Zane Grey’s The Desert of Wheat (Part 3)

This post is the first of a three-part series about Zane Grey, the father of the modern Western novel, who spent time in Eastern Washington in the early 1900s to write his agrarian-themed novel The Desert of Wheat.

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Grey’s novel relates the tragic end of protagonist Kurt Dorn’s father, Chris, who collapses while fighting a crop fire. While recovering from the loss and challenge of bringing in his grain from the field, Kurt is unexpectedly greeted by “a wonderful harvest scene.” Neighbors from all around his home gather for a grand threshing bee to complete the harvest. Grey cleverly uses this special “American” event—commonly seen in rural areas for families in distress, to describe the complicated and labor-intensive process of grain harvesting operations in an era of horse- and steam-power. Kurt arose to see “the glaring gold of the wheat field… crisscrossed everywhere with bobbing black streaks of horses—bays, blacks, whites, and reds; by big, moving painted machines, lifting arms and puffing straw; by immense wagons piled high with sheaves of wheat, lumbering down to the smoking engines and the threshers….” Few other novelists provide such colorful and detailed narration of the harvesting sequence from cutting by combine and reaper to threshing and hauling the year’s precious yield to storage:

First Kurt began to load bags of wheat, as they fell from the whirring combines…. For his powerful arms a full bag, containing two bushels, was like a toy for a child. With a lift and a heave he threw a bag into a wagon. They were everywhere, these brown bags, dotting the stubble field, appearing as if by magic in the wake of the machines. They rolled off the platforms.

…From that he progressed to a seat on one of the immense combines, where he drove twenty-four horses. No driver there was any surer than Kurt of his aim with the little stones he threw to spur a lagging horse. …[H]e liked the shifty cloud of fragrant chaff, now and then blinding and choking him; and he liked the steady, rhythmic tramps of hooves and the roaring whir of the great complicated machine. It fascinated him to see the wide swath of nodding wheat tremble and sway and fall, and go sliding up into the inside of that grinding maw, and come out, straw and dust and chaff, and a slender stream of gold filling the bags.

A Northwest Harvest Scene Postcard, c. 1910, Palouse Heritage Collection

With the successful completion of harvest providing payment on the farm’s mortgage (Kurt sought no favors from Lenore’s sympathetic landlord father) and resolution of further WWI turmoil, young Dorn finally feels free to enlist in the army. Following basic training in the East, he is transported to the front lines in France where he experiences the brutalities of war. Grey paints the ugliness of battle in vivid terms that also express the wastefulness of violent conflict. While an ardent patriot who decried foreign aggression, Grey also uses dialogue and description to relate the horrific long-term consequences of war for survivors frequently overlooked in contemporary press accounts. The injuries Dorn incurs going over the top of a trench amidst machine-gun fire, panic, gas-shelling, and bombardment nearly end his life. The scene is less heroic than nauseous in “pale gloom, with spectral forms,” and death. He returns home as a broken man haunted by hideous dreams and devoid of hope for the future. Once again the abiding power of love and land shown through Lenore in their native fields of Columbia grain bring forth meaning and restoration:

Then clearly floated to him a slow sweeping rustle of the wheat. Breast-high it stood down there, outside his window, a moving body, higher than the gloom. That rustle was the voice of childhood, youth, and manhood, whispering to him, thrilling as never before. …The night wind bore it, but life—bursting life was behind it, and behind that seemed to come a driving and mighty spirit. Beyond the growth of the wheat, beyond its life and perennial gift, was something measureless and obscure, infinite and universal.

Suddenly he saw that something as the breath and the blood and the spirit of wheat—and of man. Dust and to dust returned they might be, but this physical form was only the fleeting inscrutable moment on earth, spring up, giving birth to seed, dying out for that ever-increasing purpose which ran through the ages.

