Herman Melville's "Bartleby, the Scrivener"

Bibliography
Source Credit

Adapted from "Analyze A Melville Short Story" on History Matters.

Image Credits
  • Image. "Book Stack."
  • Image. "Children and the Book of Knowledge."
  • Image. "National Life Insurance Company of Vermont 1942."
  • Image. "Thick Dictionary."
  • Illustration. "Tombs Prison, NYC Prison Yard." Frank Leslie's Illustrated Weekly, November 29, 1856.
  • Illustration. "A Visit to the Tombs Prison, New York City." Frank Leslie's Illustrated Weekly, November 29, 1856.
  • Print. "Herman Melville." Library of Congress, Prints and Photographs Division: LC-USZ62-135949.
  • Newspaper. New York Tribune, November 8, 1853: 1. Library of Congress, Chronicling America.
  • Photograph. "Tombs Prison, New York City." c. 1896. Library of Congress, Prints and Photographs Division: LC-USZ62-63343.
  • Print. "Wall Street, N.Y. 1847." c. 1847. Library of Congress, Prints and Photographs Division: LC-USZC4-2461.
  • Print. "Criminal Courts, in and for the City of New York." New York Public Library Digital Gallery, Image ID: 801343.
  • Print. Heine, William. "The Tombs/Hall of Justice (New-York)." 1850. New York Public Library Digital Galley, Image ID:1659144.
  • Print. "The Tombs." 1859. New York Public Library Digital Gallery, Image ID: 809451.
  • Print. "Wall Street, N.Y." 1846. New York Public Library Digital Gallery, Image ID: 809983.
  • Print. "Wall Street, N.Y." 1846. New York Public Library Digital Gallery, Image ID: 809983.
  • Print. "Wall Street, N.Y." 1847. New York Public Library Digital Gallery, Image ID: 809984.
  • From the National Gallery of Art:

  • Magazine. Melville, Herman. "Bartleby the Scrivener, A Story of Wall Street." Putnam's Monthly Magazine 2(11) (1853): 546–550.
  • Magazine. Melville, Herman. "Bartleby the Scrivener, A Story of Wall Street." Putnam's Monthly Magazine 2(12) (1853): 609–616.
  • Magazine. "The Counterfeit Coin." Putnam's Monthly Magazine 7(42) (1856): 576–583.
  • Magazine pages. Putnam's Monthly Magazine:
    • January to June, 1853: 136.
    • January, 1853.
    • January, 1854.
    • July, 1853.
    • November, 1853.

  • Painting. Diebenkorn, Richard. "Ocean Park #111." 1978. Smithsonian Institution, Hirschhorn Museum.
  • Book. Fowler, Francis George. The Concise Oxford Dictionary of Current English. Oxford: Clarendon Press, 1917.
  • Book. Melville, Herman. Moby-Dick, or The White Whale. Boston: The St. Botolph Society, 1892.
  • Photo. Rockwood, George Gardner. "Herman Melville, 1819–1891." 1885.
Video Overview

Is reading a piece of historic literature once enough? Not it you want to get the most out of a source. Using Herman Melville's short story "Bartleby, the Scrivener," as an example, Hans Bergmann suggests such as:

  • (1) read the source several times;
  • (2) read the source again after putting it aside and reading related sources;
  • (3) read the source as it was originally printed (was it in a magazine? a pamphlet?); and
  • (4) look up words you don't know or have questions about.
Video Clip Name
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bergman2.mov
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Video Clip Title
What's interesting about this excerpt of "Bartleby?"
What advice would you give to a first-time reader?
How would you put the story in a larger context?
What tips do you have for teaching literature?
Video Clip Duration
3:49
3:19
3:49
3:36
Transcript Text

I was always interested in Melville, in college and thereafter. And then I got interested in New York City culture and started to be interested in the relationship between the—let's call it the sophisticated form of Melville's work—and cultural forms that grew up around the new New York City in the 1840s, 1850s. "Bartleby" seemed to me, and still seems to me, a strikingly interesting example of how an artist takes the cultural forms of his time and makes an interesting work of art.

I think the reason I wanted to go back to it is actually, it's the complex point, but I think it's evident on the first reading, which is. . . . I suddenly got very interested in "my heart in my mouth." In other words, "my hand in my pocket and my heart in my mouth." In other words, your hand in your pocket where the money is, and your heart is in your mouth and I started to suspect or to see that this is perhaps part of a pattern of portraying this narrator as a particular kind of sentimental narrator type. Not a bad man, but not the man who reflects the author directly. I was interested just in the stunning clarity of the end of this encounter. The isolation of both of these people.

In other words, Bartleby standing there in those empty rooms, folded up as if the book is closing. The folio—he's been behind a screen the entire time that he's been with the lawyer. And this then is folded up, leaving him "the motionless occupant of a naked room." It's a word that's used often to describe Bartleby in the story: motionless.

