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:

 

 

Advertising Rates

In 1905 an advertisement for a fake, cure-all, medicine was sent to Mark Twain by the salesman, J.H. Todd. The salesman claimed that the medicine could cure meningitis and diphtheria which happened to be ailments that took the lives of Twain’s daughter and nineteen month old son. Furious at the salesman’s attempt to peddle false cures, Twain dictated this letter in reply.

 

1212 Webster St.San Francisco, Cal.

Your letter is an insoluble puzzle to me. The handwriting is good and exhibits considerable character, and there are even traces of intelligence in what you say, yet the letter and the accompanying advertisements profess to be the work of the same hand. The person who wrote the advertisements is without doubt the most ignorant person now alive on the planet; also without doubt he is an idiot, an idiot of the 33rd degree, and scion of an ancestral procession of idiots stretching back to the Missing Link. It puzzles me to make out how the same hand could have constructed your letter and your advertisements. Puzzles fret me, puzzles annoy me, puzzles exasperate me; and always, for a moment, they arouse in me an unkind state of mind toward the person who has puzzled me. A few moments from now my resentment will have faded and passed and I shall probably even be praying for you; but while there is yet time I hasten to wish that you may take a dose of your own poison by mistake, and enter swiftly into the damnation which you and all other patent medicine assassins have so remorselessly earned and do so richly deserve.

 

Adieu, adieu, adieu!

Mark Twain”