reading this book, what the exact site of the yards were. In this site, they list the place as “The stockyards' ultimate boundaries were Pershing Avenue, Halsted Street, 47th Street, and Ashland Avenue.”
One of the things I found most interesting is that after they decided to end the meatpacking industry in Chicago, following the departure of Wilson and Company in 1955, the place was destroyed. Today “virtually no structures remain of this once predominant Chicago industry except for the giant limestone arch, erected in 1879, which marked the entrance to the stockyards.” I haven’t had a chance to get down there to check it out and see if it’s true, but I’m going to attempt to and bring back pictures to put up.
Monday, October 26, 2009
One of the things that struck me as I read Algren was the force and the verbal violence of his work—his prose-poems punch the reader in the teeth. I can’t help but think of it as “explosive” language: spit flying from his mouth as he speaks, cheeks and jowls flapping about. I think of him as a proto-slam poet, up at a podium shouting his love for Chicago. There is so much Life in his language, so much Love.
While reading, I realized that Algren would be a perfect specimen for a rhetoric class: he uses every literary device known to humanity. In particular, he uses alliteration, anaphora, and parataxis with great frequency (suggesting, as was mentioned today in class, Walt Whitman). Unlike Whitman’s long, unwinding lists that plod along slowly at times, Algren’s lists are tighter, more condensed. An example of his work with listing: “Are You a Christian” (pg 23 in my book), starting with “Knowing that Chicago...forever keeps two faces, one for winners and one for losers; one for hustlers and one for squatters...”. The listing of the city’s faces (with “one for...”) continues on for a page. Then the anaphoric phrase starter becomes “For...”, omitting the “one” from before, and carries on for another page. Algren, like Whitman, creates his portrait of the city through snapshots of the people and places that make it up. Just as we feel like we’re strolling along with Whitman on a walking tour of America, so too we feel that we're exploring Chicago with Algren. Only Algren will show us the uglier sights, the two faces (which are thousands of faces, depending on who you are) of the city.
In class today, Luis mentioned William Carlos Williams’ vision for a distinctly American poetic tradition. Algren does seem to comply with Williams’ ideas of an American voice. In his essay, “The Poem as a Field of Action”, Williams outlines his vision for American poetics, which will require some “sweeping changes from top to bottom of the poetic structure” (51). He later proclaims that iambic pentameter and the sonnet form are dead, and thus we must rethink the structure of poetry itself and the language we use to construct it. Williams, in essence, wants to overhaul the entire poetic tradition (which he sees as too British), and create an American form of poetry that “will be commensurate with the social, economic world in which we are living as contrasted with the past” (53). Williams wants poetry to encompass the voice of the people and the story of society. Poetry shouldn’t focus on Greek gods and Roman rulers; rather, it should tell the story of the nation as it stands. Williams’ vision is very Whitmanesque, but more so than Whitman (who simply summarized the people), Williams tries to incorporate their voices and their lives into his work. Algren, then, seems a loyal disciple. “Chicago: City on the Make” is the story of the city through the voices of the city. He has found the new poetic form that best enables the telling of the city, and perhaps not surprisingly, it is a fusion of Whitman’s and Williams’ most notable traits: Algren is a lister and a fan of fragmentary phrases. He isn’t interested in “sophisticated” language—he writes in the language of the people he is writing about. He has thrown away traditional syntax and imagery. He tells us and he shows us the city.
To those who see Algren as a sort of ethnographer of Chicago’s underdogs, I would agree that there is something mildly troubling in knowing that Algren doesn’t belong to the hustling class that he writes of. That said, I think he does a better job of capturing them than Whitman did of capturing the lower classes. Whitman didn’t really attempt to take on the language of the poor, whereas Algren is certainly trying to sound “authentic."