With the completion of The Desert of Wheat in 1918 and lucrative contracts from Harper’s for future works, Grey and his wife, Dolly, relocated from Pennsylvania to southern California in 1920 and acquired a Spanish-Mediterranean Revival mansion near Pasadena. He had long been an avid outdoorsman, and his financial success led to worldwide fishing expeditions and support of conservation efforts. Although one of America’s most prominent authors, Grey had still harbored doubts about his continued capacity for creative writing. But the recent Western travels and popular acclaim for The Desert of Wheat fostered renewed commitment and a turning point in his career. His journal entry of February 16, 1918 records, “…[M]y study and passion shall be directed to that which I have already written best—the beauty and color and mystery of great spaces, of the open, of Nature and her wild moods.”

The commercial success of Grey’s books led in 1920 to his formation of a motion picture company, Zane Grey Productions. The company released a silent movie version of The Desert of Wheat which played in theatres nationwide as Riders of the Dawn. He eventually sold the company to Paramount Studios but continued writing short stories novels for the rest of his life and consulted for later Hollywood productions of dozens of films based on his books.

Paxton Farrar, “Zane Grey House” from Starry Night (2016)

The Desert of Wheat also inspired Paxton Farrar’s award-winning 2016 short film Starry Night funded by the Alfred P. Sloan Foundation. Farrar cited “the vastness of the landscapes” and “melancholic romance that permeates the land” as important cinematic influences. In Farrar’s presentation the main character is a young woman who seeks escape from small town life  to pursue her passion to become an astronomer. The film’s starlit scenes evoke young Dorn’s evening soliloquy as he surveys the cosmos and expresses an eloquent philosophy of life uncharacteristic of a Western novel: “Material things—life, success—such as had inspired Kurt Dorn, on this calm night lost their significance and were seen clearly. They could not last. But the wheat there, the hills, the stars—they would go on with their task. …[S]elf-sacrifice, with its mercy, succor, its seed like the wheat, was as infinite as the stars.” Whether returning to familiar Southwest scenes and frontier action for new novels, or while sailing to the South Pacific, Grey’s time on the Columbia Plateau left a favorable and enduring impression.

Zane Grey’s The Desert of Wheat (Part 2)

This post is the first of a three-part series about Zane Grey, the father of the modern Western novel, who spent time in Eastern Washington in the early 1900s to write his agrarian-themed novel The Desert of Wheat.

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The setting of Grey’s novel blends both actual places of the Columbia Plateau like Spokane, Connell, and Kahlotus, with fictitious communities that include sufficient geographical description to suggest likely locations—Ruxton in Golden (Walla Walla) Valley, Neppel (Moses Lake), and Glencoe (Pasco). Grey also references the work of notable agriculturalists like Frederick D. Heald at the State Agricultural College (present-day WSU) and Experiment Station in Pullman. Grey’s original version, now in the Library of Congress, also mentioned the communities of Ritzville, Odessa, and Marlin. Subsequent insight by local historians regarding the book’s principal families also shed interesting light on the influence of particular individuals and farms. Grey is known to have visited areas in Franklin,  Adams, and Whitman Counties in 1917, and comparison of the writer’s itinerary with the Dorns’ and Andersons’ various travels in the book suggest composite figures drawn from families in the vicinity of Wheeler, Connell, Hooper, and Walla Walla.

The Anderson-Owsley House and Farm Today

Much of the book’s action takes place at the Anderson-Dorn farm, a place of Grey’s imagination but likely modeled in part on a ranch owned in 1917 by R. F. Anderson and located approximately nine miles south of Connell. The property was later owned by the Kenneth Owsley family. Connell had been platted in 1883 as “Palouse Junction” for a spur of the main Northern Pacific transcontinental line that tapped the fertile Palouse Hills grain district to the east. Later named Connell for a railroad official and pioneer resident, the town had long served as an important grain storage and transfer point with substantial timbered flathouses along the rail line for storing sacked grain, a thriving main street business district, and local newspaper, the Connell Tribune-Register.

