>> From the Library of
Congress in Washington, DC.
>> Pam Jackson: I'll
say good afternoon.
How's everybody doing?
I'm Pam Jackson.
I'm director for the Center for
the Book here at the Library
of Congress, and I
thank you for being here
at our Books and Beyond event.
So the Center for the book is where
we intend to make a productive
and lasting difference
in the world of reading
and reading promotion and literacy.
And as a part of the new national
and international outreach unit here
in the Library of Congress,
it's our mission to nurture
and empower the network of
organizations within whom we partner
to strengthen our capacities
and to serve communities
and to provide the broadest, widest,
most voluminous access to the vast,
diverse, and rich collections
of the Library of Congress.
So we promote books and
libraries, literacy and reading,
poetry and literature knowing that
they are the best tools for us
to have informed and engaged
societies and our best weapons
against ignorance and intolerance.
So the Center for the Books
Mission is carried out nationwide
with assistance from
affiliated centers.
We have a state Center for Book
in every state in the country
and also the District of Columbia
and the U.S. Virgin Islands,
and we also have a partnership that
includes 80 organizations that are
like minded, focusing on
reading promotion and literacy.
The Center for the Book
and its staff also plays
a really critical role
in the National Book Festival,
which is coming up this Saturday,
September 24, at the
Washington Convention Center.
I didn't say this Saturday but
coming in September, and we urge you
to attend and participate in that
event, and you can learn more
about the Library of Congress
Book Festival at loc.gov/bookfest.
So I'll ask you, well get
started shortly with our program,
but in order to make sure
that we have no distractions,
please take a moment and check
that your phones are on vibrate
or silent, and we are
recording today's event.
So we do let you know that if you
should ask a question you're part
of our webcast, and our webcasts are
available on our website, read.gov.
We have more than 250 author
discussions of all genres of writing
as a part of our collection.
So we invite you to
browse that as well.
So today's author's book will be for
sale at the entrance to this room,
and following the presentation
he'll be available for book signing
and a discussion of his work.
And we often get asked how do
we choose the books we feature
and the primary focus of our
criteria is deciding which books
to feature based upon the work
of research that is done here
at the Library of Congress.
And in this case, as in many,
the author for today's
talk did indeed do that.
Most of his time was spent in the
prints and photographs division,
which is cosponsoring our event here
today, and with us from the prints
and photographs division is Sara
Duke, who came to the Library
of Congress as a junior
fellow in 1991
and has spent nearly a
25-year career working
in the curatorial section of the
prints and photographs division,
and she specializes in cartoon art,
historical prints, and
historical drawings.
Sara has mounted several
exhibitions at the Library
and has most recently co-curated
and exhibition currently on view
at the graphic arts gallery, which
is across the street in the Library
of Congress Thomas
Jefferson building,
and the exhibition is the World
War I American Artists Respond
to the Great War.
For the past seven years, Sara
has also partners with the Center
for the Book and Mr. Warren Bernard
in organizing the graphic
novel stage
at the National Book Festival
each year, so another connection
with us today for both of them.
We thank you again and invite
Sara Duke to come forward,
who will introduce our speaker.
Thank you.
[ Applause ]
>> Sara Duke: Thank you
Pam, and welcome aboard
to the Center for the Book.
It's nice to have you
part of the Library
of Congress team on the other side.
Today's speaker, Warren Bernard,
came to us at the Library
of Congress eight years
ago as a volunteer,
and he had to beg his way in.
Collector Art Wood kept saying,
you really should let him volunteer
at the Library, and I kept
saying, oh, I don't know.
And then it happened, he
came in, and it was a gift.
Warren brings an expertise
of thorough knowledge
of computer science, the
construction of information
within a computer system, a passion
for history, a love for cartooning,
and a collector's knowledge
of World War I
through World War II in cartoons.
And he has been a gift
to the Library.
He has catalogued more than
1300 editorial cartoons.
Those are the hardest
cartoons to catalogue
because they're often neglected
postage stamp moments in time
that have quickly become forgotten,
and Warren spends many
headbashing hours trying to figure
out what obscure cartoonist from
a small town newspaper was talking
about when he drew something and
didn't write a date on the back.
Warren's passion for wartime comics
led him to a decade-long odyssey
in creating Cartoons for Victory.
But before I bring him up on
stage, I want to talk a little bit
about the other gifts that Warren
brought to us as a volunteer.
His passion for cartooning is
ecumenical and deep, and he has,
as the executive president of
SPX, he has formed a partnership
with the Library of
Congress to bring many comics
into our serials division's comic
book collection and original art
into the prints and
photographs division collection.
And as the executive president
of SPX, he has partnered,
as Pam mentioned, with
the Library of Congress
to bringing special cartoonists
to graphic novel night
and to the graphic novel pavilion
for the past seven years, well,
seven years continuing
with this year.
So we are very fortunate that
I finally listened to Art Wood
and welcomed Warren Bernard into our
midst because his passion is deep
for the Library, and as
you'll see in his talk today,
he has made good use of the
Library of Congress resources
in his research as well as from his
own very broad personal collection.
Warren, thank you.
[ Applause ]
>> Warren Bernard: I'm going to
start, well that's not talking,
I did a whole bunch of research
here as, oh, by the way, first, Pam,
thank you very much, Center for
the Book and John Cole, Sara,
it's an honor and a privilege
to be lecturing here especially
from the Center for the Book
and actually this Library
of Congress in general.
It's a thrill beyond thrills for me.
Anyway, I just wanted to quickly go
through the research that I did here
at the Library of Congress, and I
did it down in the serials division,
particularly the newspaper
section and the prints
and photographs division.
And I just want to go had and show
you some of the resources I used.
One of the things that I found
was I wanted to put a lot
of these cartoons in some
kind of mass media context.
In order to that properly,
I had to go and find
out what were the circulation,
you know, besides census figures,
how many households, how many
people in the United States.
I also wanted to know what
the circulation figures were
for Look Magazine, Life,
Saturday Evening Post,
local newspapers and
things like that.
Heirs and Sons, Directory of
Newspapers and Periodicals, in fact,
here this is 1941, conveniently
on the shelf, through 1944,
was invaluable in terms
of figuring out, you know,
how big were these things, what
kind of reach did they have
into the American psyche
at the time.
Of course, there's a lot of
stuff available on the internet,
but guess what, not all of it
is available on the internet.
As a matter of fact
most of the images
in the book you can
find on the internet.