Anyway it seems like a culminating moment of the way the story works. It has a strange combination to me of quotidian New York life. The carts come, we move the furniture, we do all this regular stuff in the law office on Wall Street. And this obscure sense of ceremony and the suggestion that something larger is going on here. And that the word "something" is a word the lawyer often uses. Look: "I stood in the entry watching him a moment, while something from within me abraded me." Something—he'll always say—"something prompted me to think this, something prompted me." In other words, it's precisely what he is inarticulate about that makes the reader wonder what these "somethings" are.

I come from the discipline of literature. And I spend a surprising amount of time, even at this late date, reading it. That is to say, reading it, rereading it. It is always something of a trial, a mystery to me how much time it takes, even though theoretically you have the competence. But it's a matter of sitting there reading, rereading, and doing some very elemental, non-cultural analysis things, first at least. Even a supposedly highly competent reader, someone like me, who's done this a lot, repeats again and again something of the experience of the amateur. In other words, I come to a text with excitement and a certain amount of terror because I don't always get it. Or I don't understand enough of it. Or I come to understand something new this time. Sometimes the new thing overturns what I thought before.

Knowing what the words mean, knowing what the dramatic situation is, decoding anything that is obscure. Being able to say what it is. This is structuralist in the sense that a purist might say, "No, leave it," you know, "don't translate it." But I think in practical terms for me, and for students, it's very important to be able to say what it is. Which isn't as simple a matter as it sometimes seems, what the words mean. And then interpretation becomes a matter of beginning—and this again is a structuralist idea—of beginning with the oppositions, the repetitions.

What's exciting about this for me, for my own reading, and to tell to the students, is that it actually gives them something to do. In other words they say, I say, "Did you look up all the words in the dictionary?" And then they say, "Well, yes" and then I say, "Well, what does 'lintel' mean?" And they say, "I don't know." In other words they don't look up all the words in the dictionary. We don't, none of us do really. And then, they can look at oppositions, something that I think we, or most competent readers almost do automatically, without knowing it. In other words, what is the contrast, what's up, what's down. Very simple things that a student can do. What's repeated? What's the pattern? What's the image pattern, and so on.

I'm not sure that until last night when I selected this passage, that I remembered that he uses the word "folio" there. This might sound trivial to many people, but to someone like me who's thought about this a lot, right, and then I immediately lingered—this is part of the reading, interpretation, criticism business—"folio," wait a minute, I've skipped over that in my brain this whole time, these 20 years. "Folio," that means like a book! And he's folding up, the image, in other words, is not simply of folding up the screen. It's folding up the story, it's folding up the book. This is, I believe I'm saying to you honestly, brand new to me. And it comes from something that I tell my students day after day after day. Look up the words, think about what the words mean. It's the simplest of advice but it's the hardest to follow.

A teacher said to me in college—I didn't understand the poems of Wallace Stevens. Just didn't get it. I went to the teacher in his office. And he said, "Look up the words in the dictionary." And I of course was an English major and was insulted by this and I said, "I know what the words mean." And I was actually quite angry, left the office angry. Went back to my dorm room, quite privately, put the Stevens book in front of me and looked up the words in the dictionary, and it was as if the veil had been lifted from my eyes. Even the words I quote unquote "knew the meanings of," I didn't know the fullness of.

Bartleby appears to people, to students, in things like this. [holds up an anthology] This is a perfectly wonderful anthology, but it is—you know, Bartleby appears in here on page 2,330. And it appears in a thicket of perfectly wonderful things from American literature, often now including some cultural documents. But still, this is the form and most students think of literature in this form. This is one of my greatest frustrations because of course it originally appeared monthly, by Putnam's Monthly magazine, in simple paperb—it's very rare, by the way, to see them this way at all anymore because these were bound later. "Bartleby" appeared in two issues of this, November 1853 and then another one December 1853.

What I do for some undergraduate classes, and probably all graduate classes, for example, is to xerox the entire issue of the Putnam's Monthly and have them read that. This is a small step, but an important one to see what's around it. To understand that, for example, there are lots of lawyer stories written about New York. That it's a genre of popular fiction in New York during the period. There are a whole slew of lawyer's stories, some of them even published in Putnam's.

There was one after "Bartleby" in June 1856, Putnam's Monthly published a story about a New York lawyer and a mysterious scrivener, "The Counterfeit Coin" it was called. It's narrated by a genial, unaggressive lawyer. This is the beginning of that story: "Late one Saturday afternoon in a certain December, I sat by a good sea coal fire in my office, trying to muster courage enough for an encounter with the cold winds and driving storm outside." Just at that moment there is a knock on the door. The lawyer is surprised that anyone has come and he is taken aback to see a poorly-clad young woman who has trudged through the storm. She is a freelance law copyist and he engages her, and so on, and then there's a mystery, and a story. These are often related to lost heir stories, which were very popular in the period too. The notion is that somewhere in your lineage was great, great wealth. And that these mysterious characters wandering around were in fact the lost heirs.

