In my book I use this picture of Franklin Roosevelt arriving at the capital in 1932. Now we have a picture before that of Roosevelt riding with Herbert Hoover from the White House to the capital. These are two men who had been friends since 1917, they had worked together in the Woodrow Wilson administration, they had considered running as a Hoover/Roosevelt ticket for the Democrats in 1920, except that Hoover decided that he was really a Republican and went for them and Roosevelt went for vice president that year on the Democratic ticket. Then they sort of drifted apart, and in 1928 Roosevelt became governor of New York, Hoover became president and then they became rivals in 1932. Their relationship became more and more bitter to the point when they rode from the White House to the capital they practically didn't speak to each other.

At this point they've arrived at the Capital, Hoover is nowhere to be seen, but Roosevelt is out standing with his family. Roosevelt had been stricken with polio in 1921 and he had lost the use of his legs. This was going to be an issue in the election of 1932—would we elect a president who was paralyzed? Hoover knew about Roosevelt's condition and he speculated that the nation would not elect a "half-man" and that Roosevelt might collapse in office. I think Hoover thought that Roosevelt would not be an effective campaigner that he would probably be too weak to carry on a campaign. Roosevelt, in fact, is an enormously vigorous campaigner, [he] spends the time traveling back and forth across the country, being photographed constantly. Hoover, who has been working seven days a week late into the night over the problems of the Depression, has aged terribly in his four years—the photographs of him make him look 82 years old. So Roosevelt looks much healthier and more vigorous than Hoover does.

Roosevelt goes to great lengths to disguise his illness. People wrote stories about it, saying that he had been stricken [with polio] and people knew he had polio, that had been front-page stories in 1921. But, he did not appear in public in a wheelchair, he had leg braces, he had his pants tailored to cover the braces, he walked with a cane, and he always walked with a strong-armed person next to him. During much of the campaign his son James—who is standing here in the bowler hat—was the one who stood next to him. Especially in the back of the trains, when they would step out, the Roosevelt family would be all around him.

Roosevelt had a nice little way of introducing his family to audiences so that you were all part of the family essentially. He would always end with "and my little boy Jimmy," because Jimmy was two or three inches taller than he was and everybody would laugh at that point, but that would diffuse the issue that he was hanging on to Jimmy's arm really to keep himself standing.

So here is Roosevelt dressed for the inauguration, in his top hat, striped pants, the cane, holding on to Jimmy's arm. Standing next to them is Eleanor Roosevelt, who does not look like she's really happy to be there. Eleanor Roosevelt was a very independent-minded person; she and her husband had really developed independent lives, especially in the 1820s. She was very politically active and she really did not look forward to him being President of the United States. She did not campaign very much with him, she hated being on smoke-filled trains—which went very slowly, because of Roosevelt's condition he didn't like the train to speed because he was in a wheelchair in the train. So it went relatively slowly across the country. Then you would stop in these little towns; everybody got out the back [to] say pretty much the same things to the same types of crowds. The wife was supposed to stand pleasantly on the side, receive a bouquet of flowers, not say anything. Eleanor was just beside herself. She actually left the campaign trail in mid-October to go back to New York to teach in the school—the private school—where she was teaching American history at the time.

She—I'm not even sure she voted for Franklin Roosevelt in 1932, she may have voted for Norman Thomas. She really did not want him to be President of the United States and you can just see this in her body language and the way she's looking at this point. She had great anxiety over what this was going to do to [him]. The irony is that she became a great first lady. She realized this gave her an opportunity to promote all the issues she was interested in, to travel and to do things. But she didn't know that on March 4, 1933, this was all coming in the future.

Now the reason I have this photograph is because of the young man standing on the edge of the picture, looking very nervous, in striped pants and a cut-away: his name is Mark Trice. Mark Trice came to the U.S. capital during World War I as a pageboy and then he stayed; that was not uncommon in those days, people were just drawn to politics. He stayed and he worked for the Sergeant at Arms and he was the Deputy Sergeant at Arms in 1933. He was a Republican appointee.

In February of 1933 the U.S. Senate fired the Sergeant at Arms. He knew that he was losing his job because his party had lost the majority. He was an old newspaper reporter and he wrote a story about what he really thought about Congress to be published in the March edition of a magazine, not realizing that the March edition came out in February. When it came out—and when his critical comments about Congress were in there—the Senate called him forward to demand to know what he had in mind, and then fired him. That made Mark Trice the acting Sergeant at Arms for Franklin Roosevelt's inauguration. He was very young, he was very scared, he was also very Republican, which is interesting that he was in charge of this Democratic president's inauguration.