There are exceptions to the rule.
This is thank God for modern-day
digitization and the ability
to run microfilm through
digital processors,
because this is a really great boon
to anybody doing microfilm
research, and I did a bunch of it.
So this allows you to go
ahead crop things, resize it,
work with the contrast, so you can
actually get your image straight
before you go ahead and
download it on your hard drive.
In addition to that, the old way of
doing it was you only had a piece
of paper, and it wasn't
much you could do
in terms of managing the image.
These things are a Godsend
to anybody doing research.
There's also a ProQuest
Historical Newspapers,
which if you're here
active transport Library
of Congress behind the firewall
you can get to this very easily.
ProQuest is great except what it
does is it only brings back the
exact thing that you want, so you
lose the context of where this was
on the printed page and
what else was around it.
Now there's another site
that I totally forgot to put
into this presentation, and I
hope Georgia allows me to come
down there again, is the chronically
America site, which has got hundreds
and hundreds of newspapers
fully digitized,
and that unlike ProQuest will give
you, like I was doing some research,
it will give you the
whole front page.
It will give you the entire
page and mark on the page
where you were looking,
you know, the search terms
that you were looking for.
Another great thing down there
is this fantastic digital camera.
You lay these large volumes
they have down there.
As a matter of fact, here is the New
York Amsterdam News African American
Newspaper weekly, and you just
lay it down on this device,
and you see those blue-green
strips, you press that strip,
and it will take a 300 dpi
image, and then you can go ahead
and edit the image any way you want.
You can zoom in.
You can zoom out.
It's really an amazing
thing to go ahead and use
if the only thing you've got is
the actual physical printed copy.
I did some comic books on here
that they had here at the Library
of Congress and used some of
those, and those were in the book.
The New York Amsterdam
News, just by sheer luck,
the Library of Congress
I think it's 1942
through 45 is what we have, right?
So the whole, all the war years for
the Amsterdam News was preserved,
and this is where I got a lot of
the information, and also leafing
through these things, it
was an amazing journey,
and I'll get to that in the
latter part of the presentation.
In the prints and photographs
division they have Pepock [phonetic]
catalogue, which here I just put
in World War posters
Will Eisner [phonetic],
and up came a whole bunch of
posters that actually Sara
and Helena Zincom [phonetic], who
was the head of the department
at the time, they allowed me access
to the entire World War II
poster collection the Library
of Congress held, and in
the very first drawer,
the second folder I
opened up, I found this.
It's a little blurry.
Will Eisner is thought
to be one of the fathers,
grandfathers of the
monographic novel and one
of the great comic
greats that did work
between the 1940's and the 1970's.
From 1942 to 1945, he was in
the United States Army, okay,
working in the ordinance division,
and did a series of posters.
Now the collecting world had
only known about six or seven
of the posters, and it wound up,
the Library of Congress has over 40
of them, okay, in their collections,
and they were kind enough
to go ahead and digitize ten of them
for me for inclusion in the book.
This one was not included
in the book.
I used eight of the ten in the book.
Now this also speaks to every
institution has a whole bunch
of stuff that hasn't
been catalogued yet.
This is no fault nor blame.
It's more a function of
dollars and staff ability
than it is anything else.
Okay. It's not desire,
it's basically a budget issue
more than anything else.
So this was great.
We've had other comics, people
come and view this cache
of documents, this cache of posters.
National Archives doesn't
have anything like this.
They've got some but not
these, so it was a real,
it was a treasure hunt,
it was fantastic
to go ahead and run across these.
I can do a whole lecture just on the
World War II cartoon posters here
at the Library of Congress,
but that's a whole other thing.
So this is one of Will Eisner's,
as a matter of fact the book ends
with 13 previously unprinted
anywhere else posters
by this great master
of the comic arts.
So one of the things I wanted to
do first was I wanted to go ahead
and establish a baseline,
to give everybody a feel
as to what the mass media
was during World War II
and how ingrained comics and
cartoons were at that time.
I wanted to start off in
the world of magazines.
Just to give some context, okay,
there were approximately
130-some-odd million people
in the 1940 census.
Out of that, there were
approximately 35 million households.
Life Magazine had a
circulation of 3.8 million,
so every week 4.8 million
issues went into, so that's,
just at the gross level it's
approximately 10 percent rate
of coverage in terms
of the households
in the United States of America.
If you start going ahead
and saying, well, you know,
there was a large number of
illiterate in the United States,
it was one of the big problems they
had in the Army was the illiteracy,
that's one reason why both the
Army and the Navy used comics
and cartoons to help train the men.
Also, many people were in poverty.
So if you start taking those numbers
out, and the market penetration
of these magazines is
really quite amazing.
Saturday Evening Post,
they had near 3.4 million.
I think Look Magazine at the
time was like 1.5 to 2 million.
Liberty Magazine was 2 million.
So every week there was a
large number of these getting
into the homes in the United States,
and all of them ran
single-panel cartoons.
Okay. So spread throughout the
magazine were single-panel cartoons
that were mostly aimed at
adults, aimed at the adults
who were reading those
magazines at the time.
So here we've got these
people in a store.
Now, and remember this is, you
know, rationing is going on, okay,
and at one point all canned goods,
because they needed the metal
for the cans, were taken off the
shelves, and here's a couple going.
Let's get a can of peas and a
can of corn, we only live once.
And anybody who was alive
and subject to rationing
at that time would immediately
understand, you know,
this is clearly not aimed at kids.
Okay. In addition to the
single-panel cartoons,
they also ran advertisements,
many of which, well,
a decent percentage,
which had cartoons.
From left to right is a
[inaudible] for Eveready batteries.
This is Walt Disney for Life Savers.
And on the right, this is
actually one of a series of ads
that Pennzoil ran illustrated
by Rube Goldberg with one
of his Rube Goldberg contraptions
about how you can go ahead
and save gasoline by putting one of
his contraptions on your car, right.
And there must be 10
or 15 in a series.
So these were not one shot,
these were not one shot,
the Eveready battery,
that ran for like two
or three years during the war,
and there must of have been three
or four different cartoonists
that went ahead
and did cartoons for
Eveready batteries.
Now one of the things
that was interesting
about the time was the Sunday
comics and the impact of newspapers.
At that time, we have to remember,
one there was no internet,
there was no television, and
people got most of their news
by reading the newspaper, because at
that time news broadcasts
were maybe 15 minutes a piece,
okay, running once a day.
