Republic of Detours—Rekindling Interest in the Federal Writers’ Project

June 27, 2021

FWP Poster
Writers at work. Courtesy, NY City Municipal Archives.

During the Great Depression, improving the nation’s infrastructure wasn’t the New Deal’s only agenda. Economic recovery also meant providing useful relief jobs to creative professionals, leading to the establishment of Federal One, the umbrella organization for the Federal Art, Theatre, Music, and Writers’ Projects.

The Federal Writers’ Project (FWP) employed thousands of out-of-work editors, writers and others, and published hundreds of books in its quest to create a self-portrait of America. It supported writers through hard times and propelled careers, with authors such as Nelson Algren, Ralph Ellison, Saul Levitt, Kenneth Rexroth, Mari Tomasi, May Swenson, Margaret Walker, and Richard Wright among the many authors who were part of this literary legacy. This idealistic program endeavored, through its publications, to celebrate the mosaic of racial, ethnic and cultural identities in America. It also, unfortunately, attracted the attention of conservatives, anti-New Dealers and the first iteration of the House Committee on Un-American Activities (HUAC), leading to the FWP’s shutdown.

American Guide
The FWP published travel guides to 48 states and some regions and cities. Photo by Addie Borchert.

After Congress defunded the FWP in 1939, it was soon nearly erased from the public mind. A host of books, starting with Jerre Mangione’s 1972 book, The Dream and the Deal, resurrected interest in the FWP, helping to re-establish the importance of the Project.

Scott Borchert’s new book, Republic of Detours: How the New Deal Paid Broke Writers to Rediscover America, (2021 Farrar, Straus and Giroux) adds an important voice to understanding this seminal federal effort, particularly now that legislation has been introduced to establish a 21st century FWP.

Borchert’s well-researched history of the Project is offered alongside a historical backdrop. The American literary scene converges with cultural and political themes, stretching from the aftermath of the Civil War through the 1930s. The narrative and inviting writing style are welcoming to both FWP scholars and readers new to the Project.

Gathering of Nuggets
The frontpiece of the FWP’s 1939 book, “Idaho Lore”. Courtesy, LOC.

Borchert’ interest in the FWP began with the discovery of a treasure trove of American Guide books in his great-uncle’s attic. The American Guide series, the centerpiece of the FWP’s accomplishments, spanned every one of the then-48 states, as well as Puerto Rico, Washington, D.C. and dozens of cities and regions. Each guide included not only travel tours, but also essays on local folklore, history and geography.

Borchert’s telling of the FWP encompasses everything that made the agency special: the oral history/slave narratives collected by FWP workers; aspiring, soon-to-be famous writers; the evolving American Guide book series; segregation and racism in the Southern States; the “secret” creative writing unit approved by FWP director Henry Alsberg—and much more.

Temple Herndon Dunham, Age 103
From “Born in Slavery, Slave Narratives from the Federal Writers’ Project.” Courtesy, LOC Slave Narrative Collection.

Borchert examines previously unexplored aspects of the Project, including important but lesser known editors and writers like Vardis Fisher, the director of the Idaho Writers’ Project. Fisher, a novelist who grew up on a homestead, almost singlehandedly wrote his state’s guide, the first to be published. Readers also learn about Katharine Kellock, the FWPs highest-ranking woman, a powerhouse who helped devise the tour sections of the guide books. Borchert also brings us the story of writer Sherwood Anderson’s little-known involvement in the New Deal, as he traveled the nation to write for the FDR-endorsed magazine, Today, reporting on the impacts of Roosevelt’s new policies.

Rep. Martin Dies with Hollywood studio executives, 1939
Dies head a House Special Committee to combat un-American ideologies. Photo Credit: National Archives & Records Administration. Courtesy, Collection of the U.S. House of Representatives.

No book on the FWP is complete without the battle played out in newspapers of the day, between Congressman Martin Dies, who chaired HUAC, and FWP’s beleaguered director Henry Alsberg, who struggled to save the Project and its writers from reactionary elements. Borchert also highlights the cultural and historical events that influenced HUAC and triggered its creation.