[My quotes from Williams come from the book Twentieth-Century American Poetics: Poets on the Art of Poetry, edited by Dana Gioia, David Mason, Meg Schoerke, and D.C. Stone, published 2004]
Sunday, October 25, 2009
Although Algren's prose is lyrical and beautifully written, I interpreted it as a riddle whose answer floated just outside my grasp. The notes at the back of the book helped me understand things a little better, but I got hung up on having to flip back-and-forth every couple of sentences. It's easy for me to see why it received so much criticism. Algren's tone is faced-paced and ambiguous; he rants for pages and pages about how awful Chicago is and then and goes off in another direction and says something like, you can never leave "without forever feeling something priceless is being left behind." One theme throughout Chicago: City on the Make that was not lost on me, however, was Algren's anguish over the city's failure to meet its full potential. For example, Algren writes, "Out of the Twisted Twenties flowered the promise of Chicago as the homeland and heartland of an American renaissance... Thirty years later we stand on the rim of a cultural Sahara with not a camel in sight... It has had its big chance, and fluffed it." I read those words and it was like rubbing salt in an open wound. Today, the city is still reeling from having its hopes dashed by lesser rivals, such as Rio and a team from Cinncinati lead by a man whose last name is a number for crying out loud. Although Chicago may never fulfill the lofty dreams and aspirations of insatiable inhabitants, Algren reminds us that loving Chicago is "Like loving a woman with a broken nose, you may well find lovelier lovelies. But never a lovely so real."
Saturday, October 24, 2009
One of the more underwhelming features of Erik Larson's The Devil in the White City was his rather abrupt conclusion wherein he wrapped up several storylines in the space of one short chapter--and not much more room was devoted to Holmes' trial and death. This was disappointing for me.
I was very interested in the trial and hanging that Holmes was sentenced to during 1895-96 so I hit up the 19th Century U.S. Newspapers search in the online research database at the Daley Library. I narrowed my search to May 7, 1896--the day after Holmes was hanged at Moyamensing Prison in Philadelphia, Pennsylvania (which was destroyed in 1968 I found) and was pleased with what I found including some very Capote-esque descriptions of Holmes' last hours. One article that ran in the Milwaukee Journal, for instance, provides the minute details that Mr. Larson didn't have space for.
Holmes spent the greater part of last night writing letters. At midnight he went to bed and slept soundly until 6 o'clock this morning. It took two calls to awaken him. Promptly arising, he received a visit, Fathers Daly and Macpeak of the Church of the Annunciation. They administered the last sacrament and did not leave him until nearly 9 o'clock. During their absence he ate a hearty breakfast. At 10:02 o'clock the sheriff called together the official jury and the march to the gallows was begun.What's more important that I found is that Holmes, even at the very end, held fast to his innocence in the death of the Pitezel family and addressed those that came to witness his hanging. Erik Larson mentions none of this. Here is Holmes' speech just before he was hanged as recorded by the Milwaukee Journal:
Gentlemen--I have very few words to say. In fact, I would make no remarks at this time, except that by not speaking I would appear to acquiesce in my execution. I only wish to say that the extent of my wrong-doing in taking human life consisted in the death of two women, they having died at my hands as a result of criminal operations. I wish to state here, so there can be no chance of misunderstanding, that I am not guilty of taking the lives of any of the Pietzel family--the three children and Benjamin, the father, of whose death I was convicted, and for which I am today to be hanged. This is all I have to say.True H.H. Holmes fashion. Also interesting to note is the discrepancies in the spelling of Larson's "Pitezel" and all the newspapers of the day which printed it as "Pietzel." Click on the uploaded image for the full article from the May 7, 1896 Milwaukee Journal.
I found it really interesting at the beginning when they were talking about the process of producing the fair and all of the hardships that went into the building, designing, and of course procuring the actual fair, but after a while I found it rather dense. I became distracted by the inordinate amount of detail regarding the menu’s at the meetings and such. Larson seemed to be over-dramatizing everything in this book and while it’s interesting to know what they had for dinner, it adds no literary merit to the story whatsoever. In fact as a reader, I just found it distracting. I was fascinated by his ability to research however. In thinking about the hours he must have spent in order to get the nitty gritty details of the procedure the fair took baffles me. When it comes to a writers perspective, you have to give Larson some credit for his ability to research because he must have spent a long, long time on that book.