The tableland surrounding the Anderson farm presented Grey with a stunning vista with Oregon’s Blue Mountains to the east and flaming sunsets beyond the grass- and sage-covered Horse Heaven and Frenchman Hills rising in the west. The farmstead included a two-story main house that remains on the site and substantially conforms to Grey’s description of the Dorn home, numerous outbuildings, crenelated water tower and windmill, and a 60´ x 110´ barn that enormous even by Big Bend standards. The property was situated along the area’s principal north-south “Central Washington Road” and had served in earlier days as a way-station for stage coaches who tended and exchanged teams of horses in the large barn.

Pat Boyer, “E. T. Thompson Threshing Outfit” Mural, City of Connell, Washington

According to local tradition, Grey stayed at the Anderson place in mid-July to visit with area farmers and experience harvest field labors firsthand. During the time of his visit to the area, the Tribune-Register reported on the commencement of field operations: “Harvest has begun already and will be in full swing here by the middle of next week. While the hot, dry weather has interfered somewhat with the later grain crop, the fields which matured earlier are in splendid condition and promise a good yield” (July 20, 1917). Ezra Thompson farmed land adjacent to the Anderson spread  in 1917 and a photograph of his horse-pulled combine taken in the Twenties shows the kind of threshing equipment Grey described in the novel. The picture was recently transformed into a colorful City of Connell building mural by Pullman artist Pat Boyer.

Zane Grey’s The Desert of Wheat (Part 1)

This post is the first of a three-part series about Zane Grey, the father of the modern Western novel, who spent time in Eastern Washington in the early 1900s to write his agrarian-themed novel The Desert of Wheat.

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For many years I kept a copy of Zane Grey’s novel, The Desert of Wheat (1919), on my bookshelf. I confess it was mostly there because the title had piqued my hope that the famed Western author might have once turned his attention away from Southwestern cowboys to farmers in the Northwest. A few pages into the book confirmed its setting to be on the Columbia Plateau. But encounters on its opening pages with “motor-cars” and labor organizers led me to set it aside in favor of what I thought might be more interesting reads. Only in recent weeks did I return to the book after realizing that Grey had composed it amidst the convolutions of American involvement in World War one hundred years ago. So I pulled it off the shelf again and this time found myself immersed transported through compelling prose to a remarkable time that I found had high relevance to many issues of our present day.

Best-selling author and conservationist Zane Grey (1872-1939) is considered the father of the modern Western novel. He wrote eighty books with nine selling over 100,000 copies in their year of initial publication, including the quintessential Western classic Riders of the Purple Sage (1912) which became a million-seller. Even today sales of his many works typically reach 500,000 copies annually. Grey’s novels and some 300 short stories were known for idealizing the American frontier spirit with archetypal characters inhabiting moral landscapes who exemplified the Code of the West—integrity, friendship, loyalty. British poet John Masefield and Ernest Hemingway considered his writing praiseworthy and others compared allegorical storylines laden with struggle and mystery to the ancient Beowulf saga and Star Wars science fiction trilogy. Though some critics found Grey’s plots to be formulaic, several of his works ventured beyond worlds inhabited by cowboys and desperados to explore contemporary issues, and human influence on landscapes.

Zane Grey’s The Desert of Wheat first appeared in a series of articles published in May and June, 1918, issues of The Country Gentleman

Grey and his wife, Dolly, journeyed from their home in Pennsylvania to the Pacific Northwest during the summer of 1917 and traveled through eastern Washington in July. That same tumultuous month Alexander Kerensky was named premier of the Russian provisional government after revolutionaries toppled the Romanov monarchy, and a major German World War I counter-offensive commenced on the Eastern Front in Galicia. Grey closely followed world events through newspaper reports sought to incorporate their impact on American national life into his writing. He had been encouraged by The Country Gentleman editor Benton Currie to compose an agrarian-themed story for serialization the following year.