Yes, you got, you know, Edward R.
Murrow [phonetic], This is London,
so you got, you know, direct feeds
coming over from Europe particularly
between '39 and '41
when we weren't in it
but war was going on over there.
So most of the daily
news that you got was
through this medium,
and this medium alone.
Average circulation,
daily circulation in 1942
of the American newspapers was
approximately 45 million, okay,
the same number that there
was in 2012, just to show you.
And the population [inaudible] was
somewhere north of 330 million.
Okay, so that, you know, if
you think about population
of 135 million, 45 million
newspapers, 335 million,
45 million newspapers, we can
see what has gone on in terms
of people reading the newspapers and
then being a primary source of news.
One of the things about the comics
back then also was that you got
in some cases 20 or
24 pages of comics,
and some of them were these
big broadsheets that were two
and a half feet by 20 inches,
that if you were a little child,
if you were a kid, let's
seven or eight years old,
you could sit in the middle of the
page and read everything there.
You would actually
kneel on the page.
I remember this when I was a kid,
of course they weren't
that big back then.
And this actually is from the
Washington Post from August of 1941,
and you can't see up there, but
it says second comic section,
so they had two sections
of the paper,
and later they went full broadsheet,
and they still had two sections
of the paper for many years.
In addition to the Sunday comics,
you also had the political cartoons,
and here is one from
September 2, 1939.
It like the war occurred
the day before,
and this is a whole other
lecture, one that I will give,
keep your eye on the road, uncle.
Okay. And it's basically neutrality.
And it's John Q. Public telling
Uncle Sam don't get involved
over there in Europe.
And there's a whole bunch of really
amazing material that was done
between '39 and December 7, 1941,
that shows how slowly but surely all
of the various mediums in terms
of comics geared themselves
up towards the war.
There were also single panel
cartoons in the newspaper,
so as you read through the papers,
you don't see these anymore.
You know, today the comic strips,
they're all put into, you know,
one or two pages on, you
know, within the newspapers.
Back then they would spread,
many of the papers would
spread their daily comics all
through the paper.
They would also spread
single panel cartoons.
This is one of the most
successful of the day.
They'll Do It Every Time by
Jimmy Hatlo, which actually,
a little more historical
research needs to be done,
but this was maybe the first,
and if not it was a crowd
sources comic strip, okay,
that people would sent in ideas, and
Jimmy Hatlo would take those ideas
and make a cartoon out of them.
You see in the lower
right-hand corner it says,
Now Wally's night's work is
complete thanks to V.T. Hillman,
Vancouver British Columbia.
And it's really amazing
looking at Hatlo's work from all
over the United States he
would get ideas sent in to him.
So this is one all about blackouts
and being a blackout warden.
Here's this gentleman, Wally.
Hey this is Wally, the air raid
warden, come on, douse that light,
what kind of a blackout
out would this be
if nobody pulled down their shades?
And then next he returns home,
and his wife puts the
lights on in the garage.
Oh Wally dear, I left
the garage lights
on so you would have no
trouble parking the car.
All right.
And blackout, as a matter of fact,
blackout, I'll just talk about those
for a couple of seconds, blackouts
extended from the West Coast
to the East Coast and cities
in between even late in the war
when there was not possible way
any German or Japanese plane
or bomb could hit Des Moines,
Iowa, they had blackouts, okay,
all across the United States.
Once again, that's
a whole other hour.
Here's a comic strip.
This is the famous
Bringing Up Father.
Okay. In the first panel it says,
what is that a parade
going up at the corner?
What's it all about
and who is that guy?
That's Munchie, the butcher.
He's on his way to
open the butcher shop.
Nice day. Good morning.
How are you feeling?
You know back then
you couldn't get meat.
Meat was rationed.
All right.
So the typical adult reading these
things would immediately be able
to identify that, oh,
yeah, you know,
I went to the butcher
yesterday, and there was no steak.
You know, maybe I could get a couple
pieces of chicken if I was lucky
at that, and whatever meat
was around wasn't necessarily
of the best quality,
except if you went ahead
and went to the black market.
Okay. Then, as both
my grandfathers did
as I found out, you
could get a steak.
Okay. So, in the 1940's, okay,
a couple years before, 1938,
Superman number one came out.
About five years before that,
the first comic book came out.
By the time World War II hit,
in the middle of World War II,
it is estimated that every month 25
million comic books were being sold
to children across
the United States,
and they were also being
shipped off to members
of the armed forces overseas.
So here are some examples.
The Boy Commandos is
all about war bonds.
Okay. So the Boy Commandos are
giving Hitler the bum rush,
okay, to buy war bonds.
Here's Porkie and Bugs with a
hundred dollar savings bond,
war bond on the front, and by
the way, the month that this hit,
which was July 1944 I believe,
every single comic book
and pretty much every magazine
had a war bond on the cover.
In 1942 and July of '42, pretty
much every magazine and a lot
of the comic books also had
the American flag on the cover,
and about 10 or 12 years ago the
National Archives actually did a
display of all of the different
magazines that had the American flag
on the cover of the magazine.
And then over on the right,
for the more patriotic people,
here is Captain Marvel
saluting Douglas McArthur.
Okay, which notice down on
the bottom here Spy Smasher,
he was one of the early
superheroes that was a direct result
of the conflict in Europe, because
here was, this was early 1940,
Spy Smasher came along,
and what was he supposed
to be doing was getting
rid of fifth colonists
and saboteurs in the United States.
Okay. Where were those fifth
colonists and saboteurs coming from?
Well, duh, they were coming
from the belligerence.
So now the United States government
itself also commissioned works
by cartoonists.
This is from the Treasury Division,
the defense savings bonds part,
and it says here, I'll
read this up at top.
It says, to the editors, these
comic cartoons have been prepared
especially for the defense
savings program by some
of America's leading artists.
They are for release on the
dates indicated and thereafter,
and every syndicate has
been given full permission
for use at all their newspapers.
These and many other artists already
volunteered their full cooperation
for a continuance of this
material, which will now come
to you on a regular basis.
And this is all dated
January of 1942.
So the treasury department, the
war bond division, they went ahead
and engaged a lot of American
cartoonists to go ahead
and create cartoons to run in
magazines and run in newspapers all
around the United States.
Not to be outdone, this is OWI,
the Office of War Information.
The Office of War Information
was, I hate to say it,
our ministry of propaganda.
