DECLARATION OF DEPENDENCE...

 by the Children of American Mines and Factories and Workshops Assembled.

WHEREAS, We the Children of America, are declared to have been born free and equal, and

WHEREAS, We are yet in bondage in this land of the free; are forced to toil the long day or the long night, with no control over the conditions of labor, as to health or safety or hours or wages, and with no right to the rewards of our services, there for be it,

RESOLVED, I--That childhood is endowed with certain inherent and inalienable rights, among which are freedom from toil for daily bread; the right to play and dream; the right to the normal sleep of the night season; the right to an education, that we may have equality of opportunity for developing all that there is in us of mind and heart.

RESOLVED, II--That we declare ourselves to be helpless and depdendentl that we are and of right ought to be dependent, and that we hereby present the appeal of our helplessness that we may be protected in the enjoyment of our rights of childhood.

RESOLVED, III--That we demand the restoration of our rights by the abolition of child labor in America.

                                                               --Alexander J. McKelway, 1913

Of particular interest in this manifesto is "the right to play and dream." The myth of childhood, or the state that is childhood, brings up peculiar questions of what it means to be human and be civilized. How often does serious political theater contain such language?  The creators of the amendment to protect children were beautiful idealists. Too bad it never got footing. Like ERA decades later, the grandness of the amendment would be watered down by practical interstate agreements. Missed opportunities.

Alexander J. McKelway, a minister from Pennsylvania and coordinator of the southern arm of the National Child Labor Committee, was responsible for the creation of the United States Children's Bureau. He was a brilliant, sensitive speaker, and a passionate progressive.

Alexander J. McKelway, 1866-1918

But not all of this was rosy. Though often considered a radical, his work in the South was only possible because of his insistence on his insistence on the racial supremacy of "native whites." At best, his efforts in regards to "the Negro" were paternalistic perhaps even compassionate, but all backed with a hierarchical sense of "burden." At its worst, his rhetoric argued that the white race was at risk of obliteration by the industrial exploitation of its children, their lack of education, nutrition and general well being. The white race be relied on as "the masterful race" if it couldn't help itself. What would happen to "the poor Negro" if their benefactors weren't allowed to thrive? McKelway argued in ways the white southerner might feel obliged to give a nod to. He was thus responsible for many of the civilized changes that occurred throughout the South in regards to child welfare. Only in retrospect we might ask, at what cost? (Trattner, 85)

What's frightening is to think about is how far we've come, yet how much the very fabric of our society still supports itself on subtle racial algebra (not to mention the resurgence of overt classical American bigotry since the beginning of the Obama presidency and Twitter). Two steps forward one, or more, back.

I studied cinematography in my teens and twenties and was quite set on becoming a filmmaker. One of my instructors, filmmaker Tony Buba, taught us about film stock and processing from the ground up. Some of our gear came from George A. Romero's production company, and we were thrilled to set our Bolexes on tripods that had been on the set of Night of The Living Dead. Learning film stocks is very technical. Early on Buba showed us a 16 millimeter color negative film test. Projected on the screen was, first, a Macbeth color chart and gray scale, followed by a thirty second shot of a woman. Buba pointed out an obvious fact: the woman was white. Though over the years the model had changed, the girls who modeled for the camera were referred to as "The Kodak Lady,"or "China Girls." An introduction into how institutional racism works, how deeply a point of view can be ingrained in how a society sees itself.

Kodak Test/Kodak Lady

Kodak, unremarkably, balanced their hues to maximize Caucasian skin tones. Buba is an amazing documentarian and outspoken activist. He's also a good teacher. The image of the Kodak lady was meaningful, not just in terms of tungsten vs daylight. She was a litmus for something heavier: biases buried so deep in our infrastructure to be taken entirely for granted.

There was no alarm in this, just a slow dawning: the world as I knew it atomizing beneath my feet.  If such basic, utilitarian nuts and bolts of a culture began with such bias, there would be little room for saccharine daydreaming. Such a heavy thing to think about when watching Star Wars. A good argument for social realism and the documentary. It's always the things we take for granted that are the most dangerous.