Davenport Hotel Hall of Doges, Spokane, c. 1915, Washington State Historical Society

While attending a Chamber of Commerce luncheon in July at Spokane’s opulent Davenport Hotel, Grey and A. Duncan Dunn, regent of the state’s agricultural school in Pullman, discussed the plight of the region’s farmers since Northwest grain markets and labor unrest seemed highly related to unfolding international events. Inspired in part by events in Russia, the Industrial Workers of the World (“Wobblies”) sought to organize itinerant harvest laborers throughout the wheatlands in order to hold out for raises from two to three dollars for a customary ten-hour day of intense physical labor tending the annual threshing operations. The Wobblies were strongly opposed by farmers on economic grounds, and many throughout the country considered their socialist leanings a threat the moral and political order. The inland Pacific Northwest was also heavily populated by immigrant farmers of German ancestry from central Europe and Russia. Grey’s story would also explore the tensions within families and communities created by complex relationships between heritage and nationalism.

Zane Grey, The Desert of Wheat Manuscript Opening Lines (1917), Library of Congress

Grey’s “The Desert of Wheat” would first appear in several installments of The Country Gentleman in the spring of 1918, and Harper’s published the first of numerous printings in book form in 1919.  His earlier works had been known for vivid descriptions of action and environment, as well as respectful inclusion of Native Americans and minority cultures. This new work appealed to both reviewers and the general public, and opened with lines inspired by his summertime journey across the Columbia Plateau’s vast farming district:  “Late in June the vast northwestern desert of wheat began to take on a tinge of gold, lending an austere beauty to that endless, rolling, smooth world of treeless hills…. The beauty of them was austere, as if the hand of man had been held back from making green his home site, as if the immensity of the task had left no time for youth and freshness. Years, long years, were there in the round-hilled, many-furrowed gray old earth.”

Right: W. H. D. Koerner, “The Undulating Sea of Wheat,” Country Gentleman Magazine (May 14, 1918)

Through dialogue about Bluestem and Turkey Red wheats and rattling threshers under the hot harvest sun, the story lauds the hard work and struggles of taciturn Kurt Dorn, son of an elderly German immigrant farmer. Young Dorn faces drought, blight, and the elements in order to support his father, and experiences World War I prejudice and rural labor strife. Although Grey’s characters are not typically prone to mystical reflection, Dorn and protagonist love interest, Lenore Anderson, ponder the significance of change in their own relationship, his  enlistment and brutal experience of European battle, and deeper meanings of wartime damage to culture and conviction. As do few other books in Grey’s considerable corpus, The Desert of Wheat exemplifies his lifelong compulsion to express “Love of life, love of youth, [and] love of beauty.” Dorn and Anderson’s dialogue further attest to the wastefulness of war and Grey’s own ambivalence over conceptions of patriotism and heroism. Literary historian Christine Bold characterizes Lenore Anderson as the personification of humanity’s spiritual core—a “Western version of Ceres,” and like waving heads of grain frequently described she symbolizes renewal amidst an odyssey of life, loss, and land.

A Mystic Sheaf and the Origins of Farming

Harvest season back home in the Palouse Hills often brings to mind bygone high school days. Trips from our Palouse Colony Farm to nearby Endicott lead past the school where I attended all twelve years, and where I served as principal in the 1990s. One of the great privileges of my education career was to return as a colleague with Mrs. Louise Braun, who had been my high school English teachers. She was a woman of capacious mind with expectations that students read and appreciate Shakespeare and Robert Frost with the same enthusiasm shown for sporting events. A native of tiny Viola in the Idaho-Washington Palouse borderlands, Mrs. Braun guided our uncharted literary journeys across time and place with the peculiar incentive—highly controversial among faculty and parents, that once a week we could spend class time reading Farm Journal, Field & Stream, or any other periodical of our own choosing. “Reading is the main thing,” she would say in the context of expanding young minds. 

