The Hoosier Bard Poetry Snobs Love to Hate

Disdained by Eastern critics, James Whitcomb Riley at least looked every inch a respectable poet.

high minded, serious folk— the worst high school English teachers, academics whose careers depend on culling ever diminish heard of obscure poets for publish-or-perish theses that no one reads, and critics convinced that only the obscure and arcane are worthy of notice and that popularity is vulgar.  Together these folks have just about beat to death any chance that the general public might consider reading and enjoying poetry.

Today we offer up a poet sure to set fire to these folks hair.

The Hoosier poet James Whitcomb Riley may not have been the greatest American poet.  But for a good many years he was the most popular—and the most beloved.  Many of his verses were written for, and loved, by children and there was a time when most could recite at least one of his poems by heart.

Riley was born on October 7, 1849 in the extremely rustic village of Greenfield, Indiana.  Although his father was a lawyer with political ambitions—the boy was named for a governor of the state—the family was still crowded into a two room log cabin.  

What passed for a super highway, the planked National Road, ran by the cabin’s dooryard.  In those days with inns and taverns scarce, travelers on the road often pulled up at the cabin, the largest in the village, for supper or a place to sleep by the hearth or in the soft hay of the barn.  From the time he was a small boy, James listened to and absorbed the accents and the stories of the visitors and entertained his family and friends with imitations.

Riley grew up in this comfortable frame home in Greenfield, Indiana which replaced the rustic log cabin of his birth.  It is now preserved and open to the public.

As the village and fortunes of the family grew, they replaced the cabin with a handsome two story white frame house.

James was an indifferent, make that horrible, student in the local one room academy.  His mind was always wandering to the meadows, woods, and creeks and the play of his friends.  He learned well enough to read and write, but seemed totally indifferent to anything else. One teacher told his exasperated father, “He doesn’t know which is more—twice ten or twice eternity.”  He dropped out of school to work odd jobs in town and on nearby farms.

His father convinced him to try reading law with him.  But that was a failure, too.

Despite his love of his town and his friends among the lively local youths, Riley had itchy feet and a hankering to see a bit more of the world.  He took up the tramp profession of traveling sign painter, roaming the Midwest.  Later, he became a barker in a traveling medicine show where he honed stage skills that would later help make him famous and where he cultivated a lifelong taste for the product, heavily laced with alcohol.

Riley didn’t write his first known poem until the age of 21 in 1870.  He sent it to a newspaper, which published it.  It became a habit.  The poems, usually in dialect, reflected his memories of the rural childhood.  Newspapers began, in the custom of the time, to reprint the poems “on exchange.”  He even started to get paid a dollar or two for a submission.

Despite this modest success, Riley suspected that as a rural bumpkin he would never be taken seriously as a poet by the Eastern literary establishment.  To prove his point, he perpetuated a hoax.  He submitted Leonanie an “undiscovered poem” by Edgar Allan Poe which was universally proclaimed as a masterpiece.  The Eastern critics failed to note that Poe himself was a famous hoaxer, having published at least six in his life, the most famous about a supposed 1844 crossing of the Atlantic by balloon.  When Riley revealed himself there were a lot of embarrassed—and angry—critics.  It is seems likely that tribe holds the grudge to this day. 

He established himself enough as a writer to get a full time job on the Indianapolis Journal where he did reporting and regularly contributed verse, still a popular part of any American newspaper. 

In 1883 he self-published an edition of 1000 copies of a collection, The Old Swimmin’ Hole and ‘Leven More Poems under the pen name of Benjamin F. Johnson, of Boone.  Most poets trying this gambit ended up with crates full of unsold books and ruinous debts to the printer.  Riley’s book sold out its first printing in only a few months.

Riley was saluted with that singular 19th Century honor, a cigar brand and box.

That got the attention of local Indianapolis publisher Merrill, Meigs and Company which published a beautifully bound second edition under his real name.  It sold like hot cakes.  Riley would be associated with the company, which eventually became Bobbs-Merrill, for the rest of his life.  In fact that well known publishing house was largely built on the success of its Riley books.  The first of the original ones was The Boss Girl.