Its sole purpose was to go ahead
and educate the American people
on why they should be doing various
things like having a victory garden,
buying war bonds, supporting
women in the armed forces,
supporting women in
the assembly line.
It was an overt, it was an
overt effort to go ahead
and modify the behavior of
people in the United States
of America towards war aims.
And it got to be controversial
because a lot of the republicans
at that time thought that Roosevelt
was using it to forward some
of the new deal and some
of the democratic policies,
so there was a lot of infighting
about exactly what was the OWI doing
at the time, but they also,
because this is late, this is 1944,
so they also sent things
out to the newspapers
and magazines in the United States.
In addition, there were
pamphlets and booklets done.
On the left, King Feature
Syndicate got a bunch
of their cartoonists including Alex
Raymond and Flash Gordon to go ahead
and put together this book
about how you can eat right.
And it says down here
its Office of Defense,
Health, and Welfare Services.
The one on the right is by the
famous cartoonist, Milton Caniff,
What to do in an Air Raid.
This was made into a poster,
and every page has got Milton
Caniff illustrations on it.
So you had the mass media
plus, and this is very rare,
plus the United States government
actively utilizing cartoons
to motivate people to modify
behaviors because of the war.
So now I want to talk to a couple of
different topics about World War II
in the home front, just
so we can see what,
what was going on back then.
Well, you heard me
alude to this before.
There were war bonds.
Here's Dick Tracy.
Okay. I can think of nobody
more patriotic than Dick Tracy
to go ahead [inaudible]
Captain America
to go ahead and sell war bonds.
The war bond program was
actually started in May 1941
as a defense bond program.
It wasn't call war bonds at the time
because at the time we were starting
to build up our defenses just
in case we got sucked into war.
They were not getting
the response they wanted,
and so after Pearl Harbor
when they realized they needed
to get more money going in
terms of the war bond program,
they instituted, there were
seven war loans that were put
out that were full media
blitzes across the United States
that involved radio, movies,
personal appearances by movie stars
and cartoonists, comics, cartoons,
every single kind of media
that you could think of, they
were selling people on war bonds.
And there were a couple
of reasons for doing that.
That's right, I forgot I had this
thing for the third war loan.
So when the war loans came out, the
political cartoonists would go ahead
and say, okay, the war loans coming
out, let me do something funny
to go ahead and work in the number
of the war loan into a cartoon.
Well, the war bonds
served two purposes.
One purpose was to go ahead
and help fund the war.
Out of the 300 billion dollar
estimated cost of World War II,
approximately $180 billion
were funded by war bonds.
That $180 billion in 2015 currency
is approximately $2.4 trillion worth
of loans made at the
United States of America.
But there was another
reason for doing this,
and that was there was all
of this rationing going on.
Now when you walked into the
equivalent of Sears and Roebuck
or Home Depot or wherever
it was you were going to go,
there were no refrigerators,
there were no washing machines,
there were no typewriters, there
were no cars, there was no tires
to put on cars, there was
no gasoline to run the cars.
Food was being rationed.
Okay, and even things down to at
certain points staples and things
like that were being rationed
because they needed the metal
to go ahead and put into armaments.
So the other thing, the other
purpose of the war bonds was,
was to suck up as much money
as possible out of the pockets
of the workers, who
between unemployment dropped
to like 2.9 percent because
everybody could find a job
because all the men
were off fighting.
So people wouldn't have
money to spend to go ahead
and drive inflation up,
and inflation was a
real fear at that time.
So the war bonds were dual
purpose in terms of what their,
what their goals and
objectives were.
Now let's talk about rationing.
Okay, as I alluded to before,
a lot of stuff was rationed.
As a matter of fact they started
to ration gasoline in late 1941
because there was a competition
because we were starting
to sell gasoline to the British
through Lend Lease [phonetic],
and we also needed gasoline for
our armed forces, and so this sort
of started at the end of
'41 when Pearl Harbor came.
The first thing that actually
got rationed was rubber,
and the reason was, was we
imported all of our rubber
from the Far East from Malaysia.
Well, the entire Pacific was
a place you could not go ahead
and run merchant vessels.
So they rationed rubber and
tires, and the first food stuffs
that was rationed in May
1942 was sugar because a lot
of our sugar was coming from
both Hawaii and the Philippines,
and so everyone started
to get ration booklets.
Okay. And this is actually
a ration booklet holder.
You can see Minnie
has got ration book.
She's holding one, and
Donald's holding one,
and of course who knows
what Donald bought here,
because it surely wasn't
going to be meat.
And what's interesting is,
is that Pluto in his basket
is nothing but potatoes.
No fresh vegetables, okay,
nothing, just potatoes.
So they started rationing
sugar in May of 1942.
By the end of '42, there were
200 food stuffs that were put
under rationing, because what
happened was they not only were
refeeding the United States
Army, we were also helping
to feed the Russian Army, okay,
because at that time their
bread basket, the Ukraine,
was a battle zone with the Nazis.
Okay. We were also
feeding any refugees.
Later in the war we were also
feeding prisoners of war.
We had 400,000 prisoners of
war here in the United States
that were shipped over from Europe.
All those people had to be fed.
We had to feed, like we said, we fed
the refugees, we fed the Russians,
we fed us, we fed all the troops.
Britain had a big problem with food,
and we exported a bunch
of food over there.
So the whole thing about rationing
was actually a really big deal
because all these people
needed to be fed.
Now, one of the big
controversies that erupted was is
that there was a conscious
decision on the part
of the Roosevelt administration
to go ahead and ration food
so that most of the food could go
towards the men in the armed forces
and not go towards the
people on the home front.
This caused a lot of controversy
because people were like,
well wait a minute, I'm running
12-hour days, six days a week.
I need to eat.
And the government said, I'm
sorry, it's much more important
that we have soldiers well
fed because that's, you know,
those people are actually doing
a lot of stuff, and you know,
if you're sitting there
in the middle of Saipan
and the Japanese are
firing on you, or, you know,
you're on the Eastern Front as one
of the Russians, you need food.
So there was a conscious decision,
very controversial at the time.
People went ahead and accepted
it, but it didn't make, you know,
people on the homefront
feel much better.
Here are a couple of
political cartoons
where you've got us
tightening our belts.
Okay, and feeding the machine gun.
So this is by Rube Goldberg,
who most people don't know was
actually a very successful political
cartoonist and won a Pulitzer Prize
in 1948 for the political cartoon.