The legacy of the FWP is often wrapped around its famous writers and its work relief programs. Borchert points to yet another legacy.

Henry Alsberg
The founding director of the FWP testifying at HUAC hearing, 1938. Courtesy, LOC.

“The FWP, utterly and explicitly, was anti-fascist by design,” Borchert writes. He reminds us that the FWP was created while fascism was taking hold abroad and domestic groups like the Ku Klux Klan tried to worm its way into American society. “This was the backdrop against which the FWP was initiated, the fascist upsurge that it sought— through the American Guides and other efforts—to oppose.”

Susan DeMasi is the author of the 2016 biography, Henry Alsberg: The Driving Force of the New Deal Federal Writers’ Project. She is a visiting scholar in this summer’s National Endowment for the Humanities program, “The New Deal Era’s Federal Writers’ Project,” as well as a contributor to an upcoming book on the literary legacy of the FWP, edited by Sara Rutkowski, for the University of Massachusetts Press. [email protected]

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“Be a nuisance where it counts,” The Legacy of Marjory Stoneman Douglas

June 14, 2018

Marjory Stoneman Douglas
Writer and activist Marjory Stoneman Douglas.

“It is as if there were places and times in which human activity becomes a whirlpool which gathers force not only from one man’s courage and ambitions and high hopes but from the very tides of disaster and human foolishness which otherwise disperse them.”

“A whirlpool which gathers force.” Interestingly, these words were written by Marjory Stoneman Douglas–the namesake of the school in Parkland, Florida, where in February, yet another shooting massacre took place.

American Guide to Miami
Published under the auspices of the Federal Writers’ Project, the American Guide Series contains detailed histories of each of the then 48 states and major cities and towns.

Douglas, who died in 1998 at the age of 108, might have been describing the student activists who have taken up the fight against the NRA and the politicians who support archaic gun laws. But Douglas’s words appeared in the foreword she wrote to the 1941 edition of A Guide to Miami and Dade County, one of the books in the Works Progress Administration’s American Guide series.

The WPA guides, published by the New Deal’s Federal Writers Project between 1935 and 1943, were intended to create jobs and spur tourism during the Great Depression. The FWP hired thousands of unemployed writers, librarians, clerks, researchers, editors, and historians around the country—including Douglas, a journalist, and activist throughout her long life.

Douglas is best known for her tireless crusade to save the Florida Everglades. But throughout her life, she also supported such causes as women’s rights, civil liberties, and racial justice.

The Everglades, River of Grass
Douglas’s book, published in 1947, the same year that the Everglades became a national park, remains a call to action.

She was a suffragette at Wellesley College, and actively fought for women’s right to vote until the 19^th Amendment was enacted in 1920. Arriving in South Florida in 1915 when barely 5,000 people lived in Miami, she began her career as a society columnist for her father’s newspaper, which later became the Miami Herald.

Like Henry Alsberg, director of the FWP and editor of the WPA American Guide series, Douglas spent time in Europe after World War I aiding war refugees. Upon returning to Florida, she turned to covering social and environmental themes, including the importance of preserving the Everglades and its ecosystem.

Douglas, who stood 5 foot 2 and weighed barely 100 pounds, famously did battle with the Army Corps of Engineers, the State of Florida, and powerful business interests over draining the Everglades for agriculture and real estate development. Her 1947 book, The Everglades: River of Grass, still considered groundbreaking, “galvanized public interest in protecting the Everglades,” according to the Florida Department of State. In 1969, at age 79, Douglas founded Friends of the Everglades.

When she was 103, President Bill Clinton, calling her the “Grandmother of the Glades” presented Douglas with the Medal of Freedom. Still-wild portions of the Everglades are named in her honor. At a ceremony on Earth Day, 2015, Douglas’s home in Dade County, Florida, was listed on the National Register of Historic Places.