This of course is, from the perspective of Melville, a sentimental, trivial version of the strange character on the street story. But it also illustrates the difference in how Melville handles the materials. Those stories, the ones I'm talking about, often end with the revelation. In other words, the revelation of the parent, the revelation of the source, in other words, he comes home again. The lost child comes home again or is adopted into the family, or some identity is. . . . And Melville of course leaves that completely unresolved. Even though the character of the narrator is very similar to the character of the narrator of the other pieces, that's the subtlety. Is that it looks an awful lot like, and is an awful lot like, the popular versions of itself. The narrator is very similarly handled by Melville, but the story subtly opens up the whole story of confrontation with the other classes in New York—with the other, with the new New York. And that move opens up the whole cultural text of what's going on in New York in the period.

It depends whether I set it up with a contextual system around it. In other words, if theirs a contextual system around it, I want them to be able to see the relationship to the other documents. But I want - I want all things it wants. I want - I want the ability of the English major to interpret - to reinterpret and criticize and I want inside that the ability to see the relationship to the cultural text. So I want them to be able to understand at least that occurred in a particular time and place. In another words, I want them to be able to -- reinterpret and then within the interpretation moment understand how that goes out to the ideology of the period, right - to the text to the other text of the period. So that they understand that anything that appears in front of them, as a text, is sort of torn from some place. It comes from someplace.

I'm very persuaded by the reading the text twice issue. Some of the most successful courses I've taught, including a memorable one on Moby-Dick, which was read Moby-Dick at the beginning of the course, and then read a whole slew of other stuff—Dickens, newspapers of the period—just as much as you can get in. And then read Moby-Dick at the end of the course, making them swear an oath that they're really going to read it again, even though they've read it at the beginning. And it's simply astonishing what happens at that moment.

This is based on one of the most wonderful educational experiences I ever had, which was in high school, in art history class. Where the school where I was at just hired some artist, I think off the street, to teach art history. He wasn't a regular faculty member. And he showed us slides, old master slides, for 15 minutes: "click-click-click-click-click-click." And we sat there the way we always do with old master slides—"familiar-familiar-familiar." Then he stopped. And then for the second 15 minutes he showed us 20th-century, late-20th-century paintings: abstract expressionists, bright colors, splashes of color, brightness. And we didn't understand that, but we knew something was happening there. And then—this is the genius of it—he showed us the same old masters again for the final 15 minutes. And it was just, I remember to this day, it was just an astonishing educational experience. Suddenly you saw the color in those paintings. Suddenly you saw shape in the old master paintings. Suddenly you saw, in other words—he, by the way, didn't say anything the entire time, he just showed 45 minutes of slides. And all these years later I, as you can tell, think of that moment, and try to enrich the understanding of the text.

In that case it was color and shape and form and so on. He had another very simple trick, which is he took us to a museum and made us stand in the room and close our eyes. And he said, "Okay, now think red." Still eyes closed. "Okay, now open your eyes and look around the room." Again it's just, "Shooooo!" "Close you eyes. Think blue. Look around the room. Close your eyes. Now think all colors all at once." Again, I do this every time I'm in a museum. I have no idea what his name was, by the way.

Puerto Rico Encyclopedia/Enciclopedia de Puerto Rico

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Visitors to this site will find more than 1,000 images and dozens of videos about the history and culture of Puerto Rico. The work of dozens of scholars and contributors, the Puerto Rico Encyclopedia reflects the diverse nature of the island: a U.S. territory, a key location for trade in the Caribbean, a Spanish-speaking entity with its own distinct culture, and a part of a larger Atlantic world. Funded by an endowment from the National Endowment for the Humanities and the Fundación Angel Ramos, the site is a key product from the Fundación Puertorriqueña de las Humanidades. It provides users with all content in both English and Spanish. Educators will find the site easy to navigate and conveniently categorized by themes; within each topic, appropriate subtopics provide an in-depth examination of Puerto Rican culture and history. Of particular interest to U.S. History teachers are the images and information found under History and Archeology. Here, teachers and students can explore a chronological narrative of the island's history and role at specific moments in U.S. and Atlantic history. Other sections worth exploring are Archeology (for its focus on Native American culture), Puerto Rican Diaspora (for its look at Puerto Ricans in the U.S.), and Government (for a detailed history on Puerto Rico's unique status as a free and associated US territory). Educators in other social science courses will also find valuable information related to music, population, health, education, and local government. In all, 15 sections and 71 subsections provide a thorough examination of Puerto Rico. The Puerto Rico Encyclopedia's bilingual presentation also makes it a good site for integrating Hispanic culture into the U.S. History curriculum, as well as helping to bridge curriculum for English Language Learners (ELLs) in the classroom.