When it came to the story of Holmes I found myself completely engrossed in wanting to find out as much as I could about what he did and how he did it. I know you’re not supposed to judge a book by its cover, but when the titles boats “murder, magic and madness at the fair that changed America” I have pretty high expectations on what I’m going to be reading regarding at least the murder aspect. This man was one of the most notorious murderers in the country, so I thought he would have been able to fulfill my expectations. Granted a lot of what Holmes did was never actually recorded, especially in detail, Larson was given a lot of liberty that he did not take advantage of. The way that he approached this liberty was to make up dramatic details that were overwritten. It came off like a cheesy romance novel and consistently left me wanting more. When it came to his writing style I felt that he should have been able to produce believable scenes that didn’t leave me rolling my eyes with annoyance.
As far as the style of the book, I felt that he did an adequate job of making the Burnham and Holmes stories intersect by alternating them. When I found myself getting bored with the inordinate amount of detail about the transactions going on in the fair he took a step back and began talking about Holmes, and when I got annoyed at the one-liners provided in the so called imagination of Larson, he switched back to the fair. Overall I would say that this could have been a fantastic book if had been written by a better writer. Perhaps this is not the type of book that is Larson’s forte, but whatever the case, it had the potential to blow me away. My interest in the character Holmes was just left so empty by his lack of creativity. He relied on the quick whips and cheesy lines that were distracting from the point that this mass murderer was under the nose of the police. The underlying story was adequately told, but the details that Larson was able to make up were just so poorly written that it became too much of distraction and a let down.
I find myself walking down Canal Street to the train station and gazing up at the looming presence of concrete and steel. I’m drawn to Sandburg’s Skyscraper poem in particular. We’re past the days of a skyscraper mounting 20 stories but the endoskeleton that is the past remains to this day. When I’m walking down this street I can’t help but think of the probably millions of people who have walked in the exact footprints I leave behind in time. Similar to my book experience; where I have walked people before me have walked, and the book I hold to read has been held before. It’s weird to think about. Obviously there’s no way that anything is absolute in originality, but actually thinking about the past makes it so much more real.
Sandburg says that the skyscraper has a “soul”. This is something that makes complete sense when you think of the city in a personified way. The fact that this city has such a rich history means that is has grown. Our city is built on the nickname that it is the second city. It has a past, albeit a dirty one, it’s a past that gives the city a personal quality. Throughout the poem Sandburg is constantly giving buildings and objects human qualities and I think this makes sense. To most of the people who live here, it’s not just a home, but much more qualitative. Even though we may never know who has walked in the footsteps we walk in today, it is still a metaphysical connection to the past. The past carries with it a deeper understanding of why we are where we are today. Without the men and women who put their lives on the line to build such fantastic buildings, we would never be where we are today with a building such as the Sears (I refuse to call it the Willis) Tower. If it wasn’t for the imagination of people we wouldn’t be where we are today. Sandburg realizes that imagination is a catalyst for change and even though change is constant something is always left behind, lingering like a soul would when a person dies prematurely. The men and women who reached out to advance the city put their entire beings into their ideas and in doing so left an imprint of their soul that can never be removed. Though most people wouldn’t slow down their busy lives of money and business to realize the amount of innovation it took to create their lives, the fact remains that when we slow down to look where we are, we can feel their souls talking to us and inspiring more and more change; because as Sandburg says, “the skyscraper looms in the smoke and the stars and has a soul”.
So reading these poems mixed with the fact that this library book has been in the hands of potentially brilliant people makes Sandburg’s reading that all things have a soul so much more palpable. A book can’t have a soul, but it has a history and a history that is survived by those who continue to check out the books. My date due in now in this book and someone in thirty years might check it out and not think about it, but in a subtle way, I have left a part of my soul in the text. I may not be a skyscraper, but holding and reading this book with awe is part of my history and now the books. I only hope that someone has the same appreciation for it that I do and they cherish the books past crossing paths with their present and changing their future.
Friday, October 23, 2009
I remember first reading a collection of Algren's short stories 15 years ago. It was also the first time I read Kerouac, and I was really taken by the high energy and velocity of their writing. I came across a copy of the typed statement that Algren wrote at the police station, explaining why he stole the typewriter, and I photocopied it and gave copies to friends, and we all laughed at it and thought it was brilliant.