Student March
Students in Parkland, Florida mounted a campaign to end gun violence after 17 died at the Marjory Stoneman Douglas High School.
Photo Credit: Wikimedia Commons

But more than these “official” honors Douglas would surely be proud of the students who hail from Marjory Stoneman Douglas High School for carrying on her efforts to build a better world.

“Be a nuisance where it counts,” Douglas once said. “Do your part to inform and stimulate the public to join your action. Be depressed, discouraged, and disappointed at failure and the disheartening effects of ignorance, greed, corruption, and bad politics—but never give up.”

John Rothchild, who helped write Douglas’s autobiography, said that her death was the only thing that could “shut her up.”

He added, “And the silence is terrible.”

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Henry Alsberg: The Driving Force of the New Deal Federal Writers’ Project, by Susan Rubenstein DeMasi

“The 1930s was the most creative period in American cultural life” claimed actress Toby Cole when I interviewed her shortly before her death at 92. I thought she was exaggerating because she had worked for the Federal Theatre Project (FTP) during the New Deal. But after reading Susan Rubenstein DeMasi’s absorbing biography of Henry Alsberg, who headed the Federal Writers Project (FWP), I’m inclined to agree. It is virtually impossible to imagine such inventive individuals as Alsberg and Hallie Flanagan, who headed the Federal Theater Project during the New Deal, being hired by government today—even in a Democratic administration.

A rumpled bear of a man from a secular New York Jewish family, Alsberg was born in 1881 in New York and died in Palo Alto 89 years later after spending a lifetime necessarily hiding his homosexuality from all but radical friends like Emma Goldman.

DeMasi calls the 1920s “arguably his most active period, [when] he energetically segued from journalism to refugee relief work to theatrical pursuits to political endeavor,” but it is the work he did as head the Federal Writers Project for which, thanks to DeMasi’s book, as well as David A. Taylor’s 2009 Soul of People: The WPA Writers’ Project Uncovers Depression America, Alsberg will be gratefully remembered for the FWP’s volcanic output under his inspired leadership.

In 1934 Alsberg edited the large format book America Fights the Depression whose more than 200 photos showed the myriad of ways in which the new Civil Works Administration hired more than four million people to wage constructive war against the economic calamity during the winter of 1933-34.

It was probably on the strength of that book that WPA chief Harry Hopkins entrusted Alsberg to muster his own army of thousands of unemployed writers. Alsberg wanted to use that talent to reflect Americans back to themselves just as photographers of the Farm Security Administration, notably Dorothea Lange, Walker Evans, Gordon Parks, and Arthur Rothstein, were doing at the same time—even when that meant lancing popular mythology and telling the stories of those left in the dust.

The most famous outcome of the FWP was the now classic WPA guidebooks to all 48 states and many American cities. It also spawned hundreds of other books as well as transcripts of thousands of interviews including those with ex-slaves at the end of their lives and countless pages of research never published but now an invaluable resource to historians, ethnographers, folklorists and others.

Often difficult, utopian, and self-described as a “philosophical anarchist,” Alsberg was himself surprised to find himself working as an administrator within the government. A lifelong progressive in his politics, Alsberg had much to hide from the New Deal’s enemies, and DeMasi does a splendid job not only of resurrecting a secretive man’s life but delineating the reactionary forces in Congress that ultimately brought him and Hallie Flanagan down in a Communist witch hunt that foreshadowed the McCarthy era.

In her introduction, DeMasi admits that in writing her book, she fell in love with Alsberg. You will, too, in reading it.

Gray Brechin is a geographer and Project Scholar of the Living New Deal. He is the author of Imperial San Francisco: Urban Power, Earthly Ruin.

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A 20-million Word Experiment in Collective Writing Henry Alsberg and the FWP
By Susan DeMasi

June 30, 2017

Federal Writers' Project Poster
American Guide Series
Photo Credit: Courtesy Library of Congress

In the first half of the 20^th century—before he fell through the cracks of history—Henry Alsberg’s byline appeared regularly in newspapers and magazines. When Harry Hopkins tapped him to lead the Federal Writers’ Project in 1935, Alsberg had already lived a remarkable life.

