Montgomery County, Indiana has a rich, colorful history of newspapers, both in their coverage and the personalities that ran them. In this post, we will share some highlights of this heritage and emphasize some of the papers that are available in Hoosier State Chronicles (HSC).
The earliest paper from Montgomery County in HSC is the Crawfordsville Record. Editor Isaac F. Wade and printer Charles S. Bryant published its first issue on October 18, 1831. As Herman Fred Shermer noted in an article about Montgomery County publishing, the “type and presses for the Record plant were brought by freight wagons from Cincinnati, Ohio” and the cost of the publishing the first issue was approximately $400. While Wade and Bryant intended for the Record’s first issue to arrive in September, they were delayed a month because the printer required a capital “D” for typesetting. Wade, as a good Whig, believed that having that capital “D” was essential, as the paper would regularly refer to “Democrats and the Devil.” The paper ran until 1838, after the death of subsequent publisher William Harrison Holmes. A brief revival of the paper in 1839-40, led by William H. Webb and Henry S. Lane, never regained the paper’s subscription base and it ceased altogether.
The Journal’s Jeremiah Keeney and the Review’s Charles H. Bowen (Stover sold out to Bowen six months after their acquisition) maintained a years-long feud in their respective papers. As a recent article in the Crawfordsville Journal-Review noted, Keeney and Bowen exchanged pointed barbs at each other in the press. Here’s a few additional examples we found in Hoosier State Chronicles. In the June 7, 1855 issue of the Journal, Keeney wrote an editorial called “Clean Streets,” where he commended the public workers who swept the streets but then derided Bowen’s supposed quibble with cleanup. “Count Bowen and his clique are probably the only men in town, who will object to cleanliness, and the protection of shade trees,” Keeney declared. Keeney preferred name for the Review’s editor was “Count Bowen,” likely a jab at his purported leadership status in the town.
Bowen didn’t take insults lightly and routinely shot back at Keeney in the Review. In its October 7, 1865 issue, Bowen slammed Kenney for his comments on Democratic leaders in the county and threw his own rhetorical venom at the Journal’s publisher. Bowen wrote that Keeney’s targets should:
[P]ay no attention to the filthy slang of this poor miserable creature, half idiotic and totally irresponsible, he should be passed by with total indifference and regarded only as a canker, a plague-sore, an embossed carbuncle upon the body of a corrupt and depraved humanity which purity should shun as a pestilence.
Bowen certainly elucidated his point, in the most elaborate way possible. Imagine if these two men were alive today, trading jabs on Twitter or in Facebook comments. Some things don’t change, after all.
Bayless Hanna was seen to-day walking down Main street with his music box, following a one-armed soldier who had a hand-organ in a little boy’s express wagon. The soldier would occasionally stop in front of a business house and play a tune, while Bayless and Rodgers would stare with mouth wide open, at the wonderful machine.
As for Lew Wallace, a post about Montgomery County and newspapers wouldn’t be complete without a quick discussion of its most famous son. Wallace’s tenure during the Civil War received differing perspectives from the Crawfordsville newspapers. This stemmed from Wallace’s own political evolution; he started the war as a Democrat and ended it a Republican. This changed his relationship with the Crawfordsville Review, who held it against him in editorials. For example, a short piece in their May 19, 1866 issue took umbrage with his military assignment during the second French intervention in Mexico.The Review wrote:
Lew Wallace, who has been rusticating in our city for several weeks past, left suddenly for New York a few days since. Rumor has it that he is about to join a filibustering expedition against Mexico. Should he be so unlucky as to suffer capture by the French mercenaries of Maximillian, we trust he may be granted a fair trial before a drum-head court martial. We should regret very much to hear of his being arraigned before a civil tribunal.
Much like with Keeney and Bowen’s feud, the Review‘s strongly-worded opprobrium against Wallace emanated from intense political partisanship.
Outside of the county seat, one of the more interesting Montgomery County papers available in Hoosier State Chronicles is the New Richmond Record. It ran from 1896 until 1924 under the sole ownership and editorship of Edgar Walts. Here’s an account of its publication from the A. W. Bowen’s History of Montgomery County (1913):
It is a six-column, six-page paper, run on a gasoline propelled power press. It is independent in politics, and makes a specialty of as much local news as is possible to furnish its readers with. It circulates in Montgomery, Tippecanoe and adjoining counties. It meets the requirements of the town and with it is connected a good job department.
During its run, the Record often praised its subscribers for continuing to patronize the paper, in a segment called the “Record’s Honor Roll.” The “honor roll” listed all the “new subscribers and renewals to THE RECORD during the past week” from Montgomery County, Indiana, and across the country. His “honor roll” likely helped circulation; by 1920, the Record had a circulation of 500 (for a town whose population was 496, but whose readership likely extended into rural Coal Creek Township and the rest of the county).
In all, Montgomery County’s newspapers often displayed the rough-and-tumble political winds of the nineteenth century, an era whose partisanship and vitriol mirrors our own. It wasn’t, however, the only part of their story. Montgomery County also facilitated forward-thinking pioneers like Mary Hannah Krout, Samuel Coffman, and Edgar Walts. Like much of history, Montgomery County’s heritage of newspapers exemplifies a nuanced, intriguing legacy.
