The Wpa Guide To Virginia

During the 1930s in the United States, the Works Progress Administration developed the Federal Writers’ Project to support writers and artists while making a national effort to document the country’s shared history and culture. The American Guide series consists of individual guides to each of the states. Little-known authors—many of whom would later become celebrated literary figures—were commissioned to write these important books. John Steinbeck, Saul Bellow, Zora Neale Hurston, and Ralph Ellison are among the more than 6,000 writers, editors, historians, and researchers who documented this celebration of local histories. Photographs, drawings, driving tours, detailed descriptions of towns, and rich cultural details exhibit each state’s unique flavor. The beautiful landscape as well as the significant role of the coal mining industry are both detailed in the WPA Guide to West Virginia. The essay “Country Folk and Country Ways” gives the reader an idea of how rural life was in the Mountain State in the early 20th century and the descriptions of Charleston, Clarksburg, and other cities are complete with stunning photographs of classic Southern architecture.

During the 1930s in the United States, the Works Progress Administration developed the Federal Writers’ Project to support writers and artists while making a national effort to document the country’s shared history and culture. The American Guide series consists of individual guides to each of the states. Little-known authors—many of whom would later become celebrated literary figures—were commissioned to write these important books. John Steinbeck, Saul Bellow, Zora Neale Hurston, and Ralph Ellison are among the more than 6,000 writers, editors, historians, and researchers who documented this celebration of local histories. Photographs, drawings, driving tours, detailed descriptions of towns, and rich cultural details exhibit each state’s unique flavor. The WPA Guide to Virgina documents the vital role the Old Dominion played in the history of the first 150 years of the United States and before. It is packed with historical information, particularly from the Colonial and Revolutionary years, and supplemented with photos of historic buildings and sites. Also worth note are the artistic photographs of the state’s ordinary people and its natural beauty, including the Shenandoah and Chesapeake Bay regions.

First published in 1939, this nostalgic guide includes chapters on Montana's natural setting, history, economy, and cultural life as of half a century ago, plus separate entries for Billings, Butte, Great Falls, Helena, and Missoula--which at the time boasted four hotels and five-cent bus fares. There then follow, in the WPA Guide tradition, 18 tours that crisscross the state and point out not only natural splendors along the way but also such noteworthy historic sites as Custer Battlefield, the Blackfeet Indian Reservation, Boothill Cemetery in Virginia City, and the site of the "holing-up" shanty of Calamity Jane. Fourteen additional tours--four for roads, ten for trails--guide readers through Glacier National Park.

In 1935 the FDR administration put 40,000 unemployed artists to work in four federal arts projects. The main contribution of one unit, the Federal Writers Project, was the American Guide Series, a collectively composed set of guidebooks to every state, most regions, and many cities, towns, and villages across the United States. The WPA arts projects were poised on the cusp of the modern bureaucratization of culture. They occurred at a moment when the federal government was extending its reach into citizens' daily lives. The 400 guidebooks the teams produced have been widely celebrated as icons of American democracy and diversity. Clumped together, they manifest a lofty role for the project and a heavy responsibility for its teams of writers. The guides assumed the authority of conceptualizing the national identity. In The WPA Guides: Mapping America Christine Bold closely examines this publicized view of the guides and reveals its flaws. Her research in archival materials reveals the negotiations and conflicts between the central editors in Washington and the local people in the states. Race, region, and gender are taken as important categories within which difference and conflict appear. She looks at the guidebook for each of five distinctively different locations -- Idaho, New York City, North Carolina, Missouri, and U.S. One and the Oregon Trail--to assess the editorial plotting of such issues as gender, race, ethnicity, and class. As regionalists jostled with federal officialdom, the faultlines of the project gaped open. Spotlighting the controversies between federal and state bureaucracies, Bold concludes that the image of America that the WPA fostered is closer to fabrication than to actuality. Christine Bold is director of the Centre for Cultural Studies and an associate professor of English at the University of Guelph in Guelph, Ontario.

Soul of a People is about a handful of people who were on the Federal Writer's Project in the 1930s and a glimpse of America at a turning point. This particular handful of characters went from poverty to great things later, and included John Cheever, Ralph Ellison, Zora Neale Hurston, Richard Wright, and Studs Terkel. In the 1930s they were all caught up in an effort to describe America in a series of WPA guides. Through striking images and firsthand accounts, the book reveals their experiences and the most vivid excerpts from selected guides and interviews: Harlem schoolchildren, truckers, Chicago fishmongers, Cuban cigar makers, a Florida midwife, Nebraskan meatpackers, and blind musicians. Drawing on new discoveries from personal collections, archives, and recent biographies, a new picture has emerged in the last decade of how the participants' individual dramas intersected with the larger picture of their subjects. This book illuminates what it felt like to live that experience, how going from joblessness to reporting on their own communities affected artists with varied visions, as well as what feelings such a passage involved: shame humiliation, anger, excitement, nostalgia, and adventure. Also revealed is how the WPA writers anticipated, and perhaps paved the way for, the political movements of the following decades, including the Civil Rights movement, the Women's Right movement, and the Native American rights movement.

Slavery is as basic a part of Virginia history as George Washington, who was accompanied at Valley Forge and Yorktown by his slave William Lee, and Thomas Jefferson, who directed his slaves to cut 30 feet off a mountaintop for the site of Monticello. Slavery in the Old Dominion began in 1619, when a Spanish frigate was captured and its cargo of Negroes brought to Jamestown. Virginia Negroes experienced slavery as field laborers, as skilled craftsmen, as house servants. In 1935, the Virginia Writers' Project began collecting data for a history of Negroes in the Old Dominion through the Civil War, Reconstruction, and the Depression. Published in 1940 as "The Negro in Virginia", it was regarded as a "classic of its kind." Modern readers will be surprised at how relevant it remains today. -- From publisher's description.