Born in New York City in 1881, Alsberg spent the 1920s as an activist and writer in the U.S. and abroad. He worked on behalf of political prisoners, reported on the geopolitical changes in Europe and Russia for The Nation and other publications, and aided Jewish refugees fleeing pogroms in Eastern Europe. He produced and wrote plays at the Provincetown Playhouse and the Neighborhood Playhouse. In 1930, he helped Emma Goldman edit her autobiography. His close friendship with Goldman developed at least partially from her open stance on homosexuality. As a gay man living in horrendously dangerous times, Alsberg found a safe haven in her company.

By the time of the Great Depression, the boundlessly energetic Alsberg had suffered economic as well as personal setbacks. Freelance writing jobs were scarce. A contract with the Metropolitan Opera House to adapt one of his plays fell through. But Roosevelt’s New Deal brought a promising new deal for Alsberg.

Alsberg with Eleanor Roosevelt, an ardent FWP supporter, 1938 At WPA Exhibit in Washington, D.C.

Alsberg with Eleanor Roosevelt, an ardent FWP supporter
At WPA Exhibit in Washington, D.C., 1938
Photo Credit: Courtesy of National Archives

At age 53, he landed a writing job with the Federal Emergency Relief Administration (FERA) and authored America Fights the Depression, a large-format book promoting the accomplishments of the Civil Works Administration (CWA). Then, he brought his progressive beliefs to the Federal Writers’ Project, which he headed from 1935-1939.

Under Alsberg’s guidance, the Project—dubbed by Pathfinder Magazine as “a 20-million word experiment in collective writing”—produced hundreds of books. The highly acclaimed American Guide series detailed the histories and cultures of each of the then-48 states, Alaska, Washington D.C., and Puerto Rico, and provided descriptions of every major city and town.

Among the 10,000 unemployed people hired by the FWP over its 8-year existence were many up-and-coming writers, including John Cheever, Margaret Walker, and Richard Wright. Ralph Ellison, May Swenson, and others collected oral histories for the FWP, preserving by the thousands the life stories of former slaves, immigrants, factory workers, and other Americans who didn’t typically make it into the history books.

Henry Alsberg, Director of the Federal Writers' Project
Testifying at House UnAmerican Activities Committee hearing, 1938

Alsberg and Hallie Flanagan, his counterpart at the Federal Theatre Project, constantly battled with anti-New Deal forces. Their mutual nemesis, Congressman Martin Dies, chair of the House Committee on Un-American Activities (HUAC), led the opposition that ultimately defunded both projects in 1939. Colonel Francis Harrington, Harry Hopkins’ successor as head of the WPA, ordered Alsberg to resign, but he stubbornly refused to leave while he was in the midst of ushering a number of books to publication. Harrington fired Alsberg; the FWP was renamed the WPA Writers Program, and continued in a diminished capacity under state auspices until its closure in 1943.

After a brief speaking tour, Alsberg resumed freelance writing and returned to New York City, living for a time next to Bonnie’s Stonewall Inn—later renamed the Stonewall Inn—today a landmark of the gay rights movement. In 1942, he returned to Washington D.C. as an editor for the Office of War Information. But that didn’t last long. The Civil Service Commission investigated Alsberg for being in an “immoral,” homosexual relationship, forcing him to resign.

FWP display at the 1939 New York World’s Fair
Oversized American Guide books placed on a U.S. Map

He returned to writing and working as an editor for Hastings House into his 80s. In his final years, he moved to Palo Alto to live with his sister, a civil rights activist. He often visited City Lights bookstore in San Francisco, where his friend, Vincent McHugh, a former New York City FWP editor, was involved in the Beat poetry scene. After Alsberg’s death in 1970, McHugh recalled their FWP years: “We were one of the Berkeleys of the 1930s.”

Alsberg and the Federal Writers’ Project changed the literary landscape of America. We can look forward to this legacy expanding exponentially as more original FWP materials become digitized.

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