Damnation is a new show on USA Network (co-produced by Netflix). It’s enjoyable entertainment inspired by history and influenced by literature.
As Phil De Semlyen at Empire summarizes the background of the show, it is “a 1930s saga of big business concerns and poor, struggling families, with possibly a sprinkling of Elmer Gantry-like religious hypocrisy, crime and demagoguery thrown in for good measure. “It’s set in the Great Depression and based on true events,” Mackenzie tells Empire of this heady-sounding mix, “It’s about strikers and strike-breakers in Iowa, almost the Dust Bowl, which is bloody interesting.” A bit Steinbeck-y, then? “Kind of. A little bit more amped than that, but yeah.”” And from a Cleveland.com piece by Mark Dawidziak, the show’s creator Tony Tost explained in an interview that, “They’re unquestionably two of my favorite writers… The world of John Steinbeck as presented in ‘The Grapes of Wrath,’ ‘Of Mice and Men’ and ‘Cannery Row’ was a big influence, as was Dashiell Hammett’s first novel, ‘Red Harvest,” which is set in a Western mining town. All of that went into the soup when writing ‘Damnation.’ ” In mentioning that interview, Bustle’s Jack O’Keeffe writes that,
While the show’s creator has named The Grapes Of Wrath as a touchstone for the series, it also calls to mind one of the most acclaimed period films of the past decade. The 2007 film There Will Be Blood covers the first three decades of 20th Century America, stopping just shy of the Great Depression. However, the small-town rivalry between a suspicious preacher and a business-minded capitalist that arises in There Will Be Blood seems to mirror the central conflict present in Damnation. Damnation seems to be drawing from some pieces of American fiction about the sociopolitical realities of this particular era.
In an interview with Cleveland.com, Tost admitted that Damnation’s influences don’t stop at Steinbeck or the violent filmography of Quentin Tarantino. Tost also listed iconic western director Sam Peckinpah, the Pulitzer-prize winning novel Gilead, and the non-fiction book Hard Times: An Oral History Of The Great Depression among his many inspirations. While Damnation may have invented the details of its story, the creative forces behind the show seemed to do their homework when it came to capturing an accurate picture of what life was like then.
While many of the show’s influences are set 80 years ago, the most surprising source for Damnation may be 2017. Tost told Cleveland.com in the previously mentioned interview, “If you look at the 1930s — a time when there was increasing distrust in institutions, there was fear of finding meaningful work, there is this onslaught of new technology taking away jobs — the relevance [of the show to 2017 audiences] is almost inescapable.”
In a Fayetteville Flyer interview, Tost describes “it as 1/3 Clint Eastwood, 1/3 John Steinbeck, 1/3 James Ellroy. That is, it takes some characters you’d normally see in a tough western, plops them in the world of Grapes of Wrath, and places them in the sort of pulpy paranoid narrative you see in Ellroy’s novels.” About the research, he says:
It’s a blast. Back in my academic days, my field of study was American literature from 1890 to 1945 and I wrote a dissertation on the influence of new technologies in the 20s and 30s on the American imagination. Then I wrote a book about Johnny Cash which delved into the same time period from a different angle, looking at the music and preachers and myths of Americana. So by the time I came up with Damnation as a TV show, I had a good feel for the period, I think. I’ve done plenty of research since then: oral histories and historical accounts of the period and so forth. We have a person who works on the show who daily does research into various arenas we’re interested in, whether it’s carnivals or bootlegging or pornography or baseball or what have you. Largely, I subscribe to David Milch of Deadwood’s advice: do a ton of research, then forget it, and then use your imagination. So Damnation mingles official history with fiction. I sometimes call it a “speculative history” of the time period.
And about “parallels between that period and today,” he states that there are, “Too many to list. I think that’s one of the things that got us the series order from USA network. Populist anger, fears about technologies and immigrants taking away jobs, fascist tendencies, fears of environmental apocalypse (dust bowl), life and death struggles over who is or isn’t a “real” American. The parallels are often spooky.”
So, even as it follows the general pattern of known history, it doesn’t appear to be based on any specific set of events. It is about the farmer revolts in Iowa during the Great Depression (see 1931 Iowa Cow War, 1932 Farmers’ Holiday Association, & 1933 Wisconsin Milk Strike), the kind of topic demonstrating traditional all-American radicalism that triggers the political right and makes them nostalgic for the pro-capitalist political correctness of corporate media propaganda during the Cold War. But I don’t think the fascist wannabes should get too worried since, as we know from history, the capitalists or rather corporatists defeated that threat from below. The days of a radical working class and of the independent farmer were numbered. The show captures that brief moment when the average American fought against the ruling elite with a genuine if desperate hope as a last stand in defending their way of life, but it didn’t have a happy ending for them.
The USA Network can put out a show like this because capitalism is so entrenched that such history of rebellion no longer feels like a serious threat, although this sense of security might turn out to be false in the long run. Capitalist-loving corporations, of course, will sell anything for a profit, even tv shows about a left-wing populist revolt against capitalists — as Marx put it, “The last capitalist we hang shall be the one who sold us the rope.” The heckling complaints from the right-wing peanut gallery are maybe a good sign, as they are sensing that public opinion is turning against them. But as for appreciating the show, it is irrelevant what you think about the historical events themselves. The show doesn’t play into any simplistic narrative of good vs evil, as characters on both sides have complicated pasts. One is free to root for the capitalists as their goons kill the uppity farmers, if that makes one happy.