When I came to work for the Senate in 1976, Mark Trice was still around—he had been a variety of functions, he had been the Republican secretary, he'd been the Secretary of the Senate. He was retired at this point but he couldn't keep away from the capital. He'd come to the Senate Historical Office and tell us stories—just sit there and tell wonderful stories. He gave us this photograph and other photographs of the time. We tried desperate to do an oral history interview with him; I really wanted to record what he had to say. But he felt that he had kept the confidences of these politicians for so long that he could not record it. And he literally one day ran out of the office when we tried to tape-record his stories that he was telling us. But this photograph from him, I think, is a great keepsake of that moment [and] it tells you a lot about those people and about the way that they're presenting themselves to the world.

Photographs are part of the documentary evidence, they're not exclusive, you can't—unless you've done the research to find out what's really going on here—you can look at this picture and not really realize how Roosevelt is presenting himself. But if you look closely you can notice that there's just something that's a little odd about the cuffs of his pants, the way they've been cut, and they're there to cover these very heavy steel braces that Roosevelt used. There's actually a small piece of the brace that goes underneath the heel that you can see there. When he's sitting down sometimes you can see a little bit more of it.

Franklin Roosevelt only mentioned his braces once in public. That was in January or February of 1945 when he had just come back from Yalta. He went to speak in the House chamber and instead of standing, he sat at a table—it was the only time he ever sat for a major speech like that. He apologized to the Congress, but he said, "With 10 pounds of heavy steal around my legs, it's easier for me to sit down." That was the sole reference he ever made to those braces. You can actually see the braces in other pictures where he's sitting down. But there's just a slight awkwardness to the pose.

He walked by pushing his legs forward. Actually, when he became ill, he developed his upper body so he had very powerful arms and shoulders. And getting on and off of trains they actually built parallel bars and he swung his way down. So he gave the illusion of walking, but he was never able to walk again after he was stricken with polio in 1921.

There's a misconception that Roosevelt hid his polio. The fact of the matter is every year on his birthday children used to send dimes to the March of Dimes in his honor. They would have pieces on newsreels in the movie theaters; they would actually raise money at movie theaters. Roosevelt became a poster person for polio victims, and eventually of course, when he dies, they put his face on the dime because of the March of Dimes. His illness actually contributes to the final solution to coming up with a cure for polio or prevention for polio. But what he was really trying to show was that he was not limited by polio. That he could go around, he could get anywhere, he could do anything, even though he couldn't walk well.

Some of the people thought he was just lame. Of course the editorial cartoonists used to draw pictures of Roosevelt running, jumping, jumping out of an airplane in a parachute, chasing a bull with a pitchfork, doing the types of things that editorial cartoonists like to do. Which people had the sense that Roosevelt could move. People could see Roosevelt standing up in the newsreels and all the rest. Now if you were in a crowd who had come to see Roosevelt, you would see that he was in some cases physically lifted out of a car, you could see that he was not able to walk smoothly, but he was able to get from point A to point B. They would often put potted plants and other things in front of him so you didn't see him from the waist down. But it was clear that he wasn't walking easily and freely at that point.

His favorite recreation was sailing, which of course you sit down while you're sailing. And again, he looked very outdoorsy, very healthy, in that respect. He had been a very agile, healthy person before that—one of the better golfers, for instance, who became president. He actually had a small golf course made for himself that he could golf in in his wheel chair for a while. But he projected an image of being able to move around, not being limited. I think that was the main issue.

I think he's disguising his disability; he made a great effort not to draw attention to it. His press secretary, whenever he was asked about it, would just say it's not a story. The Democrats had actually prepared a pamphlet in defense of Roosevelt about his health conditions to put out if it became a public issue [but] they never released it during the campaign. The Republicans and just his general opponents—and that included Democrats who ran against him for the nomination—they conducted a whispering campaign about Roosevelt. A lot of the whispering campaign was, "Well, it's not really polio, it's really syphilis!" or "it’s a mental illness," or "it’s a stroke," like Woodrow Wilson. They had terrible scenarios that were spread around and there were lots of rumors. So one reason why Roosevelt was out being vigorous in his campaign was to dispel those rumors.

Again, the fact is, anybody who was aware what the—had been reading the newspapers at all in the 1920s and 1930s was not surprised about the news that Roosevelt had polio or that he didn't walk easily. But Roosevelt went to great lengths to minimize that; for instance, at his inauguration there was a viewing stand and they created a chair for him—which was a long pole with a seat—so that he could appear to be standing up for hours while watching this, [but] he was actually sitting down. That was part of the image that he was projecting.