Chicago: City on the Make began as an essay in collaboration with Algren's friend Art Shay. Shay, a well-known photographer, collaborated on numerous text and image projects with Algren. Shay published a book of photographs titled Nelson Algren's Chicago in 1981. In 2008, the Lookingglass Theatre Company produced a show about Algren titled For Keeps and a Single Day, and the MCA featured an exhibit of Shay's collection of photographs of Algren and Chicago.
Last April, Steppenwolf Theatre hosteed a reading in honor of Algren's 100th birthday.
You can see/hear actor Willem Dafoe read from Algren's story "The Lightless Room" at:
Every year there is a walking tour led by the Nelson Algren Committee that goes to Algren's old apartment, the fountain, and visits places Algren used to hang out. (The Chicago Reader and New City usually run an ad with details for this event.)
Here is a link to Frommer's walking guide for Wicker Park, which includes the address where Algren lived from 1959-1975 and directions for how to get there:
I also think it was interesting that people thought the Burnham sections got boring. It could be my obsession with everything Chicago that makes me love it, but I was way more into what the architects were doing than what Holmes was up to. By about midway through the book I could care less. Yeah, that creepy guy is killing another innocent girl. **insert gruesome, speculative prose here** okay, now let’s move on with the fair already! I think part of what fascinates me about this book is that you can walk around Jackson Park and the area where the fair once stood in all of its gargantuan white glory and not have the slightest idea that anything ever stood there. I know that the first time I read the book, I had to go down and walk around in the area just to try to catch some long lost ghost vibes from the city. I didn’t find anything, but I still thought it was cool. Now, as we stand on the brink of an Olympic bid, I think about how that relates so much to Devil in the White City. Will we, if we get the Olympics in 2016, allow our memories to fade into disrepair and rubble like the Chicago of the past? I hope not. I don’t know how I even feel about the Olympics coming to the Chi, but regardless it is a possibility. And I hope that if we do get them, there is as much excitement and commotion (and less killers) as there was at the Colombian Exposition. So yeah…that’s my thoughts on Larson, and Devil in the White City, and the Olympics to a degree.
I was reading this work when I took a trip to Murfreesboro, TN, and I loved the contrast it provided for my trip. The people I met in Tennessee were already amazed at my “northernness,” whatever that is, and I could feel the contrast of our ways of life so much as I read Chicago Poems. Sandburg does an excellent job of capturing the pace of the city, the fever pitch that we all have become so accustomed to experiencing. Reading that while trying to adjust to the slowness of the south was really interesting, because it made me realize just how different and special our city really is. The work captures something in our attitudes, our mannerisms, and our way of life that is different from anywhere else in the country. I think Sandburg really does the city justice, even if it is not always pretty all the time.
I’ve traveled to lots of other cities around the country and the world, and although they’re all very amazing, nowhere has emitted the electricity that Chicago does. Chicago is a little bit of what all the other cities of the world have to offer, but with a dark underbelly of mysticism and suspense and grime and fear that makes it such a fantastic place. NYC is “the city that never sleeps;” they don’t know that Chicago never does either. We might turn the lights off in the downtown area, but the city is always buzzing with people on the streets, modern gangsters and ghost hunters roaming the city long after people have retired to bed. San Francisco, “the city by the bay” has nothing on Lake Michigan. While they have a salty bay that keeps the clouds looming, we have an endless piece of blue that brings cool breezes and a refreshing piece of nature to such a metropolis. Paris might be “the city of lights” but no matter how many lamps they put on their Eiffel tower, it will never rival the glittering wonder of the Magnificent Mile at Christmas, or the view of the skyline from the lake, complete with the Ferris wheel on Navy Pier illuminated with a thousand tiny bulbs that can put Paris to shame. And it works that way for every city. No matter what they have to offer, Chicago has something just as good—and so much more.
Thursday, October 22, 2009
Having read so many Chicago Stories, which are, in essence, immigration narratives, I’ve been thinking a lot about my Chicago Story. In a lot of ways, the story of my family is a microcosmic view of the social trends in the Chicago of the 1950s.