Roosevelt's Tree Army

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Question

I'm looking for projects in Onondaga and surrounding counties in New York done by the Civilian Conservation Corps or the Works Progress Administration, especially monuments, parks or buildings still in existence.

Answer

The Civilian Conservation Corps (CCC) began in early 1933, under its FDR-appointed director, Robert Fechner, a union leader who had previously been the vice president of the International Association of Machinists. The CCC was a public work relief program for unemployed young men, aged 18-25, who worked on government-owned lands, mostly on natural resource conservation projects. The U.S. Army ran the program, which was therefore sometimes jocularly referred to as “Roosevelt’s Tree Army.” It ended in 1942. The CCC’s Second Corps Area included New York and New Jersey, and in these two states there were 75 camps, most of which resembled rustic World War I Army camps. Some of them were essentially tent towns and were occupied only during the warmer seasons, but others served as winter quarters as well and were constructed of timber buildings and masonry. The enlistees who served in each camp generally came from all over the country. The young men who enlisted from Onondaga County, for example, were transported by train to Fort Dix, New Jersey, where they were given some very basic training before being assigned to CCC camps around the country.

Corps Work in Onondaga County

The CCC, from its winter quarters at Camp 55 on the south side of Upper Green Lake State Park near Fayetteville, worked on the construction of the Green Lakes golf course a half-mile away. The course is still open. The Fayetteville Free Library has an online exhibit about the work of the CCC at Green Lakes State Park, which includes interesting photos of the CCC at work on the park. In Pratt’s Falls County Park, in Manlius, 6 miles southeast of Syracuse, the CCC worked throughout the park on stone retaining walls, roads, trails, buildings, and bridges. In Morgan Hill State Forest the CCC planted millions of conifer trees from seedlings trucked in from the Corps’ tree nursery near Albany. On the Onondaga Reservation, the National Youth Administration and the WPA funded a community center built in 1940 by Indian youth, as well as a model program for training Indians who were then employed as youth camp counselors in the region. Except for the emergency occasioned by a forest fire in October 1935, when 150 CCC men from nearby camps were brought in to help fight the fire, the main CCC did not extend its work into the reservation. Instead, a separate organization—in keeping with the tribe’s sovereignty—called the Indian Emergency Conservation Work Program (IECW), which was renamed the Civilian Conservation Corps-Indian Division (CCC-ID) in 1937—was run by the Bureau of Indian Affairs, but with all projects cleared by the tribal council and employing Indian workers. These projects included the development of forest land, clearing brush, the straightening of roads, watershed protection, boundary demarcation, flood control and soil erosion measures, and the construction of drainage ditches between 1935 and 1937.

Corps Work in Other Counties Nearby

Near CCC Camp 15, known as “Cross Clearing Camp,” at Tupper Lake, in Franklin County, the WPA had undertaken a project in 1933-34 to reconstruct the dam on the Lower Racquette River to control the water level. Soon afterward, the CCC had their enlistees clearing rocks, stumps and debris out of the river course to allow navigation on the river and to make it possible to float logs downstream. The site of the Tupper Lake CCC camp is apparently still discernible and directions for finding it are in a 2006 article by Tupper Lake town historian Bill Frenette. A list of other CCC camps in the Adirondacks (and so generally northeast of Onondaga County), is on history researcher Marty Podskoch’s Civilian Conservation Corps Stories website. A CCC camp was established at Gilbert Lake State Park, in the town of New Lisbon, north of Oneonta in Otsego County. Nowadays the park features the New York State Civilian Conservation Corps Museum, one of 12 CCC museums around the country. It displays photos and memorabilia from CCC work at the park and elsewhere. The Corps built many of the park’s 221 campsites and 33 cabins that are still in use today. At Camp 31 at Chittenango Falls State Park, in Madison County, near Cazenovia, the CCC worked on the park’s trails and roads and built the stone facilities and shelters that are still there. At Camp 20 at Selkirk Shores State Park, near Pulaski in Oswego County on Lake Ontario, the CCC cleared trees and brush for public campsites (still open) and created a swimming beach (now closed), reforested conifers, straightened small streams, and cleared the bank of the Salmon River for public access. Also in Oswego County, the WPA and CCC planted conifers in land around Kasoag and built Mosher, Whitney and Long Ponds by constructing small dams. One of the lasting effects of the CCC, which is certainly still "visible" in a sense, not only in rural New York but also throughout the country, was its fostering of a basic kind of conservationist view of America's wilderness areas among its enlistees and their families. As a consequence, it played a strong part in the birth of what we know regard as the environmental movement.