People pose for photographs, this is a posed photograph: Roosevelt is looking "presidential," Eleanor is looking in despair, poor Jimmy is looking a little nervous in the process, and Mark Trice is scared to death. You can just sort of see there all four of them in that image there.

My project was to write a history of the election of 1932, which is an election that everybody figured they all knew, it was a forgone conclusion that because of the Great Depression, Franklin Roosevelt was going to be elected president. In fact, many accounts reduced the election of 1932 to a single sentence, "The Depression elected Franklin Roosevelt president." So the question is, how do you write a book about something everyone else can write off in a single sentence? I came to the conclusion that people read backwards into history, we know how history ends and we have 20/20 hindsight and we make assumptions from the end. But those who lived through it didn't see the end first, they started at the beginning and they worked their way to the end, much of which was very problematic.

The thing that surprised me when I read the sources was that Herbert Hoover thought he was going to win reelection in 1932, and there were a lot of very good, very competent political commentators who thought he had a very good chance of doing that. Actually, statistically if you look at what was happening in early 1932 there was an upswing in the economy. About a million people went back to work, and business was beginning to move again. Hoover thought that if that continued until November of 1932 he would be reelected; it was not a bad assumption in a lot of ways. He thought he could run the traditional 'rose garden' campaign the presidents did in those days. Which [meant] they stayed in the White House and they made official proclamations and they let their cabinet go out and campaign for them. Calvin Coolidge did that in 1924, and it was seen to be unseemly for presidents to get in a train and go around the country and pitch for themselves. So Hoover played a very low-keyed campaign from the time of his nomination in June throughout the summer.

A couple of things happened to change all of his expectations. One was the reason why the economy was coming back was because the Federal Reserve had loosened up on credit in early 1932. And the reason they did that was because Congress, which was in panic over the Depression, was pushing for inflationary solutions—lots of government spending, let's get money into circulation, let's get people back, let's hire people to work and there were all sorts of federal emergency relief programs that were being proposed in Congress. So the Federal Reserve to steer Congress out of that loosened up credit and things were going fine.

Well, in the summer of 1932, Congress adjourned—they went home—which they did, they usually worked for six months of the year and then they were gone for six months a year. The Federal Reserve sort of breathed a great sigh of relief and tightened back up on credit, under the old orthodox financial system they were trying to balance the budget. One way to do this is to tighten up on credit. Well, the economy went into a tailspin, the million people who had gone back to work at the beginning of the year had all lost their jobs, plus more by the end of the year. In fact, the economy went into a total tailspin, even after the election until March of 1933 when Roosevelt was finally inaugurated.

This is happening in the summer and the fall and it takes a while for Hoover to recognize what the public mood really is. The turning point is the main elections in September, and that's what this cartoon by Clifford Berryman—which ran in the Washington Star—depicts. Clifford Berryman was a cartoonist most famous for creating the teddy bear. When Theodore Roosevelt was president he—Theodore Roosevelt—refused to shoot a small bear on a hunting trip and so Berryman created a cartoon about this and the small teddy bear became very popular as a children's toy and that became Berryman's symbol for the rest of his career. He was still drawing cartoons when Franklin Roosevelt and Harry Truman and I think Eisenhower were president; his son then took over drawing the cartoons and continued to draw them until Nixon was president. All of those cartoons have been given to the National Archives and they're in the Center for Legislative Archives.

So as I was getting ready to write my book, I contacted the National Archives and I said, "What Berryman cartoons are available for the election of 1932?" One thing you're looking for, of course, are sources that you can use that are not copyrighted, and the Berryman cartoons are all public domain. So, the Archives gave me about a half a dozen cartoons from that election; I wound up using two in the book. This one I used because I thought it captured the moment when the Republicans knew they were in trouble and when Hoover realized that he was in trouble.

Now Maine, because of the weather, always held its state elections in September before the snows came. That was considered to be a barometer of what public opinion was. There was an old slogan, going back to the Civil War, "As Maine goes, so goes the Union." Maine tended to vote Republican—actually since the end of the Civil War—the Republicans were the majority party; so therefore, whatever Maine voted did tend to reflect what was going on. Also, in those days the Republican Party's base really was in New England and in the Midwest. So a Republican president candidate was probably never going to get an electoral vote in the South, not as many in the West—it's up for grabs, the West was a contested area. But Republicans from McKinley on counted that they were going to carry the Midwest and they were going to carry New England and the Northeastern states.