To my mind, our most formidable high school read was the epic poem Beowulf through which we battled for many days to make sense of alliterative Old English expressions that related ancient Scandinavian lore. This was a time before Tolkien’s Lord of the Rings had ushered in a resurgence of interest in classical fantasy literature. Mrs. Braun’s reminder that many of us had descended from these tribal peoples provided modest encouragement to continue our study of this oldest English long poem. The poem’s opening lines in Lesslie Hall’s modern translation, however, invoked intriguing agrarian reference:

Lo! the Spear-Danes’ glory through splendid achievements
The folk-kings’ former fame we have heard of,
How princes displayed then their prowess-in-battle.
Oft Scyld the Scefing from scathers in numbers
From many a people their mead-benches tore.

Queries about Old English “Scyld the Scefing,” which may be translated “Shield Sheafson” or “Scyld of the Sheaf,” provided an remarkable glimpse into mystical realms also described by Tolkien in his legendarium of Middle-earth. The namesakes of the eponymous Scyldings’ (Sköldings) Danish royal house founder in Beowulf are associated with the crucial roles as historical protector of the people (Shield) and as agri-cultural hero (Sheaf). In the mythic past he arrived as a foundling from the west who washed up in a boat on the shore of Jutland’s Old Anglia. The golden child’s head rested on a pillow of grain stalks, and he would grow into a strong and wise ruler who was the ancestor of Beowulf. Like a medieval Triptolemus, Scyld also taught his adopted people the first principles of farming and husbandry. Tolkien further explored aspects this legendary figure who is also mentioned in lesser known works of Old English literature like William Malmesbury’s Gesta Regum Anglorum (“Deeds of the English Kings,” 1125) and the eighth century Historia Langobardorum (“History of the Lombards”). Tolkien’s imaginative rendition drawn from these several accounts is beautifully expressed in the poem “King Sheave,” published posthumously with “The Notion Club Papers” in Sauron Defeated (1992): 

In golden vessel gleaming water
Stood beside him; strung with silver
A harp of gold neath his hand rested;
His sleeping head was soft pillowed
On a sheaf of corn shimmering palely
As the fallow gold doth from far countries
West of Angol. Wonder filled them. 

Tolkien’s telling, the boy ascended a hill and sang a song of “sweet, unearthly, words in music woven strangely.” His hearers marveled at sounds miraculously dispelling the darkness and terror that had long gripped the region. From “King Sheave” descended many sons and their nations—Danes and Goths, Swedes and Northmen, Franks and Frisians, Swordmen and Saxons, Swabians and English. In the magnificent Scandinavian epic of Beowulf, Tolkien found a magisterial Anglo-Saxon antecedent of mythic grain king and culture hero skillfully interwoven with dynastic history to form an English national identity.
 

Comparing Old and New Grain Varieties

This post will highlight some of the points I have presented at recent gatherings like the Spokane Farm & Food Expo and the WSU Grain Gathering at The Bread Lab in Mt. Vernon.

Richard and WSU/Mt. Vernon Agronomist Steve Lyon leading heritage grains field trip tour; Mt. Vernon, Washington (August 2017)

This past June my wife, Lois, and I led a tour of the Baltic countries which provided an opportunity to see first-hand American and European farming systems and to meet agronomists from abroad. Of course agriculture in any single nation is an exceedingly diverse enterprise, so meaningful comparisons invariably require considerable explanation and generalization. At the same time, trends in nutrition and crop production are evident in important studies conducted in places like the Swedish University of Agricultural Sciences in Alarp. 