Riley was able to give up his day job, cater to his wanderlust, and promote his books when he took to the lecture platform.  With his charming wit, and theatrical style of reading he became one of the most sought after public speakers in the country, a genuine star of the Lyceum Circuit.  And everywhere he spoke, he sold even more books.  

One of the few critics who appreciated him, fellow Midwesterner Hamlin Garland, noted that of American writers only Mark Twain  “who had the same amazing flow of quaint conceits.  He spoke ‘copy’ all the time.”  In an interview in 1892 in Greenfield, Riley told him, “My work did itself.  I’m only the willer bark through which the whistle comes.”

Twain, by the way, was not fond of Riley.  In their only appearance together on the same program, he felt that he was upstaged by someone plowing similar ground.  There after he avoided those literary dinners where Riley might make an appearance and occasionally derided his adversary. 

Riley’s lectures and book sales made him the best paid writer America for a while, surely another bitter pill for struggling “serious” scribes.  It was said copies of his books were found in homes that contained no other save the Bible.

Riley never married.  He said a failed teenage romance back in Greenfield had made him decide not to commit his heart.  But serious alcoholism, that all too common malady of writers, was more likely the cause.  At least one lecture tour was aborted do to drunkenness.  Several attempts of stop drinking all ultimately failed.

In 1893 Riley began boarding at the home of his friends, Charles and Magdalena Holstein in the Indianapolis neighborhood of Lockerbie.  It was his home for the rest of his life and his friends took care of him through bouts of drinking and later severe health problems.

Although ravaged by alcoholism and in declining heath, Riley enjoyed regaling the neighborhood children with his yarns and verse.

By 1895 he had largely stopped touring and his attempts to publish more “serious” poems were savaged even by critics who had warmed to his rustic style.  At home in Lockerbie he appointed himself an uncle to neighborhood children who flocked to hear his stories and tales. 

That inspired his last, and ultimately most successful, original book, Rhymes of Childhood with illustrations by Howard Chandler Christy.  It was so popular through so many editions—it remains in print today—that Riley was proclaimed the Children’s Poet, much as Henry Wadsworth Longfellow had been years before.  Twain was so moved by this collection—and probably the memory of his dead children—that he finally had good things to say about Riley.

In 1902 Boobs-Merrill began issuing elegantly appointed volumes of his complete works, an honor few poets lived to see.  Riley spent his last years editing the texts.  Eventually 16 volumes were issued.

Riley purchased the family homestead in Greenfield and his brother John lived in the house.  Riley would make occasional visits. 

Riley’s health had been in steady decline since 1901.  He suffered a debilitating stroke in 1910 which confined him to a wheel chair.  The loss of the use of his writing hand bothered him and he later relied on dictation to George Ade for his last poems and biographical sketches.  By 1912 he had recovered enough to begin recording readings for Edison cylinders.  The same year the Governor of Indiana declared his birthday James Whitcomb Riley Day, a state holiday observed until 1968.

He made his last visit to Greenfield in 1916 for the funeral of a boyhood friend.  A week later back in Lockerbie, he suffered a second stroke and died on July 22nd.

Riley was widely mourned.  His books continued to be popular through the next two decades, finally falling out of favor.

The James Whitcomb Riley Museum Home in Indianapolis, a National Historic Site.

 His boyhood home in Greenfield is now a preserved historical site and his home in Lockerbie is the James Whitcomb Riley Museum Home and a designated National Historic Site.

Our Hired Girl

Our hired girl, she’s ‘Lizabuth Ann; 
An’ she can cook best things to eat! 
She ist puts dough in our pie-pan, 
An’ pours in somepin’ ‘at's good an’ sweet; 
An’ nen she salts it all on top 
With cinnamon; an’ nen she’ll stop 
An’ stoop an' slide it, ist as slow, 
In th’ old cook-stove, so's 'twon't slop 
An’ git all spilled; nen bakes it, so 
It's custard-pie, first thing you know!