My grandmother fled the South as a 19 year-old (in the mid-50s), seeking work in Chicago as a secretary. She was quite the rebel, working in the much-feared Northern world of increasingly integrated public spaces. A young woman alone in a big city, she had turned her back on the small-town South.
My grandfather, by the time my grandma had reached Chicago, had successfully escaped the tiny, war-ravaged Adriatic island where he was raised (off the coast of what was once Italy, now a Croatian territory) and was working as a bartender for William Wrigley. My grandfather’s life would fit quite well in a Carl Sandburg poem: an impoverished Italian without papers immersed in the world of the city’s wealthiest men. Speaking broken English, working himself threadbare.
My grandparents fell in love, conceived my aunt. My grandfather was deported; several years later he received papers and returned. No hiding in the hold of a ship, no secret journey. He came as an American.
Later, my father was born. Because it was an assimilationist era, or perhaps because my grandmother cannot speak Italian, my dad and my aunt were raised “American.” Not a word of Italian, not a hint of Italian cuisine or culture (beyond argumentativeness and occasional self-righteousness—very Old World European).
I live now in Little Italy, an olive-eyed Italian-American transplant in the city’s Italian-American capital. I am surrounded by what I never had, what my father never had: the culture to match our dark eyes and our dark hair. As I wander home from class, pass Our Lady of Pompeii, the benches painted with Italian pride, I wonder if my grandfather came here. Did he have friends in this neighborhood? Did he frequent its churches? I chase the ghost of my family, our collective past, our origin. I wish I had been raised with a language to match my name.
Wednesday, October 21, 2009
The little trivial facts that Larsen quickly mentions in The Devil in the White City, were neat to read about. At times, I was more excited to read about the little things that came out of the White City. These little things represent the powerful cultural boom occurring in Chicago during the end of the 19th Century. I am going list some of my favorites, and I hope you guys and gals post some of yours too. This first one was exciting because it is a glimpse of how the Disney Empire became a sparkle in its father’s eye.
“In all, the workforce in the park numbered four thousand. The ranks included a carpenter and furniture maker named Elias Disney, who in coming years would tell many stories about the construction of this magical realm beside the lake. His son Walt would take note” (153).
Now, I know when you read that, you had to be like “Whooa!” Real long emphasis on “o.” I know I was. It is another example of one of those little cliffhangers Larsen lets you ponder. This particular hanger is answered immediately, compared to Mr. Ferris and his wheel. Your reading about Elias thinking, “Elias Disney? Could that be Walt Disney’s father?” and before you finish the thought Larsen answers your question. Well, at least that was my take on it. So without the White City we may of never had the pleasure of meeting Mickey Mouse, Goofy, Donald Duck, Pluto, and so on. Disney World might have never happened, and all the entertainment they influenced would be non-existent. Thank You Mr. Burnham.
There was also the array of “firsts” that debuted at the White City.
“Within the fair’s buildings visitors encountered devices and concepts new to them and to the world. They heard live music…transmitted to the fair by a long distance telephone. They saw the first moving pictures on Edison’s Kinetoscope…They saw even more ungodly things – the first zipper, the first ever all electric kitchen…pancakes, under the brand name Aunt Jemima’s. They sampled a new, oddly flavored gum called Juicy Fruit, and caramel- coated popcorn called Cracker Jack. A new cereal, Shredded Wheat…a new beer [that] did well, winning the exposition’s top beer award. Forever afterward, its brewer called it Pabst Blue Ribbon” (247-48).
Now, when I go to Kuma’s Corner and order a PBR with my burger I can be proud knowing I can’t afford their better beer, but that PBR was the champion beer at the White City in Chicago 100 something years ago. Kuma’s Corner is a metal bar with famous burgers. They only serves PBR because their feelings on the more popular beers are as follows: “Death to Miller and Budweiser…they are over-produced and inferior products that prevent passionate craftsmen from sharing their gifts with all of us.” All the beer they serve comes from small breweries.
The trivial facts that Larsen brings to the reader are interesting, but because of his writing there sometimes questionable. Even though he told me in the beginning, “this is not a work of fiction”(xi), I still had trouble believing everything he said, because it felt, at times, like a work of fiction. So when I read about PBR or Walt Disney, I had to look it up online to see how truthful his research was, and the trivial facts seem to be factual. Larsen wins this time but only in the trivial sense. What about all his H.H. Holmes mumbo jumbo? I’ll be a sucker and believe every word he says about Holmes, because I want to. I give him the benefit of the doubt. Why not? Entertain me Mr. Larson!