Savijäri Organic Grain and Livestock Farm
Porvoo, Finland (2017)

Cereal researchers there conducted chemical analysis using plasma spectrometry on several hundred spring and winter wheats. In order to determine nutritional variations among the genotypes, these were divided into groups including primitive “pre-wheats” like emmer, landrace “heritage” grains like we raise at Palouse Colony Farm, old cultivars (1900-1960s releases/hybrids), and new cultivars (varieties released since 1970). The grains were grown at several locations in Sweden and under organic conditions in order to provide comparative results without influence of synthetic soil amendments, herbicides, or other chemical inputs. Results of the study were published in “Mineral Composition of Organically Grown Wheat Genotypes” in the International Journal of Environmental Research and Public Health (September 2010) and indicate substantial variation among the various groups. 

Primitive and landrace grains were found to have the highest concentrations of the most minerals with selections highest in manganese, phosphorus, and selenium. Landrace wheats showed the highest concentration of calcium and high levels of boron and iron. Spelts were highest in sulfur and high in copper. The Alnarp researchers suggest that the negative correlation between recent cultivars and mineral density indicated in their study and similar investigations elsewhere is likely due to a dilution effect given the increased yield of most modern varieties. In other words, available minerals are dispersed more widely so require higher amounts of food to receive similar amounts. Another factor may be the deeper root systems of pre-wheats and landrace grains which enable the plant to tap minerals available at greater depth. 

These studies indicate that mineral levels in whole grain kernels depend on absorption in the soil by the plant’s roots and subsequent redistribution to the kernels through vegetative tissues that are also influenced by photosynthesis. Higher chlorophyll content, for example, is positively correlated to iron concentration, as is availability of nitrogen which facilitates photosynthesis. The Alnarp study also indicates that grain type is more influential than location for mineral content in primitive grains. Finally, growing environments significantly contribute to variations for others, and high organic matter and increased soil pH also favor mineral concentration. 

Research by cereal chemists and soil scientists are contributing to new understandings of the complex biological systems that contribute to healthy crops and people. We at Palouse Heritage look forward to sharing news with you about this vital work and doing our part to promote health, heritage, and rural renewal.  

The Bread Lab, WSU/Mt. Vernon

Bill Gates visiting the Bread Lab

Heritage Grain Friends (l to r): German Miller Wolfgang Mock, San Francisco Episcopal Agrarian Chaplain Elizabeth DeRuff, Richard, WSU Agronomist Steve Lyon, New York Artist Katherine Nelson, OSU Cereal Chemist Andrew Ross

Palouse Heritage Featured at Spokane’s Farm & Food Expo

Spokane’s second Farm & Food Expo was held November 3-4, 2017, at Spokane Community College where we had gathered last year for what we hope will become an annual affair. Exhibitor booths filled the main hall and sponsors shared a wealth of information on topics ranging from bee culture and wool production to irrigation systems. Having done my stint in the Air Force back in the 1970s and with son Karl a major in the Air National Guard, I couldn’t help but notice the “Vets on the Farm” booth and learned about the Spokane organization’s good work transitioning returning members of the armed forces back into civilian life through opportunities in farming and ranching. And since a discount was available to vets for their bright red flag-embossed hats, I just had to pick one up.

Brother Don Scheuerman and I had been invited to participate on Saturday by book-ending the day’s activities with a morning session devoted to “Growing Heritage and Landrace Grains,” and closing out the program with a final session titled “Soil Biome and Gut Biome: The Restorative Powers of Heritage Grains.” Because it was snowing to beat the band by 4:00 p.m. and getting dark, I wasn’t expecting much of a crowd so was pleased to find standing-room only. Our morning session covered basic information on terminology, agronomy, and marketing of specialty grains. We pointed out that “heritage” and “heirloom” have become a kind of catch-all word for “old,” but that the USDA uses the term to mean any variety that was raised before the 1950s. Since grain hybridization was introduced in the late 1800s, that means many hybridized varieties would be considered heritage by that definition. (In the book Harvest Heritage: Agricultural Origins and Heirloom Crops of the Pacific Northwest [WSU Press, 2013] I coauthored with Alex McGregor, we describe the contributions of legendary plant geneticist William Spillman who essentially founded the science of plant hybridization at WSC/WSU in the 1890s.) 