And over on the right is Hutton
from the Philadelphia Inquirer.
And, you know, here it
is, as I was alluding to,
here is this big bread basket,
and then our small food rations
because we did feed the world.
Okay. It's really quite
amazing how much we did feed.
By the way, China was also in
big trouble in terms of food
because a lot of China was, you
know, between the communists
and Chiang Kai-shek and the
Japanese, a lot of China,
they weren't producing the food
that they needed to get either.
So this was, you know, rationing
was a big deal especially
when it came to food.
And like I said, you know, all
this other stuff was rationed,
and pretty much by 1943, the only
people who could get, you know,
whose cars were running
were actually members
of Congress, all right.
When then put together
gas rationing,
they had a special group X,
which got unlimited gasoline,
and those were only members of
Congress could get that rationing.
Okay. Everybody else, it
was given to you based
on what your war work need was,
how many, you know, how far you had
to travel, how many
people in your family.
There were a whole bunch of things
that went into assessing how much
in terms of rations you got
whether it was gasoline or food.
All right, and then the point system
changed, and it drove the women
of America crazy because
every month the office
of price administration would
change all the ration stuff.
And it was very difficult
for people to keep up.
There was a lot of stuff when you
read through the materials back then
of people going, oh, you know,
you just changed this again,
why did you change this again?
Bureaucracy run wild
to a certain extent.
All right.
So directly related to rationing
was, and I love this one,
here is Batman, Superman,
and Robin with the bounty
from their victory garden.
[laughter] Okay.
So in late, actually December
of '41, just by sheer accident,
there was a big meeting between the
secretary of agriculture and the man
who was in charge of the office of
defense and welfare and education
for the United States and
a bunch of other people,
to talk about reinstituting
the victory garden program
from World War I.
And fortunately just
by accident happened
about the time of Pearl Harbor.
So by early 1942, people were
starting to get all kinds of stuff
through the Office
of War Information
and from private garden clubs and
agricultural societies and things
like that about making
victory gardens.
And the victory garden program
was amazingly successful.
It is estimated that some
20 million people went ahead
and planted victory gardens, and
some estimates have 20 to 30 percent
of the fresh produce in the
United States was produced
in those victory gardens.
Okay. Now another reason
for the victory gardens
was not just rationing,
but there was another
problem, and that problem was
over five million farmers were
drafted into the armed forces
or joined the armed forces.
So all the farmers were gone.
When you read the through the
articles of the day, you see that,
you know, high school kids, instead
of being in class, were asked to go
out and help harvest crops, or
help plant the crops, or help hoe
or whatever it is that they were
asked to do to help, you know,
bring all of this,
all the food online.
So here is once again Bringing
up Father, George McManus.
I love this one.
It says Clancy was telling me
Jiggs that you were thinking
of starting a victory garden.
No, me wife did all the thinking,
I've got to do all the work.
Shucks, it isn't hard work.
I've got one.
You come with me, we'll pass me
house and I'll show it to you.
By golly, I'd like to see it,
it might give me some ideas.
Is that it?
That's me, that's me.
Tomatoes, peas, and onions.
I'm raising my potatoes and
me derby hat in the kitchen.
[laughter] So many of the
agricultural colleges went ahead
and turned their land
over into gardens.
People with large estates
went ahead and did that.
Open plots of land in
downtown areas were made
into victory gardens,
so it was very popular.
It also gave people, as
it was with the war bonds,
it gave people actual skin in the
game in terms of being at war,
something that we do not do,
we haven't done for,
since World War II.
There's never been this kind
of sacrifice that we've had.
There was Vietnam,
Korea, the Iraq War.
It doesn't matter, we were not asked
to make these kinds of sacrifices,
or the American people
were not asked.
Now I want to turn for a few
minutes over to one of the great,
one of the great social upheavals,
and that was bringing women
into the armed forces.
It started in May 1941,
representative Congresswoman Edith
North, one of only nine women
in the entire Congress of the
United States, said that, you know,
this is, you know before we got into
the war we should be doing something
in terms of an army auxiliary unit.
General George C. Marshall
was against it.
He went to England, and he saw
how well the women's auxiliary
for the British Army and Air
Force were doing in terms
of relieving some of the more back
office responsibilities and freeing
up men to go ahead
and have them fight.
So when he came back
and the war started,
he didn't need much convincing
in terms of starting it up.
So May of 1941, FDR approved
the Women's Army Auxiliary Corp,
the WAX, which was shortened
to the Women's Army Corp
about a year and a half later.
These were volunteers.
They were not considered army
personnel though indeed they were
eligible for a pension.
Not long after that in July two
months later, the Women's Acceptance
for Volunteer Emergency Services,
the WAVES, were done for the Navy.
Those women were actually
members of the Navy.
Okay. Between those two
branches, approximately a quarter
of a million women served doing
everything from being on--
initially they didn't want
the women on the front lines,
but some women did make it out
to the front lines in terms
of nurses and things like that.
They also went ahead
and became trainers.
So you would sometimes
go to gunnery school,
and you were trained
by a woman, all right.
You would go to learn
how to run radios.
You would learn how to run radar.
You would learn how to run all
of this technical equipment,
and in many places that kind
of training was being
done by the women.
And there are some great
cartoons about this.
This is actually very interesting
because I've found a couple
of cartoons besides this one where
it's sort of funny and it's sort of,
it's sort of interesting that it was
like, okay, well if women are going
to be in the Navy, then they should
have, you know, tattoos also.
All right.
And actually there's a double-page
spread of favorable comments
about women getting
tattoos in the book.
In addition to the 250,000, there
was also the women who went ahead
and ferried the planes, the WASPS,
the Women's Air Force
Service Pilots.
There was approximately a
thousand of these women,
and they flew like 78
different kinds of air craft,
so they did the ferrying.
So once it came off the assembly
line, they had to get the planes
out to the theaters of war
or out to a base here then
to get taken to the theaters of war.
So that's what these women did.
There was one woman by the
name of Teddy Kenyon [phonetic]
who was a famous aviatrix of
the 1930's, that her job was
as they pulled Grumman Hellcats
off of the Grumman Assembly line
up on Long Island, she would
take them out for the first ride.
Okay. And that was her job, which,
you know, you sit there and you go,
well, you know, does it work
because it just came off
the assembly line, okay.
You've got no idea, and
that's what she did.
