Black Mask Magazine

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Detail, Black Mask cover
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In 1920, journalist H. L. Mencken and drama critic George Nathan launched Black Mask, a pulp magazine designed to finance the literary magazine Smart Set, and set out to publish "the best stories available of adventure, the best mystery and detective stories, the best romances, the best love stories, and the best stories of the occult." The magazine went on to become famous for popularizing hard-boiled detective fiction, written most notably by Dashiell Hammett, Erle Stanley Gardner, and Raymond Chandler.

This website celebrates the "pulp revival" with the full-text of 20 stories published in the 1920s and 1930s in Black Mask, as well as other similar magazines, including Adventure, Detective Fiction Weekly, and Dime Mystery Magazine, including Walt Coburn's "The Notched Gun" and "Scotty Scouts Around” by Raoul Whitfield. Accompanying these stories is a gallery of magazine covers and photographs of famous authors, as well as guidelines to writing Black Mask-style fiction, and essays on the pulp fiction era.

Around the World in the 1890s: Photographs, 1894-1896 Anonymous (not verified) Fri, 01/25/2008 - 22:21
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Photo, North African man on horseback, W H Jackson, 1894, Around the World...
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This photograph archive contains more than 900 images made by American photographer William Henry Jackson (1843–1942) during his tour of North Africa, Asia, Russia, Australia, and Oceania from 1894 to 1896. The World's Transportation Commission, an organization formed to aid American business interests abroad, commissioned Jackson for this trip.

The photographs, originally exhibited in Chicago's Field Columbian Museum, focus on transportation systems, especially railroads, as well as tourist sites, indigenous life, wildlife, and locations of natural beauty. Nearly 687 of the images are from lantern slides, many of which were hand-colored. Many of the photographs appeared in Harper's Weekly. This collection is valuable for those interested in late 19th-century photography, colonialism, and industrialization.

Archival Research Catalog (ARC)

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ARC offers more than 78,000 digital government resources. Materials include textual records, photographs, maps, architectural drawings, artifacts, sound recordings, and motion pictures dating from the colonial period to the recent past. ARC includes items on presidents, the military, war, immigration, Japanese-American internment, slavery, science, prisons, federal programs, the environment, the National Park Service, foreign affairs, civil rights, African Americans, and American Indians.

To begin a search, click on the yellow "search" button near the top left of the ARC webpage. The search engine is clearly organized and invites queries on specific historical materials or general themes. To access digitized materials only, check the box marked "Descriptions of Archival Materials linked to digital copies." The site continues to expand, though, as it stands, it provides an exceptional collection of government material.

"Join or Die"

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woodcut, 1754, Benjamin Franklin, Join or Die, org. pub. in Pennsylvania Gazette
Question
Why aren't Delaware and Georgia included on the body of Ben Franklin's famous "Join or Die" snake? And why did the artist combine the four northeastern colonies as one?
Answer

The "Join, or Die" snake, a cartoon image printed in numerous newspapers as the conflict between England and France over the Ohio Valley was expanding into war—"the first global war fought on every continent," as Thomas Bender recently has written—first appeared in the May 9, 1754 edition of Benjamin Franklin’s Pennsylvania Gazette. The image displayed a snake cut up into eight pieces. The snake’s detached head was labeled "N.E." for “New England,” while the trailing seven sections were tagged with letters representing the colonies of New York, New Jersey, Pennsylvania, Maryland, Virginia, North Carolina, and South Carolina. The exhortation "JOIN, or DIE" appeared underneath the image.

Lester C. Olson points out that Franklin might have seen images of snakes divided into two segments that had been published in Paris in 1685, 1696, and 1724 with the similar caption "Se rejoinder ou mourir." The image in the Pennsylvania Gazette followed an article reporting the recent surrender of a British frontier fort to the French army and purported plans of the French, with their Indian allies, to establish a massive frontier presence with which to terrify British settlers and traders. The article ended with the surmise that the French were confident they would be able to "take an easy Possession of such Parts of the British Territory as they find most convenient for them" due to the "present disunited State of the British Colonies" and warned that the French success "must end in the Destruction of the British interest; Trade and Plantations in America."