An’ nen she’ll say, 
“Clear out o’ my way! They’s time fer work, an’ time fer play! 
Take yer dough, an’ run, child, run! 
Er I cain’t git no cookin’ done!”

When our hired girl ‘tends like she’s mad, 
An’ says folks got to walk the chalk 
When she's around, er wisht they had! 
I play out on our porch an' talk 
To Th’ Raggedy Man ‘at mows our lawn; 
An’ he says, “Whew!” an’ nen leans on 
His old crook-scythe, and blinks his eyes, 
An’ sniffs all ‘round an’ says, “I swawn! 
Ef my old nose don’t tell me lies, 
It ‘pears like I smell custard-pies!”

An’ nen he’ll say, 
“Clear out o’ my way! 
They’s time fer work, an’ time fer play! 
Take yer dough, an’ run, child, run! 
Er she cain’t git no cookin’ done!

Wunst our hired girl, when she 
Got the supper, an we all et, 
An’ it wuz night, an’ Ma an’ me 
An’ Pa went wher’ the “Social’ met,--
An’  nen when we come home, an’ see 
A light in the kitchen door, an’ we 
Heerd a maccordeun, Pa says, “Lan’-- 
O’-Gracious! who can her beau be?’ 
An’ I marched in, an’ ‘Lizabuth Ann 
Wuz parchin’ corn fer The Raggedy Man!

Better say, 
“Clear out o’ the way! 
They’s time fer work, an’ time fer play!

Take the hint, an’ run, child, run! 
Er we cain’t git no courtin’ done!”

—James Whitcomb Riley

Huckleberry Finn—Pissing off Blue Noses, Censors, and Word Police Then and Now

On February 18, 1885 American readers got their first exposure to The Adventures of Huckleberry Finn by Mark Twain.  Some were delighted.  Some were perplexed. Some were outraged.  The outrage was particularly intense in the tonier precincts of Boston and its satellite Concord where those who thought they held the exclusive contract on American literature were deeply shocked.

The Public Library Committee in Concord, the epicenter of Transcendentalism and the New England Literary Renaissance viewed itself as the rightful guardian of both public morals and proper respect.  The committee voted unanimously not to add Huckleberry Finn to its collection.  The Boston Evening Transcript reported that committee members felt the book  “…coarse, and inelegant, dealing with a series of experiences not elevating, the whole book being more suited to the slums than to intelligent, respectable people.”  

Louisa May Alcott bitterly denounced Huck Finn.

One of Concord’s most famous daughters, Louisa May Alcott who was the most successful and admired writer of juvenile fiction in the country, entirely agreed.  She publicly scolded Twain and wrote that if he could not “…think of something better to tell our pure-minded lads and lasses he had best stop writing for them.”

Twain, of course, was amused by the whoopty-do.  We wrote his editor with delight, “Apparently, the Concord library has condemned Huck as ‘trash and only suitable for the slums.’ This will sell us another five thousand copies for sure!”

What those genteel readers were objecting to was the novel’s breakthrough use of vernacular speech and the use of an illiterate adolescent as a narrator.  Others had used dialect before, but never pitched a whole novel in it.  Worse from their standpoint, Twain did not use either an omnipotent narrator to deliver moral judgment on the action, or put high minded sentiments in the mouths of his characters.  Hardly a soul objected to the use of the word Nigger—which I myself will use unvarnished through the balance of these musings—that term was in currency by all classes, North and South and its use was considered quite unremarkable.  They were more offended by general “coarseness” as in the phrase, “not only itched but scratched” which was cited as obscene by the Brooklyn (New York) Library twenty years later.

Southern critics, however, recognized a deeper threat.  The runaway slave Jim was not only portrayed sympathetically in the book, in many ways he was the true protagonist.  They were aghast that eventually Huck, despite all of his internalized cultural training, sees Jim as an equal.  They wailed that a White boy, however degraded, was left alone on the raft with a Black hinting sometimes at the dreadful consequences of fraternization.  The portrayal of the lynch mob as a cowardly rabble easily turned aside by one determined, moral man, and the general lampooning of the cherished images of ante-bellum plantation gentry were all a slap in the face.