She was not a member of the WASPs,
but she was very big in terms
of getting people to understand
that women could go ahead
and fill these roles.
So it was a very, the contribution
that women made in terms
of the armed forces
was really tremendous.
The numbers were not as big
as one would have thought,
but those quarter of a million women
actually did like amazing work.
And also remember at this time being
in the armed forces was
strictly men's work except
if you were a nurse.
Okay, and so they met with the
sexist discrimination, and you know,
there were issues, where, you know,
you come into gunnery and school
and there's this woman, and,
you know, things happened.
Okay. So now this is one of the
more interesting ones I found
from the Office of War Information.
Richard Decker was a
New Yorker cartoonist
and also a commercial illustrator,
and I really like this one.
It looks like George finally
got over his disappointment
at having no sons, and he's got
a WAVE on his left, our right,
and a WAC [phonetic] on his arm.
Now there was a lot of controversy
about allowing your daughters
to go ahead and go
into the armed forces,
and at one point there was a rumor,
a totally unsubstantiated rumor,
that women in the armed forces
were engaging in prostitution.
Okay. It was hearsay.
It was a rumor.
Okay. Well, of course,
enrollment into the WAVEs
and WACs took a nosedive until,
you know, it got all fixed.
So there was a lot of this social
tension that went on in terms
of bringing women into the
armed forces to relieve men
of some of more mundane tasks.
And this one also here
is if you think
about the message it's sending,
the message it's sending is,
you know something, your daughter
is as valuable as a son in terms
of what's going on
in terms of this war.
Now women also went
on the assembly line.
Okay. On the assembly line, I've
got some numbers here, okay,
five million women
went ahead and went
into war work during World War II.
Five million.
So total employment for women went
from 13 million to 18 million.
Of that five million, almost one
and a half million were added
to the aviation mechanics
industry, tank building,
bomb building, gun
building industries.
So all of those ship building and
all of those went from 250,000 women
to 1.7 million by the end of
the war, and all of these women,
what they found was, was that all
of a sudden they could
make a decent living,
but some of them were pressured into
it because the men who got drafted,
the typical pay for a private in
the army was 50 dollars a month.
Well, if you've got a middle class
family and your husband goes off
to war, and most families back then
they only had the one wage earner,
all of a sudden, the woman who's
left behind is trying to go ahead
and make due with not only
with rationed goods but also
with nowhere near the
money that they had
when the husband and
spouse was working.
So this is by J. "Ding" Darling,
who was a two-time
Pulitzer Prize winner.
It says up here, somebody else let
the genie out of a bottle once too.
And in her pocket it says,
her own man-sized pay envelop.
And the man at the bottom says,
but remember, you got to come back
as soon as the war is over.
And this was one of the implicit
understandings that men go off
to war, okay, and then when the
guys come back, the guys are going
to get their jobs back
and women go back
and we all live happily ever after.
Well I recommend it's about a
half hour long, I recommend going
on YouTube and seeing, hour long,
the documentary Rosie the Riveter,
and they interview a couple
of women who were like,
well wait a minute, there I was.
I was one of the best
welders that they had,
and yet they were telling
me I couldn't get a job.
Okay. So there was a tension going
in in terms of acclimating women
into the industrial environment.
Think about it.
Back then they didn't have
men's and women's bathrooms.
Okay. Most of the factories
were like, oh my God,
what are we going to do now.
What do you do about childcare?
Very few of the industries had
any kind of childcare, all right.
So all of these social upheavals
were going on with the women coming
into the workforce, coming into
the army, and then the implications
of what was going to happen
once the war was over.
All right, and once again this is a
whole other, a whole other lecture
in terms of all of the
details of what happened.
And you would see cartoons
like this.
She certainly knows how to bake.
And what is interesting in
looking at the cartoons of the day,
when it came to women
entering both the armed forces
and women entering the
industrial world was
that they weren't derisive.
As a matter of fact, they had,
if anything, they flipped things.
Here is this woman
telling her husband,
you better stick to business dear.
I didn't know a man could be so
ignorant about simple mechanics.
And so there was a, there was a
flip that went on the cartoon world
that they weren't derisive
to the women,
they were derisive to the men, okay.
And they were actually very
supportive to the women to in terms
of going ahead and getting
them to aim themselves
at these higher positions
on the socioeconomic ladder.
All right, I've been told
there's ten minutes left.
So I'm going to quickly go
through this, all right.
This is the Interment of
the Japanese American,
and this was actually done by Harold
Talbert, who was stationed here
for the Washington News, okay, and
this was syndicated nationwide.
Demand for the evacuation of
Japanese from coastal regions.
Remember Pearl Harbor.
It took 24 hours before people
were like, oh, you know,
all the Japanese have to be
part of this, and as a matter
of fact it was only a couple weeks
later when Attorney General Biddle,
FDR's attorney general,
said, okay, all you Japanese
in the seven-state area out on the
West Coast, we want your cameras,
we want your short-wave radios,
we want your radio radios.
You can't have any
of that stuff, okay,
and were going to confiscate it all.
Oh, and weapons.
Right. So all the Japanese
Americans,
there were approximately 120,000 at
that time in that seven-state area,
had to go ahead and bring all these
to a central collection
agency and give them up.
It took until March of 1942.
FDR signed executive order
9066, in essence saying
that we're going ahead and
take the Japanese Americans
and move them out.
They then went ahead and signed
another executive order setting
up the, I keep forgetting these,
setting up the War
Relocation Authority,
which was the government
bureaucracy to go ahead
and administer moving any Japanese
Americans out of the West Coast
into temporary holding areas.
Most of them were [inaudible]
race tracks,
and then building the final
internment camps in seven states
across the United States more
towards the interior, Idaho,
Wyoming, Arkansas,
Arizona, and New Mexico.
A hundred and twenty thousand
Japanese Americans were sent
to the intern camps.
Seventy thousand were
American citizens.
They were stripped of everything.
It was very rare that people
went back and were actually able
to recover whatever property
or businesses they had.
People filed suit.
Supreme Court said, sorry, the
government was within their right
to go ahead and intern you.
They then took the Japanese
Americans, gave them loyalty oaths,
and a few months later started
drafting the eligible men
out of the internment camps to
go ahead and fight in Europe.
They were put into the
442nd combat battalion.
The racists who ran that particular
battalion went ahead and threw them
into every meat grinder
campaign they could possibly do.
Japanese Americans did it.