"You must not think this hurry of my life will last forever,' he wrote in one letter. 'I shall stop after the World's Fair. I have made up my mind to do this.' The exposition had become a 'hurricane' he said. 'To be done with this flurry is my strongest wish" (Larson p. 128).
It was obviously possible to get from Evanston to Hyde Park in 1892, in one chapter Burnham is up waiting for his son's to arrive by train, but the idea that the city was sprawling up its current size while communication and transportation raced to keep up is very interesting to me. It makes it easier to imagine how someone like Holmes operated in the relative anonymity that he did. You could get lost in very modern urban crowds, while worrying only about a letter from some concerned Wisconsin parents that would eventually tip of the police.
Long distance relationships from Hyde Park to Evanston raises interesting questions about the relative seclusion that different neighborhoods operated within-- it makes it clearer how allegiances, myths and stereotypes about different parts of the city were born. Living in apartments abutting one another, sitting next to each other on trains, standing in quiet elevators, It makes me wonder how distant we still are from each other.
Tuesday, October 20, 2009
Maybe sometime after 1906 Carl Sandburg met Jurgis Rudkus when they were both hobo-ing it across the Midwest. In the poem, ‘Boes, Sandburg states: We were three in all, the other being a Lithuanian who got drunk on pay day at the steel works and got to fighting a policeman.
I’d like to think that Socialism was just another of the many disappointments in Jurgis’ life. After quitting his bellboy job—mainly due to the boring and endless speeches— he returned to the slaughterhouse to look for secluded, sonically superior work where he could never hear anybody make speeches. But, he was never picked from the line: being too old and weak. So, he went back to the steel mill and harvester works and found employment. Jurgis pacified his pain with drink and convenient companionship. The policeman he punched was trying to arrest Jurgis’ recycled sweetheart as she was on her way to meet Jurgis at the same whorehouse where Marija lived and worked.
I could be wrong. Maybe it was a different Lithuanian hobo who liked to drink and fight policemen after working at the steel mill. Its great reading Sandburg again after Devil in the White city and The Jungle!
Monday, October 19, 2009
I felt that there were a few gems in this seemingly unedited collection of poems. Some descriptions are clichés that one might find in a high school kid’s journal. Sandburg may have invented these clichés, but the combination of these AND the formulaic writing wear me down:
- There is an event.
- It happens to somebody in the upper crust of society.
- It is compared and contrasted against somebody in the lower rungs.
- Themes are mostly about the suffering poor.
The ones that really spoke to me:
To certain Journeymen
Under a hat rim
Bath is cool—a man transformed by music
To a Contemporary Bunkshooter—here I don’t mind his rambling ‘cause he is kicking some hypocritical ass.
And they obey
THE ROAD AND THE END—zilch
FOGS AND FIRES
At a Window
Under a Harvest Moon
On the Breakwater
I sang—only the 1st two lines are needed, just great!
It is much
Harrison Street Court—I live on Harrison street, and I feel it.
Gone—Chick Lorimer, what a gal.
Dream Girl—very corny, but nicely put
Under a telephone pole
Two cities, “one for the White Sox and none for the Cubs.” I think that is supposed to be funny, but I’m not sure why. And I assume all this stuff about Dwight Moody is related to the Moody Church that owns half of my neighborhood? The few references I do understand give me a feeling of accomplishment. I do know that Prohibition had its roots in Chicago, Evanston I think. And the line about, “if you’re entirely square yourself,” move to the North Shore, “where Reader’s Digest is a faith,” is funny.
