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The Indy Issue from Friday March 12, 2021

 

 

Visions of the Development of Salem

By Kevin Zorn

An oil on canvas mural is displayed in the post office in Salem, West Virginia. It was painted by an artist named Berni Glasgow and its production was funded
through the Treasury Department’s Section of Painting and Sculpture. It is titled “Visions of the Development of Salem” and depicts a group of people
receiving mail, in the background is a village and cattle.

 

Berni Glasgow was one of more than 800 artists commissioned to paint 1371 murals, the majority of which are featured in post offices.
Often mistaken as a Works Progress Administration (WPA) initiative, these Treasury funded murals were created with the intent of fostering i
nspiration in the American people who were still feeling the devastating economic and social effects of the Great Depression.

 

It is a testament to the shift in the ideological landscape today that I cannot believe the US Government, in tandem with local governments,
was capable of doing what the WPA accomplished. Yet, here are just some of the facts: from 1935 to 1943 8.5 million unemployed men and
women were hired by the government to build over 10,000 bridges, 620,000 miles of streets and roads, 40,000 new and 85,000 renovated
buildings including thousands of schools, gymnasiums, auditoriums, playgrounds, parks, libraries, college dormitories, tennis courts, and skating rinks.

 

The WPA employed artists, writers, historians, and musicians whose work directly affected the lives of millions of Americans during some of the
country’s most painful years. Musicians hired under the Federal Music Project taught free lessons to 132,000 children and adults every week.
Those hired in the Federal Writers’ Project, in addition to their popular state tourism guidebooks, recorded over 2,300 slave narratives -
an invaluable collection for scholars and historians. Under the Federal Theatre Project 1,000 plays were performed across the country every month.
Incalculable is the number of children and adults inspired by this work.

 

Through the colossal endeavors of the WPA in both its pre-war effort and its public projects America achieved full employment by 1942,
the same year “Visions” was painted in Salem.

 

It is clear that the America many of us grew up in, the structures that supported our lives, the parks we enjoyed, the schools we attended,
the infrastructure we relied upon for travel, even the art classes that inspired the next generation of creators was largely built under the
auspices of the WPA and the New Deal.

 

This is a salient reminder that capital “H” History is not simply a collection of memorized facts and figures, dates and obscure names.
No, History is alive in the communities in which we live. It not only teaches us, it haunts us as well. It haunts us with what was
possible before and what is possible tomorrow.

 

Perhaps that is the greatest battle waged in the spectacle of media and politics today - the question of what is possible.
Our expectations are managed lower and lower. We learn that the climate crisis is inevitable, that homelesness is natural,
that workers are essential until they ask for a living wage. All to say that change is impossible. Visions of better futures recede from view.

But history haunts us with an alternative. By the time Berni Glasgow painted the mural in the Salem post office, the American
government had provided millions of meaningful jobs improving, with concrete and paintbrushes, nearly every community across the nation.

 

Nick Taylor, the author of “American Made: The Enduring Legacy of the WPA”, writes this: 

 

“These ordinary men and women proved to be extraordinary beyond all expectation.
They were golden threads woven in the national fabric. In this, they shamed the political philosophy
that discounted their value and rewarded the one that placed its faith in them,
thus fulfilling the founding vision of a government by and for its people. All its people.” 

 

This weeks front page:

 

 

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This week’s letter is a Letter to the Editor with the intended audience being the readers of the newspaper to which it was written. Abraham Lincoln was the author and the year in which it was written was 1836, twenty five years before he was inaugurated President. What’s interesting about this Letter to the Editor is how Lincoln explains his early political views. Especially interesting is his call for women’s right to vote, a statement that was made nearly one hundred years before the 19th Amendment was passed allowing the right to vote without a basis on gender.

 

“TO THE EDITOR OF THE "JOURNAL"—In your paper of last Saturday I see a communication, over the signature of "Many Voters," in which the candidates who are announced in the Journal are called upon to "show their hands." Agreed. Here's mine.

I go for all sharing the privileges of the government who assist in bearing its burdens. Consequently, I go for admitting all whites to the right of suffrage who pay taxes or bear arms (by no means excluding females).

If elected, I shall consider the whole people of Sangamon my constituents, as well those that oppose as those that support me.

While acting as their representative, I shall be governed by their will on all subjects upon which I have the means of knowing what their will is; and upon all others I shall do what my own judgment teaches me will best advance their interests. Whether elected or not, I go for distributing the proceeds of the sales of the public lands to the several States, to enable our State, in common with others, to dig canals and construct railroads without borrowing money and paying the interest on it. If alive on the first Monday in November, I shall vote for Hugh L. White for President.

Very respectfully, A. LINCOLN.”