For more information
Bibliography

“CCC Job Army Braves Bitter Winds in Nearby Camps Before Being Ordered Into Warmer Winter Quarters,” Syracuse Herald, November 19, 1933. [On the Chittenango Falls Camp] “Camp 55 CCC Settles Comfortably Into New Quarters, 14 Buildings at Green Lake State Park,” Syracuse Herald, December 20, 1933. “Syracuse and County Youths Enlist for Winter Service at CCC Camps,” Syracuse Herald, November 3, 1933. Laurence Hauptman and Laurence M. Hauptman, The Iroquois and the New Deal. Syracuse: Syracuse University Press, 1988.[book preview]

Laura Jernegan: Girl on a Whaleship

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In 1868, Laura Jernegan, six-year-old daughter of a whaling captain, put to sea with her parents and younger brother. This website, created by the Martha's Vineyard Museum, explores her family's four-year whaling expedition, focusing on Laura's own diary.

Two narratives ground the exhibit: "The Story of Whaling" and "Laura's Story." Each narrative is divided up into three sections—"Before the Voyage," "The Voyage" and "After the Voyage"—and consists of 14—15 individual "chapters," each a short essay of approximately 300—1600 words. "The Story of Whaling" describes the rise and fall of the whaling industry and the nature of a whaling voyage, including preparation and hiring crew.

"Laura's Story" narrates the voyage of the Roman, the ship on which Laura and her family set sail. The voyage included a stay in Hawaii, mutiny, and the Roman's sinking in the Arctic (everyone survived). "Laura's Story" also looks at the lives of Laura and her family before and after the voyage, as young children and as adults. Each essay include links to images, descriptions, and other sections of the website that clarify and enrich the text.

For Laura's own description of her time at sea, "Explore Laura's Journal" lets visitors browse her 43-page journal. Written in a child's bold handwriting, the journal is short and easy to read, and can be viewed in the original scans, as a text transcript, or with a magic lens feature that translates the writing into print as the mouse runs over a page.

Further background information supports the two narratives and Laura's journal, including:

  • "About Whales," a mini-exhibit answering basic questions about six whale species;
  • an interactive timeline reaching from 1774 to 1955, including both general world history events and whaling events;
  • "Explore the Ship," a diagram of a whaling ship that visitors can click for information on crew positions and parts of the ship; and
  • a "Map of Whaling."

This interactive world map lets visitors display features from six sets of information, turning each set on or off and overlaying them. The sets include the four routes of the Roman's journey, three typical whaling routes, posts and sites important to whaling, 1878 whaling grounds for four species, major ocean currents, and whale migration patterns for three species.

Finally, visitors can view zoomable photographs of 175 different whaling-related objects in "Artifacts," read the descriptions of 15 crew positions in "Meet the Crew," and browse 16 pieces of logbook art, 36 photos, and 53 whaling-related images in the "Picture Gallery." An A-to-Z glossary offers definitions for 180 historical and whaling terms. Visitors can also explore the biographies of five people, including all of the members of the Jernegan family and, in "More About," can read 10 more 1,000-3,000-word essays on subjects like race and whaling, women and whaling, and 19th-century children's literature.

In the "For Teachers" section, educators can download two units on whaling: a four-lesson unit for grades 1–3, or a six-lesson unit for 4–5. "For Further Study" features a bibliography of 75 books for children and adults and eight annotated links.

A thorough website centered around a very unique primary source—use it to invite young children into history through the voice of a peer!

Zinn Education Project

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Created by the nonprofit organizations Rethinking Schools and Teaching for Change, the Zinn Education Project works to bring resources exploring the “role of working people, women, people of color, and organized social movements in shaping history” into the classroom. Inspired by the work of historian Howard Zinn, author of the popular A People's History of the United States, the website provides teachers with materials for expanding on these historical narratives.

“Teaching Materials” contains the bulk of the site's content, including more than 100 teaching activities. These can be downloaded in PDF form following free registration, and include essays, articles, interviews, and full lesson plans on topics related to marginalized groups and labor history. Titles range from “Exploring Women's Rights: The 1908 Textile Strike in a 1st-grade Class” to “What the Tour Guide Didn’t Tell Me: Tourism, Colonialism, and Resistance in Hawai'i”.

“Teaching Materials” also contains more than 300 annotations on audio resources, fiction and nonfiction books, films, posters, commercial teaching guides, websites, and Spanish/bilingual resources. Annotations consist of 2–3 sentences describing the resource and its relevance to Zinn's focus and classroom use.

“Teaching Materials” can be browsed by date (either selected on a timeline, or chosen from 16 time periods, ranging from “Colonialism” to “20th Century” ) or searched by one of 29 themes, five reading levels, or by type of material (teaching activity .pdfs, audio, books: fiction, books: nonfiction, films, posters, teaching guides, websites, or Spanish/bilingual).

Useful to teachers wanting to expand on the traditional textbook narratives on marginalized groups and labor history.

The Disaster of Innovation

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Question

What was the effect of the cotton gin on slaves?