Landrace varieties, however, are what I sometimes call “Grain as God Intended,” since they are pre-hybridized plants that adapted to particular locales by the thousands throughout most of Eurasia before coming to the New World in the 16th century Age of Discovery. Our work these past several years with Palouse Heritage Mercantile & Grain Mill involves the cultivation, milling, and marketing exclusively of landrace grains like Sonoran Gold, Crimson Turkey, Purple Egyptian, and Yellow Breton.

Legendary Spokane Baker-Chef Shaun Thompson-Duffy and his Culture Bread Treasures

The Farm & Food Expo program included presentations by a host of other folks dedicated to local and sustainable food production including our good Spokane friends Joel Williamson, maltster at Palouse Pint (“Rebirth of the Local Malthouse”); Teddy Benson of Palouse Heritage / Grain Shed Brewing (“Brewing with Heritage Grains”); and Shaun Thompson-Duffy of Culture Breads (Old World Breads: From Millstone to Hearth”). Don and I attended all three of these sessions and were reminded why we have long been so impressed by these fellows. The very names of their topics indicate the stirring sea change that is underway in culinary circles across the country, and Joel, Teddy, and Shaun have joined with other prime movers in the region to establish viable connections with local growers of grains and other crops who are interested in stewardship of the land, rural economic renewal, and human health and heritage. 

In our closing session on restorative biomes to improve health and soil, we shared information gleaned from studies in the United States and Europe on heritage grain nutrition. Worth noting are summaries comparing primitive “pre-wheats” like emmer and spelt, landrace varieties like we grow at Palouse Heritage, and modern hybrids. This is a big topic, so stay tuned for the next post!

Wheat Field—Ecclesiastes: New Deal Farm Security Administration Harvest Photos and Art

A remarkable team of photographers were associated with the Department of Agriculture’s WPA-era Farm Security Administration (FSA) from 1935 to 1943 including Arthur Rothstein, Marion Post Wolcott, Ben Shahn, Russell Lee, and Marjory Collins. Although they had little background in farming, these individuals immersed themselves in the realities of Depression era farming to create some of the nation’s most iconic images of the time. The group worked under the direction of FSA Historical Section director Roy Stryker to formulate a vernacular realism of images and articles that honored rural traditions. Rothstein (1915-1985) found it useful to overcome the suspicions of country folk by conspicuously carrying his Leica camera for several days when visiting with residents on a new assignment without actually taking any pictures. Eventually his subjects felt accustomed to his presence and would even ask to have their pictures taken in formal settings and for what Rothstein sought as “unobtrusive camera” shots: “the idea of becoming a part of the environment… to such an extent that they’re not even aware that pictures are being taken.” While visiting harvest fields in North Dakota, Montana, and Washington, Rothstein gained special appreciation for the significance of small details and came to understand with his colleagues that their mission was not photojournalism, but “photography as fine art” depicting “man in relationship to the environment.”

Marion Post Wolcott, Harvesting Oats on Flint River Farm, Georgia (1939); Black and white film nitrate negative, 35 mm; Farm Security Administration Collection, Prints and Photographs Division, Library of Congress

Russell Lee (1903-1986) was especially sympathetic to the rural poor and traveled widely in the Pacific Northwest and upper Midwest in the spirit of his unpublished “Hired Man” project. Lee sought to document the essential if substantially neglected public depiction of hired farm hands and transient “tramp” laborers, also derisively called “hobos” and “bums,” who traveled the countryside to find work during the harvest season. The collaborative efforts of FSA photographers contributed to widespread public support for New Deal rural improvement programs as images of austere farm homes, windswept fields, and beleaguered harvest workers were featured at public exhibitions and filled the pages of the nation’s leading newspapers and periodicals. As her FSA colleagues worked extensively in the Midwest and South, Marion Post Wolcott (1910-1990) documented rural experience of the era from New England to the Southern states. Her stirring images also express the administration’s social consciousness and the presence of a woman sometimes provided them access to persons and situations that excluded other outsiders.