Huck and Jim--dangerous fraternization.

All as Twain intended.  This book was to be much more than a comic sequel to his most popular novel to date, The Adventures of Tom Sawyer.  But it had its origins as just that.  Samuel Clemens (AKA Twain) contracted for just such a book and began work on it in 1876.  He envisioned a book to be called the Autobiography of Huckleberry Finn which could take the young character into adulthood in a series of comic misadventures.  But Twain rapidly grew tired of the concept.  And his maturing views informed by the Reconstruction period including a growing revulsion at racism led him to deeper territory.  He laid his first attempt aside for a while.  

After Twain picked it up again, he struggled to find a voice for Huck Finn.  It took three handwritten drafts to come up with Huck’s clear voice.  He then wasted no time in establishing it in the very first sentence of the new book, “You don’t know about me, without you have read a book by the name of ‘The Adventures of Tom Sawyer…’

By the literary conventions of the day, Twain knew that Huck Finn would be viewed as a “child of nature,” a true innocent.  And Huck is innocent—but not uncontaminated by the racial attitudes that he has absorbed through his whole life, a lesson stronger than any attempts by Aunt Polly to stamp a Christian veneer on him.  Only Huck’s own personal experience on his odyssey down river finally liberates him from the original sin of racism, but not to the extent that he doesn’t feel guilty for having betrayed his understanding of morality.  Of course Mark Twain would beat me to death with Huck’s raft pole for engaging in such analysis.  He would rather the reader absorb it unaware of the tricks employed to make the point.

Mark Twain in 1994

Twain finished his final draft and had a copy transcribed by typewriter for his London publisher, Chatto & Windus.  They issued the book in Britain and Canada in December, 1884.  The American Edition, was released the following February with illustrations by E. W. Kemble.

 

By the early 20th Century the local color movement had made the dialect and voice more acceptable in literary circles.  By the time Clemens died in 1910 he was the most revered writer in the country and Huckleberry Finn was widely regarded as his masterpiece.  Ernest Hemmingway would later famously proclaim that, “All modern American literature comes from a book named Huckleberry Finn.”  By the 1950’s it was a staple, outside of the Deep South, of American high school curricula.

The backlash against the book began building in the 1960’s when some Black leaders denounced it as racist both for its frequent use of the word Nigger and because they believed that Jim was characterized as a “minstrel show” stereotype.  Calls for its removal from both school curricula and library shelves became both routine and too often successful.  The American Library Association routinely reports that Huckleberry Finn is in the top five “banned books” in the nation.

In 2011 Twain scholar Alan Gribben edited a new edition of the classic book published by NewSouth Books.  This expurgated version substituted the word “Slave” for each of the 219 instances of Nigger in the original.  It also transformed in an accompanying edition of The Adventures of Tom Sawyer  Injun Joe to Indian Joe and half-breed to the hardly less offensive half-blood.  Facing a storm of outrage and criticism, Gribben defended the book by saying that he hoped they would stem the “pre-emptive censorship” which was removing them from library and classroom shelves.

It does cheer me to note that lately many Black scholars and activists have rallied to the defense of Huckleberry Finn even if they are not willing to absolve Twain of the racism that taints Euro-Americans by deep cultural inoculation.  They recognize a writer at least struggling with it.  Most current challenges to the book now come from White liberals presuming to speak for African Americans or trying to keep their perfectly innocent children from ever encountering the dreaded N-word.  

Count me as one with unbridled scorn for this crap.  To me, the best way to come to grips with racism is to face it fearlessly, not to cower in the corner wringing our hands and babbling about the N-word.   Mark Twain wrote one of the greatest works of anti-racism ever to come from the pen of White man.  And I will take it like I take my bourbon—straight.