Answer

Eli Whitney patented his cotton engine, or “gin,” in 1794. A mechanical device to separate cotton fibers from cotton seed, it dramatically lowered the cost of producing cotton fiber. Formerly, workers (usually slaves) had separated the seeds from the lint by hand, painstaking work that required hours of work to produce a pound of lint. By mechanizing the process, the gin could produce more than 50 pounds of lint per day. Cotton fabric, formerly quite expensive due to the high cost of production, became dramatically cheaper, and cotton clothing became commonplace. In the early decades of the 19th century, Southern farmers shifted more and more of their acreage into highly profitable cotton production, and large-scale plantation agriculture became common in the Deep South states of Georgia, Mississippi, Alabama, and Louisiana. The gin’s effect on the economy and on the lives of the slaves who made up a significant part of that economy was complex. The cotton gin freed slaves from the arthritic labor of separating seeds from the lint by hand. At the same time, the dramatically lowered cost of producing cotton fiber, the corresponding increase in the amount of cotton fabric demanded by textile mills, and the increasing prevalence of large-scale plantation agriculture resulted in a dramatic increase in the demand for more slaves to work those plantations. Overall, the slave population in the South grew from 700,000 before Whitney’s patent to more than three million in 1850—striking evidence of the changing Southern economy and its growing dependence on the slave system to keep the economy running. Cotton cultivation proved especially well-suited to slave labor. A relatively delicate plant, growing and harvesting cotton was a labor-intensive process. On large Southern plantations, much of that labor was provided by slaves working in gangs. Gang labor fit the slave system particularly well: dozens of slaves collected into a work crew could be supervised by a single white overseer, which made for more efficient work. Unlike solitary jobs like shepherding, which made constant supervision of individual slave workers extremely difficult from a practical standpoint, gang labor in the cotton fields allowed one overseer to supervise (and, when necessary, to discipline and punish) large numbers of slaves simultaneously.

Any invention that encouraged the growth and expansion of the institution increased the misery of slaves in the aggregate acutely

On large cotton plantations both the work and the punishments were unremitting and unforgiving. During the height of harvesting season, slaves worked from sunup to sundown; when the moon was full, they worked into the night as well. Slaveowners varied in their reputations for physical violence, but none eschewed punishment completely in the quest to extract more labor from their charges. Beatings and whippings were frequently used to coerce recalcitrant slaves; slaves who resisted labor or attempted to escape were punished with mutilation, sale away from their families, and occasionally death. There is no simple calculus to determine whether and how the cotton gin affected the lives of individual slaves. It is possible that the adoption of the gin made the working hours of a few individual slaves somewhat less difficult. However, given the barbarity of slavery generally—rampant physical and sexual abuse, the separation of families, lives of forced labor in acute deprivation, and the overarching dehumanization that the system enforced—it seems clear that any invention that encouraged the growth and expansion of the institution increased the misery of slaves in the aggregate acutely. Given the cotton gin’s effects on the spread of large-scale cotton agriculture and the resultant growth in the institution of slavery in the first half of the 19th century, it is difficult to portray its introduction as anything other than a disaster from the perspective of enslaved African-Americans.

For more information

Economic History Association. EH.net Hounshell, David. From the American System to Mass Production, 1800-1932: The Development of Manufacturing Technology in the United States. Baltimore: Johns Hopkins University Press, 1984. Patents as Primary Sources Plantation Agriculture Museum The University Library at the University of North Carolina at Chapel Hill. Documenting the American South, 2004.

Bibliography

Gray, Lewis Cecil. History of Agriculture in the Southern United States to 1860, vol. 2. Gloucester, MA: Peter Smith, 1958. Reidy, Joseph P. From Slavery to Agrarian Capitalism in the Cotton Plantation South, Central Georgia, 1800–1880. Chapel Hill: University of North Carolina Press, 1992.

East St. Louis Massacre

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Question

What was the East St. Louis Massacre?

Answer

The name refers to a race riot that occurred in the industrial city of East St. Louis, Illinois, over July 2-3, 1917. It is also referred to as the “East St. Louis Riot.” As historians have looked at its various causes, they have labeled it in different ways, depending on what aspect of it they have focused their attention on. Some recent historians have called it a “pogrom” against African Americans in that civil authorities in the city and the state appear to have been at least complicit in—if not explicitly responsible for—the outbreak of violence. Even in 1917, some commentators already made the comparison between the East St. Louis disturbance and pogroms against Jews that were occurring at the time in Russia. Roving mobs rampaged through the city for a day and a night, burning the homes and businesses of African Americans, stopping street cars to pull their victims into the street, and assaulting and murdering men, women, and children who they happened to encounter. A memorial petition to the U.S. Congress, sent by a citizen committee from East St. Louis described it as “a very orgy of inhuman butchery during which more than fifty colored men, women and children were beaten with bludgeons, stoned, shot, drowned, hanged or burned to death—all without any effective interference on the part of the police, sheriff or military authorities.” In fact, estimates of the number of people killed ranged from 40 to more than 150. Six thousand people fled from their homes in the city, either out of fear for their lives or because mobs had burned their houses.