The fiction I write operates on the premise of "the lie that tells the truth." Perhaps the tension between the day dream, the escape, and not shying away from the ugliness of what's in front of us is an ongoing theme. A balance of gravity and levity. As drama critic, John Lahr (son of the Cowardly Lion, Bert Lahr), famously said, "Frivolity is the species refusal to suffer."

Trattner, Walter I. Crusade for The Children, A History of the National Child Labor Committee and Child Labor Reform in America. Chicago: Quadrangle Books, 1970.

Lewis Hine (1874–1940)

Lewis Hine

Taken nearly a hundred years ago, Lewis Hine's photographs linger. Images of breaker boys and loom workers remind us how far we've come and how far we have to go to protect children from exploitation. Hine believed in photography as a tool for social change. His birthday would have been this Thursday, September 26th.

Lewis Hine began working for the National Child Labor Committee (NCLC) in 1908 and remained with the organization for a decade. Without the committee's work, and Hine's contribution, there would be few laws protecting children from exploitation in the workplace. Further, Hine's images continue to shape our notions of human dignity and value. Moreover, the work asserts a more subtle argument that many still resist: that childhood, a state distinct from adulthood with its own peculiar virtues and needs, should be nurtured as an inalienable right for all.

Before working for the NCLC, Hine contributed to the (then new) field of the social sciences. Statistics and photography both taught us how to look at ourselves differently. Hine documented economic disparities and working class life for the groundbreaking Pittsburgh Survey, a benchmark case study that continues to serve as a reference in the field. Curiously, over the next hundred years, photographers and filmmakers would follow Hine's example and the Steel City would become a touch stone, an exemplar, a litmus bearing out America's ability to succeed and fail.

W. Eugene Smith and Teenie Harris both photographed Pittsburgh, though to different ends. Smith, an outsider, was obsessed with orchestrating an epic narrative with Pittsburgh as a subject: a singular masterpiece barely realized and ultimately forsworn; while Harris worked as a photojournalist and studio photographer and kept his feet on the ground. Pittsburgh was home to Harris, not an ideal. From his base on Wylie Avenue, Harris traveled far and wide documenting social change.

Filmmakers Stan Brackhage and Hollis Frampton gravitated towards impressionistic experimental investigations of blast-furnaces and morgues, while John Marshall's revolutionary vérité projects revealed the mechanization of law enforcement and cops on the beat. And for the last thirty years, filmmaker Tony Buba has been chronicling the rise and fall of Braddock PA and the survival of its residents, while his neighbor, photographer LaToya Ruby Fraizer, hangs her indelible portraits of friends and family at the Brooklyn Museum.

Documentary photography and filmmaking occupy odd spaces between art and utility. Execution and intent in these genres doesn't succumb to easy definition. And there is more at stake than academic punditry.

Lewis Hine was not so much a photo-journalist as an agitator and artist. His work was calculated to ignite a specific emotional response. Hine himself expressed an acute understanding of image making:

The average person believes implicitly that the photograph cannot falsify. Of course, you and I know that this unbounded faith in the integrity of the photograph is often rudely shaken, for, while photographs may not lie, liars may photograph. — Lewis Hine

The dirt on their faces, their ill-fitting clothes and grim surroundings contrast with ennobled features and pride. Light falls perfectly. The stillness creates a freeze, indelible and timeless. Hine was hardly the spontaneous photographer. He knew how to hold the spectator and illicet sympathy.

One of Hine's portraits

In my novel, THE LAST SURVEY, photographer and lobbyist, John Schuler, follows in Hine's footsteps. But as the story begins, two decades have passed and the country is in a very different place. Many of the changes Hine envisioned bore fruit: Child labor in the United States is becoming increasingly hard to find. Ironically, the Depression contributes to this statistical drop as low paying jobs are being horded by desperate adults. But flimsy laws insure that the institutions that exploit children will continue to do so as long as it's economically valid, and preservation of the institution of "childhood" is still not the cultural norm.

