Tag Archives: poetry

John T. McCutcheon’s Wartime Valentines

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.

Cartoonist John T. McCutcheon, Hammond Times, December 26 1918. Hoosier State Chronicles.

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 and Record-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.”

George Ade, Indianapolis News, May 20 1902. Hoosier State Chronicles.

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.

Indianapolis News, February 5, 1918. Hoosier State Chronicles.

Four of McCutcheon and Ade’s valentines are publicly available through Indiana Memory/Digital Indy and the Digital Public Library of America.

George Ade and John T. McCutcheon,”From Her Mother.” IMCPL/Digital Indy.

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.

       Dear Sir:

                I can not send what my daughter wrote,

               It might set fire to the darned old boat.

                                         Yours truly,

                                                – 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.

George Ade and John T. McCutcheon, “Her Choice This Year.” IMCPL/Digital Indy.

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.

George Ade and John T. McCutcheon, “Some One Has Not Forgotten.” IMCPL/Digital Indy.

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.

George Ade and John T. McCutcheon, “To You Somewhere.” IMCPL/Digital Indy.

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.

During a time of immense destruction, political revolutions, and domestic instability, Ade and McCutcheon’s valentines provide us with a more homespun, sometimes humorous, quaint and patriotic view of the home front during World War I.

 

A Socialist’s Poem on Heaven

With the 2016 presidential primaries upon us, there’s more buzz than usual this year about a word with deep roots in Hoosier history — socialism.  And, as always, religion remains a factor at the polling booths.  This is also the first time in about a century that a major presidential candidate has openly disavowed “organized” religion.  The last candidate to do so was Eugene V. Debs, a Socialist, skeptic, and native Hoosier who ran for president five times just before and after World War I.  (Debs ran his last campaign from a federal prison in Atlanta in 1920, where he’d been sent for opposing the military draft.)

The topics of socialism and religion were hot as ever back in Debs’ day.  In some ways, that debate looks eerily familiar, with skeptics accusing churches of abetting social inequality, and believers often firing back with equally broad strokes about the dangers of revolution.  While plenty of American labor activists were religious — including major voices like Mother Jones and Terence Powderly — Debs and many more were agnostic.  Indiana Socialist, the newspaper of the Marion County Socialist Party in Indianapolis, tended toward religious skepticism, often printing ads for books that questioned Christian beliefs and especially church authorities. Since most American workers were Christian, however, Socialist leaders were wary of alienating them, and Debs found much in the ethics of the New Testament to applaud.

Some of the barbs thrown at religion are about as nuanced as the ravings of any old street preacher.  But some it even believers might find stirring.  In July 1913, on the heels of a Fourth of July visit by Mother Jones to Irvington on Indianapolis’ East SideIndiana Socialist published just such a poem.


Indiana Socialist, April 26, 1913

(The “Socialist literature wagon” once sat at the corner of Market and Pennsylvania streets in downtown Indianapolis.  Indiana Socialist, April 26, 1913.  The Socialist Party of Indianapolis’s 1913 campaign platform called for such things as public playgrounds, urban beautification, and equal pay for equal work. The newspaper estimated that Marion County, Indiana, alone had about 8,000 Socialist voters in 1913, plus others whom it alleged were kept from voting by their employers.)


The poem’s author was Henry M. Tichenor (1858-1924). Along with fellow Midwesterners Clarence Darrow and Robert Ingersoll, Tichenor was one of the most outspoken American freethinkers of his time.  An influential Socialist writer and editor in Missouri, Tichenor loathed organized Christianity.  Contrary to popular belief, many Americans were disgruntled with churches a century ago, and Tichenor’s popular, down-to-earth style made him popular even in the Midwest, whose radical history runs almost as deep as its reputation for staunch conservatism.


Henry M. Tichenor

(Harry M. Tichenor in 1914.)


Unlike the Marxist intellectuals who twisted Socialism to serve the greed of dictators and party elites, Tichenor was no high-falutin’ “comrade” inventing totalitarian “Newspeak” — the language of George Orwell’s memorable dystopian lampoon, 1984.  Yet his long, comic tirades against “holy humbug” (books with titles like The Life and Exploits of Jehovah) are basically the scribblings of a humorist, not a serious historian.  They probably never bothered anyone except fundamentalists who insisted on a literal reading of every story in the Bible.

In 1913, Tichenor was a regular poetry contributor to the St. Louis-based National Rip-Saw, “America’s Greatest Socialist Monthly.”  He was also cranking out fiery anti-capitalist pamphlets with titles like “The Rip-Saw Mother Goose,” “Rip-Saw Socialism Songs,” and “Woman Under Capitalism.”  That year he started printing a socialist journal of his own, The Melting Pot, a political and comic firecracker.