The Background

In the early years of the 20th century, many industrial cities in the North and the Midwest became destinations for African Americans migrating from the South, looking for employment. East St. Louis was one of these cities, where blacks found opportunities to work for meatpacking, metalworking, and railroad companies. The demand for workers in these companies increased dramatically in the run-up to World War I. Some of the workmen left for service in the military, creating a need for replacements, and the demand for war materiel increased industrial orders. The workforce had been highly unionized and a series of labor strikes had increased pressure on companies to find non-unionized workers to do the work. Some companies in East St. Louis actively recruited rural Southern blacks, offering them transportation and jobs, as well as the promise of settling in a community of neighborhoods where African Americans were building new lives strengthened by emerging political and cultural power. By the spring of 1917, about 2,000 African Americans arrived in East St. Louis every week.

The Riot

Racial competition and conflict emerged from this. The established unions in East St. Louis resented the African American workers as “scabs” and strike breakers. On May 28-29, a union meeting whose 3,000 attendees marched on the mayor’s office to make demands about “unfair” competition devolved into a mob that rioted through the streets, destroyed buildings, and assaulted African Americans at random. The Illinois governor sent in the National Guard to stop the riot, but over the next few weeks, black neighborhood associations, fearful of their safety, organized for their own protection and determined that they would fight back if attacked again. On July 1, white men driving a car through a black neighborhood began shooting into houses, stores, and a church. A group of black men organized themselves to defend against the attackers. As they gathered together, they mistook an approaching car for the same one that had earlier driven through the neighborhood and they shot and killed both men in the car, who were, in fact, police detectives sent to calm the situation. The shooting of the detectives incensed a growing crowd of white spectators who came the next day to gawk at the car. The crowd grew and turned into a mob that spent the day and the following night on a spree of violence that extended into the black neighborhoods of East St. Louis. Again, the National Guard was sent in, but neither the guardsmen nor police officers were at all effective in protecting the African American residents. They were instead more disposed to construe their job as putting down a black revolt. As a result, some of the white mobs were virtually unrestrained.

The Aftermath

A national outcry immediately arose to oust the East St. Louis police chief and other city officials, who were not just ineffective during the riots, but were suspected of aiding and abetting the rioters, partly out of a preconceived plan, suggested Marcus Garvey, to discourage African American migration to the city. The recently formed NAACP suddenly grew and mobilized—with a silent march of 10,000 people in New York City to protest the riots. They and others demanded a Congressional investigation into the riots. The report of the investigation, however, pointed to the migration of African Americans to the East St. Louis region as a “cause” of the riot, wording that sounded like blaming the victims. As Marcus Garvey had said of an earlier report of the riot, “An investigation of the affair resulted in the finding that labor agents had induced Negroes to come from the South. I can hardly see the relevance of such a report with the dragging of men from cars and shooting them.” A similar point about simple justice for the victims and where to place the blame for the riots nearly caused ex-President Theodore Roosevelt to come to blows with AFL leader Samuel Gompers during a public appearance shortly after the riot. Roosevelt demanded that those who had perpetrated the violence and murders in East St. Louis be brought to justice. Gompers then rose to address the crowd and, as a reporter for the Chicago Tribune, wrote, “He read a telegram which he said he had received tonight from the president of the Federation of Labor of Illinois. This message purported to explain the origin of the East St. Louis riots. It asserted that instead of labor unions being responsible for them they resulted from employers enticing Negroes from the south to the city ‘to break the back of labor.’” This enraged Roosevelt, who jumped up, approached Gompers, brought his hand down onto his shoulder and roared that, “There should be no apology for the infamous brutalities committed on the colored people of East St. Louis.” Roosevelt, like many other Americans of all races, was particularly appalled by the irony that such an event could occur in the United States at the same time that the country, by entering World War I, was declaring its intentions to export abroad its vision of freedom and justice. This theme was picked up by many editorial cartoonists in newspapers across the U.S. East St. Louis was by no means the only northern industrial city to experience race riots during this period. A conviction grew among some African Americans that they could not depend on an enlightened white community or government, either in the South or in the North, to insure their rights and their safety, but that they would have to fight for their own rights. In an editorial entitled "Let Us Reason Together," in his magazine, The Crisis, W. E. B. Du Bois wrote, “Today we raise the terrible weapon of self-defense. When the murderer comes, he shall no longer strike us in the back. When the armed lynchers gather, we too must gather armed. When the mob moves, we propose to meet it with bricks and clubs and guns.”