2017 marks the centennial of US entry into World War I. As a part of that commemoration, the Indiana WWI Centennial Committee has planned educational events and programs throughout the year that will unpack the Hoosier State’s involvement in the “Great War.” Here at Hoosier State Chronicles, we thought it would be a great time to share a different side of Indiana culture during this immense, global conflict, in the form of cartoons. John T. McCutcheon and Kin Hubbard are two of Indiana’s most celebrated cartoonists from the era, and in two posts this month for Hoosier State Chronicles, we will share how their art helps us understand how the home front viewed this integral time in world history. The first post covers the “wartime valentines” of John T. McCutcheon.
John T. McCutcheon was a Pulitzer-Prize winning cartoonist for the Chicago Tribune, where he worked for 43 years. Born in South Raub, Tippecanoe County, Indiana on May 6, 1870, McCutcheon grew up “in the rural areas surrounding Lafayette.” He attended Purdue University where he was “a founding member of the University’s first fraternity, Sigma Chi” and the “co-editor of the University’s first yearbook, the Debris.” After graduating college in 1889, he worked as a cartoonist for the Chicago Morning News andRecord-Herald until he moved to the Tribune in 1903. His artistic style mirrored his experiences growing up the Midwest; he developed a character called “A Boy in Springtime” who would appear in front-page pieces having small-town fun with friends and his dog (the dog first appeared in a William McKinley presidential campaign cartoon, and became much beloved by readers). As R. C. Harvey of the Comics Journal noted, McCutcheon’s cartoons were “the first to throw the slow ball in cartooning, to draw the human interest picture that was not produced to change votes or to amend morals but solely to amuse or to sympathize.”
Paralleling his more personable cartoons, McCutcheon partnered with another Hoosier author, George Ade, to create a series of valentines for charity during World War I. The idea originated from the Indianapolis Branch of the American Fund for French Wounded and its contributors were a who’s who of Indiana arts, including Ade and McCutcheon as well as Meredith Nicholson, Kin Hubbard, and William Herschell. As reported in the South Bend News-Times on January 28, 1918, “Prominent Indiana artists and authors this year have been making comic valentines . . . and are guaranteed by those who have seen them to send grins and cheer to soldiers at home and abroad.” The article also outlined the American Fund for French Wounded, noting that “the proceeds will go for furthering the work in France among wounded soldiers and destitute families, which is the committee looking after the funds is carrying on.” Ads even ran in the Indianapolis News to promote the Valentines, published by Charles Mayer & Company, once they were available.
The first valentine in the digital collection, entitled “From Her Mother”, shows a concerned mother writing to a “Mr. Soldier Man” while a variant of McCutcheon’s iconic dog looks on in the background. The photos on and above the desk in the cartoon are important to context, as the photos of the mother’s daughter and her soldier beau face each other longingly, while a portrait of the mother sternly oversees over both of the photos. In the cartoon, the mother’s letter reads:
Mr. Soldier Man.
I can not send what my daughter wrote,
It might set fire to the darned old boat.
– The Night Watch.
The mother’s face shows a concern not only for her daughter’s overly passionate words. McCutcheon’s style of strong lines and warm, humane features also comes through in this valentine.
Another great valentine in the collection entitled, “Her Choice This Year”, ties the romantic love normally associated with Valentine’s Day with love of country. Ade’s poem reads:
Columbia wants you to know,
That you’re her particular beau.
She’s likewise “particular.” So
That’s why you’ve been picked as her beau.
The young woman, aptly named Columbia, holds the hand of her uniformed soldier as he looks at her lovingly. She’s also dressed in a shirt and skirt of the red, white, and blue with a pair of roman sandals. And of course, McCutcheon’s iconic dog looks up at them in the foreground. This valentine exhibits the strong patriotic fervor during the period, but in a charming, homespun way.
The next valentine captures a woman’s longing for her partner who is off at war. Named “Some One Has Not Forgotten,” it depicts a young woman knitting in a chair while thinking of her partner trekking across Europe in a snowstorm. Here’s Ade’s text with the valentine:
My heart to-day
Is far away
Across the rolling brine.
So while I sit
And knit and knit
You’re still my valentine.
This depiction of men and women evokes a more traditional assumption of gender during the period than say “Columbia” and her beau above. The woman’s thoughts of her partner, floating above her head and colorless, attempt to convey the arduous and grim task of war. In contrast, McCutcheon’s drawing of the young woman is clear and with beautiful coloring. Ade and McCutcheon’s valentine cleverly renders the feelings of many young women while their partners were at war.
The final valentine in the digital collection is called, “To You Somewhere,” and it depicts one of Valentine’s Day’s most enduring symbols, Cupid. In this version, a nude Cupid braves the cold weather to deliver a valentine to a soldier in the snow. The message reads:
I don’t know just where you are to-day,
I don’t know how many miles away;
Whether you’re out where the bullets fly,
Or safe and sounds at the good old “Y.” [Y.M.C.A]
I have no message from o’er the sea
To let me know that you think of me,
But I’ll make an oath and my name I’ll sign,
That you are my only Valentine.
The soldier’s delight at receiving the message from a saluting cupid is evident. He even has his gun down and his hands up, perhaps in surprise that the symbol of love is in a war zone, or perhaps the soldier is in the act of accepting the valentine from Cupid. Of the four digitized valentines, this is the only one without a female main subject, despite the text being from the soldier’s love. It shows the perspective of the soldier receiving a valentine, rather than a woman creating or imagining one.