James E. Sidel: Shrimp Pickers/Texas (click to enlarge)

Schuler records what he sees. He is a pragmatist as much as a quixotic dreamer. The antithesis of Hine's delicate portraits, Schuler's images are raw and fast, unsettled and undignified. Figures smear, expressions and sentiments are lost. The proliferation of images is as important as the content. Less art and more data. One of the tensions in the novel, (albeit, a subtle theme), is the photographer's desire to push his art, to see more or tell more with his photographs. Perhaps this is a problem resulting from pride or narcissism, but the idea of creating a thing of beauty may be Schuler's white whale.

We are more sophisticated, in some respects, than the average person of 1908. We grasp many of the illusory techniques of the photographer. The lexicon isn't foreign to us. The field is not as specialized. But in our cynicism, we retain a naivete, an ignorance that is just as soundless as the buoyant romanticism of progressives like Hine, who (let's face it) implemented revolutionary change through actualizing their beliefs. The danger as always is cynicism, or the cynistist's belief that their lens has been polished to clarity. Indeed, there is a romance to being a cynic, a posturing and coolness as calculated as the romantic's. Danger lurks in the assumption that hope is for the feeble. 

 

        “The best lack all conviction while the worst/Are filled with passionate intensity.”—Yeats

New York and Pittsburgh, Summer 2013

I venture to New York every summer. My friends John and Stephanie live in a Brooklyn loft big enough to hold prize fights. John is a musician. Check out TUFF SUNSHINE. Stephanie is a choreographer and the director of SLEEP DANCE. Steph's rehearsal space features a sprung floor and a view of Manhattan. John plays guitar on his bed next to a bottle of Dego Red (forgive the terrible rhyme). I love these guys, and, along with their roommates, they're exquisite hosts. Lots of laffs and good food.

This is the first time I've come back east for work. THE LAST SURVEY is coming out in 2014 and we start our campaign this November (cross your fingers). I've enlisted the aid of many talented friends. My old buddy, photographer David Rubin (based in Queens), has already treated my likeness many times. On this visit Dave helped me produce a few promo videos. YouTube is full of these weird little spots promoting books. Dave did a beautiful job (ie. I don't come off as a jackass).
 

  

Also hung with Joe Pan Brooklyn Arts Press (BAP). BAP publishes poetry and artists' monographs. A whirl-wind of ambition, talent, and what seems to be an endless "wick," he also write beautiful stories, novels, and poems. http://joepan.org/ Joe and his wife Wendy host parties that dive into wee hours I had come to believe no longer exist.

I'm in Pittsburgh at the moment taking care of my folks who are now in their winter years. It's tough work. But I set aside some time to delve further into the research material that started me on this project. Not that this work will influence the novel at such a late stage, but its illuminating none the less. My grandfather produced thousands of images now squirreled away in shoe boxes in my parents' attic. We found some beautiful negatives from Puerto Rico 'round 1928.

  My friend Leo, a curator and photographer, is almost as excited by these pictures as I am. We're both interested in doing something with the photographs, maybe producing some kind of an exhibit. But there are challenges finding a coherent story behind the work beyond what seems to be simply a historical record. An academic might show an interest, but beyond that the work is rather mundane. That's not quite the right word, but these are not remarkable images in and of themselves. The Great Depression was a decade in which documentary photography thrived. Of course, I find his collection uncanny and beautiful. Opening the albums as a kid seeded my imagination in a way not easily translated. There are the pictures and then there's the novel. THE LAST SURVEY is fiction. The novel stands alone, but the pictures now seem connected to the book. A conundrum.

  I love coming back to Pittsburgh. I can never get enough of the vibe here, the weather, the people, the architecture, and topography. It's all about trees and hills. I write about Western PA in my other blog, Where The Weather Suits My Clothes, so I won't waste your time here. But it's friggin' gorgeous. At times the air was so lovely, unlike anything anywhere else. Good enough to breathe.