Some of the themes present so far in this book we’ve seen in other readings: Chicago as two cities, a city of neighborhoods, a city where many people pass through anonymously, were all themes present in The Jungle, Devil in the White City, and linked to the Industrial Revolution. The millions of workers who populated the train yards, stock yards, and factories and make the city run, but individually pass through the city unnoticed. People seemed to experience Chicago at the turn of the century (and now, to a certain extent) as a city very much divided: the haves and the have-nots, and a city of neighborhoods which people very rarely ventured out of. Even now it is North siders and South siders, the cubs and the sox, those who vacation in Michigan and those who vacation in Wisconsin. Maybe it’s just due to the vastness of the city – it is too much to take in all at once so we create divisions in our minds.
So far this text definitely suggests more questions than answers. What is a “Trust” in the Chicago context? The Jungle had some kind of Trust established among the meat packing plants and the Tobacco Trust is mentioned in City on the Make. Is a Trust an inherently corrupt arrangement, like a monopoly?
City on the Make also has the same rough, direct writing style I have come to expect from Chicago lit. I am beginning to understand it as an expression of the mood the writers are trying to convey: tough, straightforward, unpretty.
One of the poems that I thought was a great follow-up to The Jungle was The Right to Grief. It was a good illustration of the inflexibility and inhumanity of the newly industrialized world that Jurgis encountered. The workman’s inability to properly grieve his loss, coupled with his ambivalence about the child’s death echoed the immigrant’s experience in The Jungle where the family is unable to take a day off after their wedding, and Jorgis sense of self-preservation overwhelms any sense of filial obligation when he sets off on his own.
I also enjoyed A Fence, “passing through the bars and over the steel points will go nothing except Death and the Rain and To-morrow.” While Sandburg is certainly a sharp critic of industrialization and the class structure, he is also able to recognize certain human truths that are universal despite race and class and money.
I thought one of the best social observations in the book was the depiction of the wedding. There is a timeless lesson there about the confusion that immigration brings and the failure of translating traditions. Marija was intent on giving Jurgis and Ona a proper wedding. A wedding is a symbol of ethnicity, religion and class – all the important social signifiers that announce and assure us of who we are and where we belong in the world. Literature and history is full of characters and people who are left unmarried because their families cannot afford a proper wedding. It was deemed better to be an old maid than to marry in a manner unfit to your class or culture. So Marija wanted to make sure that Ona was not dishonored (by the old country’s standards) with an improper wedding. But the traditional wedding the family was expecting, where the family fronts the costs and the community pitches in at the end, had been lost in translation and the community of new Americans did not meet the old world expectations. The family was financially ruined by the event. I was trying to come up with a modern day equivalent that has faired better and I think of the very successful translation of the Quincenieras party to American culture. I wonder what other traditions have been lost by modern migration.
Whatever financial security was not destroyed by the wedding was ruined in the family’s buying of the house. That story line affected me greatly because it is such a familiar story these days with the collapse of the housing market. I could feel myself tensing up as I read. The predatory lenders, inscrutable financial documents, uninformed buyers and lousy construction are familiar refrains. While the lawyers and bankers can assure the buyer that everything is standard and legal, the buyer still has no idea what lies in store for them. It is only in hindsight that they recognize they never stood a chance.
I was frustrated by Sandburg’s idealization of “the old country” which reads as willfully naïve. In Happiness and Child of the Romans he fails to recognize the circumstances that lead immigrants and other rural populations to Chicago. Instead of acknowledging the complicated realities of Chicago’s newest residents he chooses to simplify to the point of caricature: things were so great back home (a “home” which Sandburg probably had never visited) and here they are horrible. It seems like much of what Sandburg is responding to is the Industrial Revolution and the resulting devaluing of manual labor and the laborer, which was going on all over the world at that point, not just in the US. So while some of the laborers experienced it as an issue of migration is was a much broader phenomenon and I guess I just wish he presented a more nuanced perspective.
If I focus instead on the general themes of the work and the feelings the collection evoke in me, I am able to appreciate the Chicago Poems in a new way. The “album” carries themes of happiness, the working man, class, race and migration. I like how he is bringing together the experiences of the many different groups that populated the city to produce one portrait. It feels very human in that way. I also like that he is able to recognize a more rounded representation of the human experience, the joy and the frustrations, rather than getting stuck on one point.
One of my favorites of the collection was Anna Imroth. The final line is a bit of a sledgehammer, but with a lovely wry tone, “the hand of God and the lack of fire escapes.”