The International Socialist Review, April 1913

(The International Socialist Review, April 1913.)


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The Good Green Earth - Tichenor

(Rhymes of the Revolution, 1914.  Courtesy Debs Collection, Indiana State University.)


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Indiana Socialist, July 5, 1913

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In X L N C U X L: Text Speak Arrived in Indiana in a Love Poem Back in 1849

Well, gentle readers, if u r like me, u r probably annoyed @ the terrible vocab skills of the txt generation.

But W8 just a second.  Txtspk isn’t new.  It got 2 to the Hoosier St8 B4 U.

In one of the last issues of Indiana’s oldest newspaper, the Vincennes Western Sun, editor John Rice Jones excerpted a clever love poem addressed “To Miss Catherine Jay of Utica.”

Written by an unknown author around 1832 and previously printed in literary magazines back East, “KTJ of UTK” (for short) is probably the earliest example in a Hoosier newspaper of what we now call “text speak.”

Most of the poetry and fiction printed in antebellum Indiana papers was copied out of Eastern journals carried west by riverboat or stagecoach.  Samuel Morse invented his own “abbreviated” form of communication around 1844, but the telegraph didn’t come into common use until the 1850s.   Early trains often traveled at a speed that we would find maddeningly slow today — sometimes running at less than 20 mph, hardly faster than a horse at a gallop or a steamboat going downriver.  (In fact, due to safety concerns over wandering children and livestock, trains were nearly even banned in Indiana before the Civil War.)

John Jones probably saw “Katie Jay of Uticay” in a copy of Dwight’s American Magazine, published in New York in February 1847.  An even earlier “cousin” of this amazing poem was printed in the Utica Organ in upstate New York, the Columbia (Penn.) Spy, and Atkinson’s Casket, a popular Philadelphia literary journal, as far back as 1832.

The original “KTJ,” in turn, might have been inspired by two incredible British “text-speak” dirges published in The New Monthly Magazine in London in 1828.  Katie Jay’s trans-Atlantic cousins were no less than the unfortunate “Miss LNG of Q” (Ellen Gee of Kew, blinded by a “B” sting in the “I”) and “MLE K of UL” (Emily Kay of Ewell, burned to death while putting “:” [coal on] a kitchen fire grate.)  Sad nymphs and “SX” (Essex) maids, these.  Hark, friends, gather round and listen 2 their f8, and please 4C:  1 day U 2 shall cease 2B an N.TT!

A 2010 article in the New Yorker mistakenly identifies the anonymous poet who wrote “Katie Jay” as Charles Carroll Bombaugh.  In fact, Bombaugh, a medical examiner who died in Harrisburg, Pennsylvania, in 1906, only anthologized this clever piece, which came out in his 1867 book Gleanings for the Curious from the Harvest-Fields of Literature.  (The popular anthology of literary witticism was republished in 1890.)

On September 22, 1849, “KTJ” appeared on the front page of the Vincennes Western Sun.  Like this poem, most of what was printed in the Vincennes paper over the years wasn’t local news or literature, and rarely featured much writing by Hoosier wags.  In fact, most of the paper in the late 1840s was taken up with news from Europe, the East Coast, Texas and Mexico.

KTJ shows up next to the latest news from the packet “Europa,” just docked at Halifax, Nova Scotia: Louis Kossuth’s Hungarian Revolution is still being fought.  Kossuth’s revolution against the Austrians eventually failed.  A few years later, in the winter of 1852 (“cold as cold can B?”), the defeated Hungarian patriot sailed over “the Atlantic C” and toured Indiana, coming on the steamboat Wisconsin from Cincinnati.  Kossuth was hailed as a hero of democracy in the Indiana State Sentinel and the Terre-Haute Journal, among other papers.  A small town in Washington County in southern Indiana was named after him.  Alas, “Kossuth, Indiana” has now almost vanished.  We mourn its DK.

With news sometimes traveling west at a great time-lag, people were always eager for entertainment in the meantime.  Sometimes printers like Elihu Stout and John Jones had no news to print, so they regaled readers with whatever they could find.  And unlike the news, poetry — even when written in “text speak” — can occasionally be timeless.

Txtspeak 3


Hoosier State Chronicles is currently collating issues of the Western Sun from 1837 to 1849 for possible inclusion online later this year.  Here’s some other entertaining excerpts from the Vincennes paper in those days.  (And if you’re in Vincennes, you can visit a reconstructed version of Elihu Stout’s print shop, originally built in 1808, at Vincennes State Historic Site, the location of the old territorial capitol.)

VWS 1844-08-24


Capture


1837-03-04


enigma acrostic - VWS Oct 8 1849


ohio speaks


Taylor


wolf scalps