There was a big controversy within
the Japanese American community,
should we go ahead and allow
ourselves to be drafted.
Some people didn't go.
The controversy lasts
even to this day.
That battalion became the
single-most decorated battalion unit
in the United States history.
Okay, 21 Congressional Medal of
Honor winners, and one of the people
who won, I don't know if he won
a Congressional Medal of Honor,
but Senator Daniel Inouye
lost his arm in Italy,
okay, as part of the 442nd.
All right.
Now, if I run a little
over, so here's another one.
This I got out of a San
Francisco newspaper.
It say, all packed
up and ready to go.
California-born Japanese citizens
loyal to USA out of harm's way.
The excuse that was given was, you
know something, we need to go ahead
and protect you, so we're going
to move you out of these areas
so that we can, you know, we can go
ahead and take better care of you.
And actually it was a land grab.
The Japanese Americans,
the first-generation
immigrants weren't allowed
to own land in California.
Second generation were, and
by the time the war started
about 20 percent of the
fertile land in California
and in the San Fernando Valley and
all of California was actually land
that had been started and
raised by Japanese Americans,
and so there was another, they
were raising at some point,
oh 15 or 20 percent of all the
produce in the United States,
and they all went,
they all went away.
Okay, Then you add the farmers, and
there was a big problem in terms
of the food supply
in the United States.
Whatever the reason was,
the engineers, the farmers,
the laborers, the skilled
technicians,
the United States government
had no use for these people,
and they kept them in the
intern camps until January 1945
when they started to get released.
Minnie Okubo [phonetic],
she and her family went
into the Japanese internment camps.
She did what she now
call a graphic memoir.
This was release in 1946.
I just want to read this
one, and then I want to move
on because there's a bigger
section I want to get to.
So her and her family were
assigned to number 13660.
That was the family number.
And so her family went ahead and
packed up all their belongings.
They were given 48 hours to go
head pack up all their belongings,
get rid of whatever they've got,
and get ready for the buses.
The military police opened the bus
door and we stepped into buses.
Our family was called.
Many spectators stood around.
At that moment I recall some of
the stories told on shipboard
by European refugees for America.
We were silent on the trip except
for a group of four University
of California boys who
were singing college songs.
The bus crossed the Bay Bridge.
Everyone started to the beautiful
view as if for the last time.
The singing stopped.
And she did, like I said,
it was about 160-page book.
It's available in reprint.
If you really want to go ahead
and see something powerful
about the experience of the
Japanese Americans at that time,
you have to read this book.
This one, they set
up these barracks.
Okay. They didn't have street signs.
As all the residential
blocks looked alike,
people were lost all the time.
And what she did in this
book, you can see her
in the lower right-hand
corner there.
She drew herself into every
panel in the book to say visually
that she was a witness
to all of this.
All right, now, I want
to spend some time here.
One of the things I did is I went
and I researched the African
American experience in World War II.
And being a political cartoonist
historian, it was interesting to me
that there were these daily
newspapers, the Chicago Defender,
New York Amsterdam News,
Baltimore Afro American,
that had these fantastic political
cartoonists that nobody knows about
or very few people know about.
And this is William Chase
from the Chicago Defender,
and I wanted to show a
series of cartoons in terms
of what their experience
was during the war.
And this one says a bunch of things
on a bunch of different levels.
The first thing was, when you read
through the African American press
at the time, they equated Nazis with
southern racists and segregationist.
They did not-- there
was no difference
between the two to those people.
And here, it says Negros
killed in riots.
Detroit, Beaumont, Texas,
Los Angeles, New Jersey,
Camp Stewart, Fort Dix, New Jersey.
Early in the war there were
a half a dozen race riots
at different army bases.
The army was segregated at the time.
All of the services were
segregated at the time,
and it took a whole bunch
of political pressure
to allow African Americans to
serve not just within the army
but to then go ahead and see combat.
You know, everyone's familiar with
the Tuskegee Airmen, and by the way,
if you see Redtails, it's
not the way it happened.
Okay. It's a fiction.
It did not happen that way.
The men were not as boisterous
and shall we say vociferous
as you saw them.
The racism was much more overt.
It was ten times worse than
they showed in the movie.
So if you see that movie, just
take that with a grain of sand.
Anyway, so there were
all of these riots.
The one in Detroit, that one
was especially interesting
because that was a riot over whether
or not workers, who were working
in the armaments industry in Detroit
for Ford and the major carmakers,
making tanks and aircrafts,
whether or not they could go ahead
and have some of the
housing that was built
by the United States government.
And so some African American
families got the housing.
Well, a bunch of people
were not happy over that,
and like 34 people
were killed in riots,
and the African Americans
couldn't access to that housing.
You know, Camp Stewart,
Fort Dix, like I said,
there were these conflicts
that were brought up,
like for instance the MPs
of course came down harder
on the African Americans
for whatever the infraction
might be then for, then against,
you know, equivalent whites.
So there was all of this tension
going on that, and by the way,
if you read the regular
white newspapers at the time
or Life Magazine or whatever, yeah,
they covered the stuff in Detroit,
but most probably 90 to 95 percent
of the stuff that was covered
in the African American press
at the time never surfaced
in the white media.
You know, here it is, World War
II, we're supposed to be, you know,
making the world safe for
democracy, and here is a cartoon
of a war bond pavilion at the
shipyards down at Mobile, Alabama.
One white, one colored.
Okay. And this was a huge problem.
Let me see if I have it.
Let me-- here we go.
This is most probably the
best example I've got in terms
of how bad the racism was.
So Lena Horn, the famous MGM actress
agreed to for the first time to come
and entertain the troops, and
she was told that she was going
to be going down to a place in
Arkansas, a camp down in Arkansas,
that had approximately 5000
African American trainees there.
Well when she got there, not only
were no African Americans allowed
in, but by this point in the war,
this was late '43, early '44,
there were a number of Italian
and German prisoners of war
that were put into POW camps
throughout the South to help
out with the farming, and they
had brought members, you know,
some of the POWs from the
local concentration camp,
from the local POW camp, and
allowed them to see Lena Horn,
and the African Americans
weren't allowed in.
All right.
Lena Horn said, forget
this, and didn't perform.
And she never performed again.
And this was something
that also happened was
that there were African American
men who were watching these POWs
in the South, and the POWs could
go into town, because you know
where were they going to go,
they could go into town and go
to the movies and go
shopping in places
that their guards weren't allowed.
All right.