Hoover figured that, even though he had done fairly well in the South in 1928, he probably was not going to do very well there in 1932. The reason he did so well in 1928 was that he was running against the first Catholic candidate, there was huge anti-Catholic sentiment in the South—Al Smith did very poorly in the South, Hoover did very well. But that was not an issue in 1932. Then he thought that the West was sort of radical and he probably wouldn't carry much of the West, but that he would carry New England and Northeastern states.

So when Maine went Democratic in September of 1932, when they elected a Democratic governor and Democratic members of the House of Representatives everybody was shocked. When Franklin Roosevelt was campaigning—the news came as he was campaigning—and everybody in the stands yelled, "As Maine goes so goes the Union!" meaning you're going to do this, Maine has already voted Democratic. In fact, John Nance Garner, who was the vice presidential candidate for Roosevelt told the crowd, "Maine's already voted Democratic, you might as well make it unanimous." So that became a slogan, it boosted Roosevelt's spirits and added to his crowds that he was getting.

It shocked Hoover, and Berryman captured this perfectly, I thought, in this cartoon. The Republican elephant—and the elephant was the symbol of the Republican party going back to the days of Thomas Nast and the Civil War era—is obviously ill, in a terrible funk with a cloud over its head.

It has several nurses; one of the nurses is Vice President Curtis. Charles Curtis had been majority leader of the Senate, he was vice president but he was not Hoover's choice for vice president, he was sort of thrust on Hoover by the Republican convention. Hoover referred to him always as the "Old Gentleman," had very little to do with him; in fact, during Hoover's presidency there was a George Gershwin play called Of Thee We Sing, and there's a vice president in the play who's modeled after Curtis who can only get into the White House on public tours. So this is Charles Curtis, well, Curtis is this solicitous nurse taking care of the elephant.

Also Everett Sanders, who's the chairman of the Republican National Committee, is the other nurse fretting over this. And "Doctor" Hoover is saying, well, we're going to have to do something to—you know, give some new medication, we've got to get this patient back on his feet because this is the first omen of tough times coming up in this election.

In fact, one of the sources that I used most heavily for this project was the diary of Hoover's press secretary, a man named Ted Joslin. Joslin wrote a little page everyday while he was Press Secretary and in his book—in his little notes—Hoover says, "This is a disaster for us" when he gets the results. "We are going to have to change our tactics, we're going to have to campaign vigorously." Hoover realizes the rose garden campaign is out, he's got to raise a lot of money, and he's got to get out on the campaign hustings and he's got to campaign. From that point on, Hoover changes course and does become a very active candidate in October. It's almost too late for him at that stage.

But this cartoon captures that moment. And I think in that sense, for students coming to the project, it personalizes it a little bit, it shows them the urgency and it's also a humorous account of the period. That’s one of the great things about editorial cartoons in general, that visual depiction with a bit of humor. And in the case of Berryman of course the faces are all very close to what the people actually look like, it's just that the bodies have been twisted around to make them a little bit funnier and [he's] dressed them up as nurses and doctors at that point.

One of the things that editorial cartoonists like to do is put people into funny costumes. It's very common in the late 19th, early 20th century for them to dress men as women. For instance presidential candidates are all going to Cinderella's ball, which one is going to be—who are the ugly stepsisters and who's going to be the "Cinderella" at the ball. Of course these were bearded men dressed up in frilly frocks and all the rest of it to make it a little bit funnier and to bring them all down to size a bit. In this case Curtis and Sanders were not particularly dynamic figures so it's sort of making fun of them to turn them into nurses.

Women were not major political players, they were just getting into it because starting in 1920 women got the right to vote. A lot of women didn't use the right to vote actually at that period; there were a few women who were elected to office, not many. In 1932 there was a women candidate for the Senate in Illinois and she's defeated. Really it takes a while for women candidates to take over. So politics is still "men's business," but the cartoonists still turn the men into female figures.

Now, "Doctor" Hoover is dressed as a man. Hoover ran his administration, he was in charge, nobody would have put Hoover in a nurse's costume. He was the doctor. He had been seen actually before this as the nation's physician. Before he became president he had been Secretary of Commerce during a major flood that took place in the Mississippi River. He was sent in to help [with] emergency relief. Before that during World War I he had provided emergency relief for the Belgians and others in Europe. So Doctor Hoover was the man who came in when you were sick and in trouble. That was the great irony of his presidency—the nation was in trouble and Doctor Hoover failed and people had expected him to play the role he had played before he had become president. For a lot of ideological reasons Hoover refused to do that. But again, an editorial cartoonist would have never gotten away with putting Herbert Hoover in a skirt in any of these cartoons.