Ben Shahn, Harvest Dinner (1938); Black and white nitrate film negatives, 35 mm; Farm Security Administration Collection, Prints and Photographs Division, Library of Congress

Lithuanian-born Ben Shahn (1898-1969) was already an accomplished National Academy of Design artist and printmaker in Manhattan when also hired in 1935 as one of the first FSA photographers. He used his pictures not only to advance the agency’s moral mission to inform the wider population to support rural economic and social reform, but also as models for various forms of agrarian art including many harvest paintings and lithographs including Bountiful Harvest (1944), Beatitudes (1952), and Wheat Field—Ecclesiastes (1967). The latter is a watercolor of several dozen black stalks of wheat highlighted by swaths of bright colors in areas where the stems cross. It was also used for Shahn’s illustration of the third chapter of Ecclesiastes (“To everything there is a season….”) in a collection of photo-lithographs rendered with handwritten and illuminated text by the artist for Ecclesiastes Or, The Preacher (Paris: The Trianon Press, 1967). In the book’s preface, Shahn attributes the origin of his artistic commitment to Old Testament references by family and community elders in his Jewish hometown and a particular verse from Solomon’s ancient book: “Wherefore I perceive that there is nothing better, than that a man should rejoice in his own works; for that is his portion….” (Ecclesiastes 3:22).  

Shahn’s remarkable series of Ohio grain harvest photographs taken in August, 1938, on the Virgil and Cora Thaxton farm near Mechanicsburg consisted of over 200 images with many that feature women preparing and serving meals to famished harvesters. The artist’s notebooks include details on his hosts’ Depression era economic plight known to many tenant farmers who struggled with low crop shares to make ends meet:

Virgil Thaxton rents a 120-acre farm… [which] is the fourth farm he has rented within the last eight years. At each change he hopes to make enough to have a nice home for his family. Within the last eight years hogs have not brought more than ten cents on the foot. Wheat brought sixty cents per bushel this year. Mr. Thaxton is constantly agitated. He is conscious of the rundown condition of his farm. He would like to have it look as neat as Mr. Brand's own farm. In his agitation he is constantly pulling up a weed here, a weed there, but must then break off to tend the stock. Mr. Thaxton votes for Roosevelt…. Mr. Thaxton loves the land. Two years ago he was offered a small political job in the city. Mr. Thaxton: “But when I thought of the young wheat coming up and that pretty green on top of the hill and it is pretty I just wouldn't think of it. And then the children…. I hear wheat is bringing sixty cents now. If it only brought a few cents more I could afford to fix up this place. As it is, what with giving Mr. Brand his half, we can just get by.”

Ben Shahn, Wheat Field—Ecclesiastes (1967); Ecclesiastes Or, The Preacher (Paris, 1967)

Shahn’s vernacular visuals provide an intimate look at domestic farm life as if Shahn and his camera are invisible observers inside the home. The midday meal was one of the most harried times for the apron-clad women who are shown cooking and serving, while men and boys dressed in overalls sit almost reverentially to partake of the abundant provisions and break from harvest labors. Shahn’s interior views show a sparsely decorated but comfortable home with paper calendar and mercury thermometer above a substantial wooden sideboard laden with meat, potatoes, bread, cake, and other fare. Another view shows a large framed picture on the wall of Christ holding a child, as if both are looking down at a boy—the Thaxton’s son, Harold, seated beneath them. Two tables covered with white fabric tablecloths are splendidly set with silverware, patterned china and Depression glass serving bowls, pitchers, plates, salt and pepper shakers, and wine glasses that probably hold a dessert. The workers eat quietly and drink coffee as if grateful for the bounty and mindful of the long hours of hot afternoon labor that await them.