It was, it was an abomination
all the way across the board.
You heard me allude to this before.
This is from the Baltimore
Afro American.
By the way, if you go up to
Charles Street up in Baltimore,
they actually still have all
of their bound volumes
going back into the 1920's.
And it was a joy just leafing
through the bound volumes
of the Baltimore Afro American,
although very sad, okay.
So here you've got the war
department stopping combat troops,
but the engineers, so the two men on
the right, the one immediately right
to the war department is
listed with an engineer,
and the other one is listed
with quartermaster corp,
which that was the part
of the army that made sure
that everything got distributed
out whether it was
munitions, whether it was food.
They were the people that made
all that inventory stuff happen.
So early in the war
until '43 at least,
when we went into North Africa,
the war department did not
allow African Americans
to fight at the front.
As a matter of fact there's
another cartoon that I found
that there was a proposal
to actually have African Americans
go pick cotton in Arizona.
And the African American
community was like, no, okay.
This is not going to
happen, all right.
And a big stink was made,
and they rescinded the plan.
Okay. The chapter called Jim Crow
Goes [inaudible], the longest one
in the book, it's approximately
20 pages long, and I put captions
under pretty much every cartoon
so everyone could understand
what the context was,
and what you see going through
these old newspapers was it was one
indignity after another.
It was unbelievable what
happened to the African Americans
who went off to go ahead and fight.
Now the African Americans
also thought,
so at one time they're like,
they're battling all this stuff,
but on the other hand,
they also had to go ahead
and accommodate what was
needed to win the war.
And so here you've got
Worthy of His Hire.
That's the type of worker
who will get to keep his job
after this emergency,
conscientious industrial workers,
and there was a lot of these
cartoons that ran to go ahead
and give a more positive
aspect in terms
of the African American
experience during the war.
There was a thought that if we can
prove ourselves during World War II,
then we can make advancements
after World War II,
and we know how that
turned out, okay.
It wasn't until Rosa Parks, Martin
Luther King, over a decade later,
that anything came of this.
Now Harry Truman, to his credit,
was so appalled at what he saw going
on in terms of segregated
armed forces,
that he desegregated the
armed forces in 1948.
All right, as a direct result
of some of the stuff like this.
Oh, and by the way the
war department guy,
one of the things that's
interesting is,
he is dressed like an old southern
Kentucky colonel, okay, with the,
you know, with the mustache and
the goatee and the, you know,
like an old, you know, an old
confederate soldier, all right,
who fought at Shiloh or
Gettysburg or wherever.
So at the end of all this, I
found this cartoon that ran
in the New York Amsterdam News,
and this brought it all to home.
This was around January 1945.
And here are the negro
Americans over on the left
and the Japanese Americans handing
Uncle Sam the Constitution saying a
couple of presents
from your admirers.
And so the African
Americans saw what happened
to the Japanese Americans, and there
were articles written about this,
and they felt the kinship
because they were both victimized
by this overt racism
that was occurring
in the United States at the time.
All right.
And so there's a lot of
information in the book.
Like I said, I can take any one
of the chapters and do an hour.
I did want to get in a whole bunch
about the African American
experience, so I'm going to--
it's about time isn't it?
Okay. So I'm going to throw
the floor open to questions,
and I will answer pretty
much anything,
and I promise not to make stuff up.
Yes.
>> I was wondering about the degree
of monitoring or even censorship
of [inaudible] Office
of War Education--
>> Warren Bernard: Office
of War Information, yes.
>> Some of them were rather critical
and the degree of censorship--
>> Warren Bernard: Well, there was
censorship, but you did not have
to send stuff in to sensors, okay,
so I want to make that
perfectly clear.
So there wasn't a censorship
board set up.
It was left to the editorial
departments of the newspapers
and the magazines in terms of
what they could or could not run.
You did not see where as you saw a
lot of cartoons that were critical
of President Roosevelt and
his handling of the war.
You generally did not see
criticism of the armed forces.
The African American newspapers
of course, if you think about it,
almost every one of these cartoons
I've shown is a protest cartoon.
Okay. So in terms of overt
censorship that, you know,
you really did not see that.
You didn't see it in
the Sunday strips.
As a matter of fact there
were many times, oh sorry,
there were many times that the
United States government asked
cartoonists to go ahead
and do things specific.
In 1943 they wanted to start a
secrecy campaign because in late '43
and '44 we're going to have more men
in combat, so they wanted everybody
to be away that whatever
you're doing
on the assembly line
needs to be a secret.
So the Office of War Information
contacted Milton Caniff.
Milton Caniff contacted a bunch
of his friends, and in late '43
and early 1944, little orphan
Annie and Terry and the Pirates
and a couple of other very
popular comic strips went ahead
and had secrecy themes
put into the comics
to let people what's going on.
No one knew that that
was done at the behest
of the United States government.
It wasn't until I was in the
Office of War Information archives
that I found a stream of letters
going in between the Office
of War Information
and the cartoonists
to go ahead and make this happen.
So the flip side of that is
yes, there was overt collusion
between the comics and the
United States government,
but there wasn't the
reverse of that,
where the United States
government was monitoring
and censoring what was going on.
Anybody else?
Am I getting, of course, David.
>> [Inaudible] volunteered to do
the paintings for the war bonds
after being turned
down, but the Office
of War Information apparently felt
that the illustration was
too [inaudible] a little more
sophisticated [inaudible]
at the time.
It's hard to reconcile that
with their apparent [inaudible]
of cartoonists [inaudible].
>> Warren Bernard: That actually
surprises me because if you go
through the posters that came out
of the Office of War Information,
they used a lot of cartoon
work and used a lot of people
that were far less talented
than Norman Rockwell.
Okay. So I think that that,
you know, I'm going to presume
that that was more a personal taste
thing than in terms of any kind
of aesthetic program that the
Office of War Information had so--
>> [Inaudible] cartoonists
but not Rockwell.
>> Warren Bernard: Well, and
that's exactly the point, okay.
Like I said, and if you see a bunch
of stuff that came out of the Office
of War Information, they had,
you know, they were hacks, okay.
They were outright hacks.
So I can't answer that
one specifically.
I can just tell you what
I saw in terms of looking
at all the information that I saw.
Anybody else?
Going once, going twice.
Let me off easy?
Thank you very much.
I appreciate you coming.
[ Applause ]
>> This has been a presentation
of the Library of Congress.
Visit us at loc.gov.