Franklin was opposed in his efforts to unify the colonies by representatives of some of the colonial assemblies

A longtime advocate of intercolonial union in dealings with Indians, Franklin helped make such a union an important agenda item for the Albany Congress, convened shortly after the snake image was published, on earlier orders from the Board of Trade, the British advisory council on colonial policy, with the goal of establishing one treaty between all the colonies and the Six Nations of Iroquois. As a commissioner to the congress appointed by the governor of Pennsylvania, Franklin was opposed in his efforts to unify the colonies by representatives of some of the colonial assemblies intent on maintaining control over their own affairs.

Robert C. Newbold has speculated that Georgia was probably excluded from the snake image, "because, as a defenseless frontier area, it could contribute nothing to common security." Only three laws had been passed in Georgia since its founding as a colony in 1732, prompting a historian of the colony and state to conclude, "The hope that Georgia might become a self-reliant province of soldier-farmers had not succeeded, and even the early debtor-haven dream had not come to pass." Delaware, Newbold added, "shared the same governor, albeit a different legislature, as Pennsylvania; hence the Gazette probably considered it as included with Pennsylvania."

As with the snake image, the Albany Plan, drafted during the congress, did not include Georgia and Delaware in its proposed colonial union for mutual defense and security, specifying only Massachusetts Bay, New Hampshire, Connecticut, Rhode Island, New York, New Jersey, Pennsylvania, Maryland, Virginia, North Carolina, and South Carolina. The segmented snake image was revived in a number of newspapers during the 1765 Stamp Act conflict, again without reference to Georgia and Delaware. In 1774, when the segmented snake image, along with the "Join or Die" slogan, was employed as a masthead for newspapers in York, Massachusetts, and Pennsylvania, a pointed tail labeled "G" for Georgia had been added.

Bibliography

Thomas Bender, A Nation Among Nations: America’s Place in World History . New York: Hill and Wang, 2006.

Lester C. Olson, Emblems of American Community in the Revolutionary Era: A Study in Rhetorical Iconology Washington: Smithsonian Institution Press, 1991.

Albert Matthews, "The Snake Devices, 1754-1776, and the Constitutional Courant, 1765," Publications of The Colonial Society of Massachusetts, Volume XI: Transactions, 1906-1907.

Library of Congress. "Join or Die". Accessed February 25, 2011.

Forming Lesson Plans Around State Mandates

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Watercolor, Otto Dix, 1924, Assault under Gas, Deutsches Historisches Museum
Question

How do you teach California World History Standard 10.6.4?
10.6.4: Discuss the influence of World War I on literature, art, and intellectual life in the West (e.g. Pablo Picasso, the “lost generation” of Gertrude Stein, Ernest Hemingway).

Answer

Like most state standards, the California history-social studies content standards provide an outline of content and skills that all students should “know and be able to do.” The standards purposefully avoid pedagogy, leaving all decisions regarding how to teach the standards to teachers.

Pedagogy, however, is addressed in the Department of Education’s primary curriculum document for history education – the History-Social Science Framework. The latest edition of the Framework, stalled in the adoption process due to a lack of funding but available on-line, is meant to help teachers and administrators implement the standards. Check out the Framework’s new chapters on instruction and differentiated instruction as they provide several suggestions for “teaching the standards.”

Content Knowledge

Have students examine a number of artifacts that address the question from different perspectives and genres

When planning to teach any historical topic a good place to start is to develop your own content knowledge. Go beyond simply reading about the topic in the textbook and establish deeper contextual knowledge of the period. If possible, familiarize yourself with the historiographical debates surrounding the topic. This work can be done largely on-line. A good place to start is the Gilder Lehrman web-site, which includes several, short “guided readings” on World War I and the 1920s that are helpful for developing content knowledge. Similarly, you might also check out Digital History’s short essays on the Jazz Age.

Backward Planning
Before lesson planning, consider how you might embed this material in a larger unit of study - in this case, a unit on the effects of World War 1 or the 1920s. Follow a backwards design process by first establishing the learning goals and objectives for the unit. To do this, think about how post-war literature and art relate to other topics mentioned in standard 10.6 – for example, the “widespread disillusionment with pre-war institutions, authorities, and values” (10.6.3), and the “effects of the war on…population movement, the international economy, and shifts in the geographical and political borders of Europe and the Middle East" (10.6.2).