For more information

Harper Barnes, Never Been a Time: The 1917 Race Riot That Sparked the Civil Rights Movement. New York: Walker & Company, 2008. Elliott M. Ruckwick, Race Riot at East St. Louis, July 2, 1917. Carbondale: University of Illinois Press, 1982. Charles L. Lumpkins, American Pogrom: The East St. Louis Race Riot and Black Politics. Athens: Ohio University Press, 2008. U. S. House of Representatives, Special Committee on East St. Louis Riots, East St. Louis Riots. Washington: GPO, 1918.

Bibliography

“Col. Roosevelt and Gompers Clash on Riot,” Chicago Daily Tribune, July 7, 1917, pp. 1, 4. “For Action on Race Riot Peril: Radical Propaganda Among Negroes Growing, and Increased Violence Set Out in Senate Brief for Federal Inquiries,” New York Times, October 5, 1919. Ida B. Wells-Barnett, The East St. Louis Massacre: The Greatest Outrage of the Century. Chicago: The Negro Fellowship Herald Press, 1917. Marcus Garvey, “The Conspiracy of the East St. Louis Riots,” speech, July 8, 1917, in Robert A. Hill, ed., The Marcus Garvey and Universal Negro Improvement Association Papers, Volume 10, Berkeley: University of California Press, 2006, pp. 212-218. W.E.B. Du Bois, "Let Us Reason Together," The Crisis, 18.5 (September 1919): 231.

The Cost of Industrialization

Teaser

Use the Triangle Shirtwaist fire to examine the benefits and costs of industrialization.

lesson_image
Description

Students use a variety of primary source documents and a structured discussion process to understand the events and conditions surrounding the Triangle Shirtwaist Factory fire of 1911.

Article Body

One of the greatest strengths of this lesson is its wealth and variety of primary sources. In addition to firsthand narrative accounts, the site also includes many photographs and political cartoons for students to analyze. Another strength is the way the lesson engages students in discussing sources with each other: students share their perceptions with one another after each step of document analysis, and then comment on one another's perceptions—setting the stage for lively historical discussion and debate.

Students begin the lesson by taking a brief opinion poll regarding industrialization, organized labor, and economic justice. At the end of the lesson students take the same poll, and discuss with their peers how their perceptions have changed as result of what they learned during the lesson.

Many of the text documents are long and may be challenging for some students, though some, like "Days and Dreams" by Sadie Frown would be relatively accessible to a high school student, or an advanced middle school student. It is written in narrative style, in simple language, and is of a moderate length. Other documents may need adaptation to meet student reading levels. However, the lesson also contains a sizeable collection of political cartoons, photographs, and other images. These could very easily form the central focus of the lesson, providing lots of material for students to discuss with one another.

Most of the documents (particularly the photos and cartoons) clearly condemn the factory owners. There is one account of the fire from the factory owners' point of view, in step five, which is listed as an "extra document," but one that is "strongly recommended." We echo that recommendation as this document allows students to see an alternative point of view on the event.

While students use primary sources as a vehicle for reshaping their initial hypotheses about industrialization, organized labor, and economic justice, information about the circumstances of each source's creation is not always readily available to students. Where this is the case, we recommend that teachers encourage students to use the source's content to identify the perspective of its author.

Overall, this is a good lesson that provides a useful tool in highlighting for students how their perceptions of history can change after exposure to a large mass of evidence. Often when teaching students the historical process, it is helpful to focus on just one aspect of historical thinking; otherwise students easily become overwhelmed. This lesson does just that: it helps students to focus on their own changing perceptions as they encounter the documents—an essential element of historical thinking.

Topic
Industrialization, organized labor, Progressivism
Time Estimate
2-3 class sessions
flexibility_scale
1
Rubric_Content_Accurate_Scholarship

Yes

Rubric_Content_Historical_Background

Yes
A wealth of background information is available from the Cornell University website on the Triangle Factory Fire.

Rubric_Content_Read_Write

Yes
The lesson requires significant reading; there are many opportunities for teachers to insert writing activities as well. The second part of the assessment would be one ideal place.

Rubric_Analytical_Construct_Interpretations

Yes
Students analyze sources in an effort to refine their interpretation of the events at the Triangle Shirtwaist Factory.

Rubric_Analytical_Close_Reading_Sourcing

No
Some source information is included with the documents, and teachers can add a requirement that students note the creator and date of the source's creation.

Rubric_Scaffolding_Appropriate

Yes

Rubric_Scaffolding_Supports_Historical_Thinking

No
Some additional adaptation of documents and reading aids may be necessary for your students. Students may especially need help with reading the political cartoons closely—see this guide for ideas.

Rubric_Structure_Assessment

Yes
The second part of the assessment, in which students create contents for a time capsule and must determine how the factory fire ought to be remembered, is especially strong. Its multiple parts allow you to easily tailor it for your students.
No assessment criteria are included.

Rubric_Structure_Realistic

Yes

Rubric_Structure_Learning_Goals

Yes