One of the cartoonists who's very influential at this period is a man named Rollin Kirby. Kirby reported for—or drew cartoons for—the New York World, which was a liberal, Democratic newspaper; which did not survive the Depression, it went out of business in 1931, it was folded into [a] very conservative newspaper in New York. It dispersed all of its editorial writers, people like Walter Lippmann and others—and also the cartoonists—so Kirby began drawing for national syndicate, or rather having a single newspaper. His cartoons were syndicated all over the country.

When Roosevelt, Franklin Roosevelt, went to the Chicago convention, he flew to the Chicago convention, to accept the nomination in 1932, this broke all precedent. Kirby was impressed by this and caught up with that. In the midst of Roosevelt's speech—which reporters had not gotten an advanced copy of the speech, because Roosevelt was actually putting it together as he spoke. He was taking a draft from one set of advisors and a draft by another advisor and mixing the two, as he tended to do during the campaign. There's a line in there [in which] Roosevelt promises a "New Deal" for the American people. His speechwriter had lifted this from a series of articles that was appearing in the New Republic at the time, it was a nice applause line, and it sort of reflected back to his cousin Theodore Roosevelt's Square Deal.

But Roosevelt really didn't see this as the defining description of his upcoming administration. In fact, he doesn't use the phrase for the next several speeches. It's only because Rollin Kirby, the cartoonist, drew this cartoon of a plane flying over with the words "New Deal" on it and a farmer in the field looking up at this plane going by as the symbol of "change is in the air." Newspaper editorial writers, and headline writers, and others began to realize that the New Deal was a nice little catchphrase to describe this sort of disparate notion of the types of things that Franklin Roosevelt was proposing. So Roosevelt himself later embraced the idea of the New Deal, but the editorial cartoonists were actually ahead of him in this case. That's the idea, you want to get it down to the nub, get the idea in the point it can be visual, everybody understands what it's about, makes the point, and they—in some cases—get a chuckle out of it and then they turn the page and go on to the sports.

Because the editorial cartoonists are aiming at a general public—they're not aiming at a highly educated people—they're aiming at a "man on the street" image. They want to make sure that everyone knows exactly what this is, which is the reason why they put lots of labels on to everything that they're doing so you don't make any mistakes about it. The really clever cartoonists don't need a lot of labels—the picture tells the story—but usually there's a very strong visual sense with an editorial cartoon. There are stacks and stacks of these cartoons—Berryman's at the National Archives, the Library of Congress has the Herblock cartoons from the Washington Post. It’s a huge collection, and Herblock was doing cartoons from the 1930s to up through George W. Bush's presidency.

These are terrific teaching tools; we can go back to the 19th century and use Thomas Nast cartoons. Earlier than that if you deal with the American Revolution, they have cartoons but they're so complicated and they have so many layers in labels that in many ways they overwhelm the student. But visually the cartoons become more pointed the further on you go, and certainly at least from the 1860s on they are just absolutely terrific teaching tools.

I think cartoons have changed with audiences and audience expectations. How much time people had to spend to look at these things. You know, looking at Tom Jones is a novel and the convoluted nature of those things, people enjoyed that and they could relate to that. Of course you're also talking about a much smaller reading class of people who would have looked at a magazine or a newspaper that would have carried a cartoon like this. For mass consumption, cartoons are much simpler. So for instance Benjamin Franklin draws the snake that's divided and it says "unite or die" and that's something that anybody—even the mob—will recognize and see. For the genteel drawing-room class, then you have lots of pictures that draw on religious allegories and others. You can see this change over time.

I think the late 19th century is one of the great periods for editorial cartoons. Part of this was printing needs, the artist would sketch but then it would have to be copied over by engravers. Well you have to make it a little less complicated to do that, to make the transfer. Then you had the Germans coming in, and it was a very strong German press in the United States in the late 1880s, 1890s, and on. Pulitzer and other people coming out of it, getting experience there. Hiring editorial cartoonists—people like Keppler and others—drawing originally for the German-speaking population of the United States, then translating it into English. They brought in all sorts of fanciful, fairytale, Brothers Grimm type of images into the cartoons.

They began to settle on certain very recognizable images. Nast uses the elephant for the Republicans, he's got a donkey for the Democrats—but sometimes a rooster for the Democrats, sometimes the Tammany tiger for the Democrats—but it begins to develop a lot along those lines. Uncle Sam becomes a familiar figure. Santa Claus actually was a cartoon figure that appears in the same period by the same cartoonists. So by the 1900s, the average person who picks up a newspaper can tell right away if this is a cartoon about the Republicans or the Democrats and the pictures are getting simpler and simpler.