Lesson Plan: Investigating a Standards-Based Question

Excerpt strategically

One approach for teaching this standard is to investigate it as a historical question: How did World War One influence literature, art, and intellectual life? Or, perhaps, How did artists interpret and depict the consequences of World War One? Begin by providing students some background content on pre-war art movements (e.g., realism and modernism) and information on artists who emerged out of the war. Next, have students examine a number of artifacts that address the question from different perspectives and genres. The standard includes some places to start searching for documents – namely, Picasso, Stein, and Hemingway. You might also take a look at T.S Eliot’s The Wasteland and Otto Dix’s painting, Assault By Gas (1924). Hemingway’s The Sun Also Rises (1926) includes some vividly dark recollections of the war and Wilfred Owens’ Dulce Et Decorum Est (How Sweet It Is) (1921) satirically captures the horrors of trench warfare. It is important here to excerpt strategically - include short passages of written work that speak directly to the lesson’s historical question.

Collaboration
Finally, yet perhaps most importantly, this standard is unique in that it promotes collaboration between history and English classes. If you are teaching a 9th or 10th grade world history course, seek out the members of your English department to see if they teach, or might be willing the teach, any literature of the “lost generation.”

American Studies Crossroads Project

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Logo, Crossroads Project
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This impressive site presents a rich array of primary and secondary material designed to foster electronic learning. The site's "Reference and Research" section furnishes an annotated, searchable gateway to hundreds of links dealing generally with American history and life, including SiteScene, a biweekly journal that reviews websites, texts of recent articles published in American Quarterly; abstracts of American Studies dissertations from 1986 to 1999, organized alphabetically by author; and links to image and document archives. Three additional sections—entitled "Community," "Curriculum," and "Technology and Learning"—offer a wealth of material concerning developments in the field of American Studies and teaching with new technologies, including essays, syllabi, bulletin boards, and newsletters.

Indiana's Storyteller: Connecting People to the Past

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Image, Brewett, Chief of the Miami, James Otto Lewis, 1827, Indiana's. . . site
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The Indiana Historical Society's main digital archive site contains more than 34,000 images, most of which are directly related to Indiana's past, grouped into almost 30 themed collections that include photographs, prints, sheet music, manuscripts, old court documents, letters, Indiana ephemera, and maps. Also collected here are images from the Jack Smith Lincoln Graphics Collection (containing photographs, lithographs, and engravings of Abraham Lincoln) and the Daniel Weinberg Lincoln Conspirators Collection (containing newspaper clippings, manuscripts, and other material pertaining to the Lincoln assassination). A sampler of the other collections: digitized images of the Indianapolis Recorder; manuscripts and images of James Whitcomb Riley; a collection of 900 postcards of scenes from Indiana from the first two decades of the 20th century; and fascinating panoramic photographs from the early part of the 20th century, showing church groups, picnics, army recruits, and conventioneers.

Child Labor in America, 1908-1912: Photographs of Lewis W. Hine Anonymous (not verified) Mon, 04/14/2008 - 11:31
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Image for Child Labor in America, 1908-1912: Photographs of Lewis W. Hine
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Furnishes 64 photographs taken by Lewis W. Hine (1874–1940) between 1908 and 1912. Images document American children working in mills, mines, streets, and factories, and as "newsies," seafood workers, fruit pickers, and salesmen. The website also includes photographs of immigrant families and children's "pastimes and vices."

Original captions by Hine—one of the most influential photographers in American history—call attention to exploitative and unhealthy conditions for laboring children. A background essay introduces Hine and the history of child labor in the United States. This is a valuable collection for studying documentary photography, urban history, labor history, and the social history of the Progressive era.

Ernie Pyle's Typewriter Anonymous (not verified) Thu, 12/18/2008 - 14:46
Description

Wes Cowan of PBS's History Detectives investigates the history of a Corona 3 typewriter, trying to determine if the typewriter was ever used by World War II battlefront correspondent Ernie Pyle.

3D Cuban Missile Crisis Anonymous (not verified) Thu, 12/18/2008 - 14:35
Description

Wes Cowan of PBS's History Detectives learns about the role of aerial reconnaissance and aerial photography in the Cuban Missile Crisis.