I spend an invisible part of the iceberg in this project looking around for material that I think might work combined with music. One thing invariably happens when you look broadly at something: you find connections that you didn’t expect you’d find.
Here’s something I’ve noticed this fall: around 1875 or so, in a small, little-thought-of area of the U.S., a bunch of people were born who went on to leave a mark on our nation’s culture, even if only one of them retains any fame now in the 21st Century (and even that exception is undervalued in my estimation).
Geographically the area I speak of is the region where the Mississippi and Rock rivers meet in the Midwest, which had transitioned from what had been an important point for the Native-American tribes at the beginning of the 19th century and before, to an area that supported settler towns which grew up around river-based commerce and industry. “Transitioned” of course is a passive word for a slow-motion invasion and conquest by the European Immigrant-Americans, which included the short Black Hawk war of 1832 that left a great many Native-American names, but fewer Native-Americans, in the area. Eventually states were created here bearing those native names: Iowa and Illinois.
Who’s in the cohort from this area and time?
My relative*, Susan Glaspell, born in Davenport Iowa in 1876. Glaspell and her husband (George Cram Cooke, also born in Davenport, 1873) eventually midwifed the birth of Modernist American drama in Provincetown Massachusetts and New York City.
Carl Sandburg was born 1878 in Galesburg Illinois. Sandburg was a big noise in the first half of the 20th Century, and I maintain he is now the forgotten Modernist, and a man who strived to weave several important American threads.
Arthur Davison Ficke (born 1883 in Davenport) a now lesser-known, but fascinating figure that I’ve yet to grapple with. Like Ezra Pound, he was drawn to Japanese art, and like his post WWI hot-crush, Edna St. Vincent Millay, he attempted to utilize older forms such as the sonnet in an increasingly Modernist age. As part of this friction, he and his friends Witter Bynner and Marjorie Allen Seiffert (born 1885 in Moline across the river from Davenport) concocted the Spectrist movement, parodying the -ics and-ists schools that were forming in Modernism. Oddly, the parodist seems to have been captured by his game, and Ficke later reconsidered Modernist poetic tactics.
Muriel Strode born 1875 in rural Bernadotte Township Illinois. I haven’t quite gotten a grip on her yet (though she was sometimes styled as “The Female Walt Whitman”), but she wrote a number of books early in the 20th Century combining a sort-of-Kahlil-Gibran-like popular non-denominational spirituality with Nietzschean self-improvement. She’s the most little-known here by far. So little is known about her that one can’t really use biography to help sort out what she’s getting at.
There was even a younger generation that called Davenport it’s hometown. Floyd Dell (born 1887) the editor of The Masses which in the early 20th century linked Modernism with left-wing politics until the red scare of 1917 closed it down, and Bix Beiderbecke (born 1903), the live-fast-die-young jazz composer and cornetist.
They’d make one hell of a roundtable. From the upper left: Susan Glaspell, Carl Sandburg, Arthur Davison Ficke, Floyd Dell, Muriel Strode, and Bix Beiderbecke.
But since we last time touched on Dorothy Parker, let’s present a piece I slightly modified from a poem by Don Marquis, born 1878 in the tiny settlement of Walnut Illinois, but educated in Galesburg. Don Marquis is usually filed (like Parker) as a humorist, but like Parker he worked in various genres including collaboration with the Krazy Kat cartoonist George Herriman. Unlike some of the others here, it appears that Don Marquis’ most consistent connection to Modernism was to satirize it. Today’s audio piece, which I call “The Young Intellectual**” pricked the romantic presumptions the young Modern of his time might suffer from. I updated part of one verse (the original next to last line was “I’ll start a Pale Brown Magazine”) when I performed it, an update I choose just so we can more easily feel offended or amused by his humor now. The player to hear the LYL Band performing this is below.
*My Great-grandfather lived on the Iowa side of these river-towns and worked in war-industry factories there. My father’s mother and her sister also grew up in the Davenport area. Alas, many of them died before I was old enough to ask questions, and one thing I regret about my youth is that I didn’t query those that were around.
**I’m not sure I qualify as an intellectual, but I’m sure I’m not young—so, Marquis can’t be talking about me now, can he. Like Ficke, Marquis also parodied Modernist verse, rather broadly from the examples I’ve read in his Hermione and Her Little Group of Thinkers from 1916. Marquis’ greatest success was a series of later newspaper columns that became a series of books about “archy and mehitabel” ostensibly created and typed by a cockroach hopping on the typewriter keys in Marquis’ office. Archy, the cockroach/author, is also something of a free-verse poet, and Archy’s poems are a much subtler expression.