As I already wrote about, in Fall 2016 Minnesota History published my article on "Senator Allan Spear and the Minnesota Human Rights Act." When the issue came out, I mailed copies to friends and family (so they could see I actually do what I say I do), and then turned to other projects. For example, I … Continue reading I’m very honored to receive Minnesota History’s 2016 Solon J. Buck Award
I’ve posted before about the Great War, including the anniversary of the assassination of Archduke Ferdinand and a sampling of political cartoons from the war's first year. Recently, while searching the newspaper archives for (and failing to find) a certain Russian-Anarchist-themed comic strip, I discovered the following photograph. Titled WAR, it depicts a Belgian woman—grief-stricken, the features of her face lost in dark shadows. It's amazing what one uncovers in archives. What begins with the discovery of a single photograph unravels into a politics, a profession, an entire life. As the poet Anne Waldman once told me, "archive is memory," and WAR reminds us how many war photographers have made this same refrain: "If HER face does not stop war, not all the sights of [Europe, Korea, Vietnam, Iraq, Afghanistan] would stop war."
In 1993 Minnesota became the eighth state in the nation to outlaw gay and lesbian discrimination in housing, education, and employment. Unlike other states, Minnesota even went further to ensure these same protections extended to members of the trans* community. No easy feat, this was the culmination of two decades of legislative maneuvering and grassroots … Continue reading Senator Allan Spear and the Minnesota Human Rights Act
Like many people, I'm still wrapping my head around the 2016 election results. And while I've done my fair share of asking, "What happened?" I've (fortunately) moved on to the more-useful question of "Now what are we going to do about it?" To that I'm still working on an answer, but here is something I … Continue reading As an historian, it’s hard to be hopeless
“Only the first ten years matter,” a Minnesota State Prison inmate told John Carter, and "[w]hether or not the first ten years are all that matter, there is no doubt that the first six months are by no means six little drops of time.” It was 1905 and as the 19-year-old Carter listened, he settled … Continue reading John Carter of Minnesota: The “Convict Poet” Who Won His Freedom
"[D]on't be such a damn fool as ever again to go to work for someone else. Start your own business," the 34-year-old Sinclair Lewis advised his friend Alfred Harcourt. "I'm going to write important books. You can publish them. Now let's go out to your house and start making plans" (p.xi). That business became the publishing house Harcourt, Brace, and Company, and the next year, in 1920, it published the book that made Lewis famous: Main Street. Thus began a decade-long partnership that lasted until Lewis became the first American to the win Nobel Prize in Literature. As the only volume of Lewis' letters, From Main Street to Stockholm was published in 1952, the year after he died, and collects together his correspondence with Harcourt's publishing house. Given their relationship the letters just as often pertain to business as they do Lewis' European travels and the politics of the literary world. While the reader may not close the book with a richer understanding of Lewis' psychology, they will have witnessed an iconoclast at work. Through these letters one follows Lewis through the "Big Five" and the public's response, from Main Street (1920) being declared the most monumental book of the century to Boston's District Attorney banning Elmer Gantry (1927) from the city.
Before there were cameras to document warfare, there were sketchbooks. So imagine then sketching a battlefield and, as smoke filled the air and bullets zipped past, trying to keep your pencil straight. This, though, was the experience of many artists, including Elijah Evan Edwards (1831-1915), who served as chaplain of the 7th Minnesota Infantry during the Civil War (1864-1865). The Minnesota Historical Society has three volumes of Edwards' journals, including a 1910 typescript he wrote synthesizing his pocket diaries from the war. In it he discusses daily camp life, the people he met, different battles, and so on. Besides being an invaluable, firsthand account of the Civil War, what makes the text rich is its being accompanied by several dozen sketches made from "hasty outlines finished from memory when I had leisure." "This is especially true of the battle scenes," he added, "since I had during the critical moments of the conflict neither leisure nor opportunity to make sketches." (p.1). It's these that distinguish Edwards' written account from others.