As for myself, the show is of personal interest as most of the story occurs here in Iowa. The specific location named is Holden County, but I have no idea where that is supposed to be. There presently is no Holden County in Iowa and I don’t know that there ever was. All I could find is a reference to a Holden County School (Hamilton Township) in an obituary from Decatur County, which is along the southern border of Iowa (a county over from Appanoose where is located Centerville with an interesting history). Maybe there used to a Holden County that was absorbed by another county, a common event I’ve come across before in genealogical research, but in this case no historical map shows a Holden County ever having existed.
The probable fictional nature of the county aside, there is a reason the general location is relevant. Iowa is a state that exists in multiple overlapping border regions, between the Mississippi River and the Missouri River, between the Midwest and Far West, between the Upper Midwest and the Upper South. It is technically in the Midwest and typically perceived as the Heart of the Heartland, the precise location of Standard American English. The broad outlines of Iowa was defined according to Indian territory, such as how the northern border of Missouri originally formed. What became a boundary dispute later on almost led to violent conflict between Missouri and Iowa, based on the ideological conflict over slavery that would eventually develop into the Civil War.
Large parts of Iowa has more similarity to the Upper Midwest. It is distinct in being west of the Mississippi River, one of the last areas of refuge for many of what then were still independent Native American tribes and hence one of the last major battlegrounds to fight off Westward expansion. Iowa is the only state where a tribe collectively bought its own land, rather than staying on a federal reservation. As for southern Iowa, there is a clear Southern influence and you can occasionally hear a Southern accent (as found all across the lower edge of the Lower Midwest). That distinguishes it from northern Iowa with more of the northern European (German, Czech, and Scandinvian) culture shared with Minnesota and Wisconsin. And the more urbanized and industrialized Eastern Iowa has some New England influence from early settlers.
Maybe related to the show, southern Iowa had much more racial and ethnic diversity because of the immigrants attracted to mining towns. This led to greater conflict. I know that in Centerville, a town once as diverse as any big city, the Ku Klux Klan briefly used violence and manipulation to take control of the government before being ousted by the community. The area was important for the Underground Railroad, but it wasn’t a safe area to live for blacks until after the Civil War. In Damnation, some of the town residents are members of the Black Legion, the violent militant group that was an offshoot of the KKK (originally formed to guard Klan leaders). In the show, the Black Legion is essentially a fascist group that opposes left-wing politics and labor organizing, which is historically accurate. The Klan and related groups in the North were more politically oriented, since the black population was fewer in number. In fact, the Klan tended to be found in counties where there were the least number of minorities (racial minorities, ethnic minorities, and religious minorities), as shown in how they couldn’t maintain control in diverse towns like Centerville.
One of the few blacks portrayed in the show is a woman working at a brothel. I supposed that would have been common, as blacks would have had a harder time finding work. In a scene at the brothel, there was one detail that seemed to potentially be historically inaccurate. A Pinkerton goon has all the prostitutes gathered and holds up something with words on it. He wants to find out which of them can read and it turns out that the black woman is the only literate prostitute working there. That seems unlikely. Iowa had a highly educated population early on, largely by design — as Phil Christman explains (On Being Midwestern: The Burden of Normality):
This is a part of the country where, the novelist Neal Stephenson observes, you can find small colleges “scattered about…at intervals of approximately one tank of gas.” Indeed, the grid-based zoning so often invoked to symbolize dullness actually attests to a love of education, he argues:
People who often fly between the East and West Coasts of the United States will be familiar with the region, stretching roughly from the Ohio to the Platte, that, except in anomalous non-flat areas, is spanned by a Cartesian grid of roads. They may not be aware that the spacing between roads is exactly one mile. Unless they have a serious interest in nineteenth-century Midwestern cartography, they can’t possibly be expected to know that when those grids were laid out, a schoolhouse was platted at every other road intersection. In this way it was assured that no child in the Midwest would ever live more than √2 miles [i.e., about 1.4 miles] from a place where he or she could be educated.7
Minnesota Danish farmers were into Kierkegaard long before the rest of the country.8 They were descended, perhaps, from the pioneers Meridel LeSueur describes in her social history North Star Country:
Simultaneously with building the sod shanties, breaking the prairie, schools were started, Athenaeums and debating and singing societies founded, poetry written and recited on winter evenings. The latest theories of the rights of man were discussed along with the making of a better breaking plow. Fourier, Marx, Rousseau, Darwin were discussed in covered wagons.9
If you’ve read Marilynne Robinson’s Gilead trilogy, you know that many of these schools were founded as centers of abolitionist resistance, or even as stops on the Underground Railroad.
The rural Midwest was always far different than the rural South. Iowa, in particular, was a bureaucratically planned society with the greatest proportion of developed land of any state in the country. The location of roads, railroads, towns, and schools was determined before most of the population arrived (similar to what China is now attempting with its mass building of cities out of nothing). The South, on the other hand, grew haphazardly and with little government intervention, such as seen with the the crazy zig-zagging of property lines and roads because of the metes-and-bounds system. This orderly design of Iowa fit the orderly culture of Northern European immigrants and New England settlers, contributing to an idealistic mentality about how society should operate (the Iowa college towns surrounded by farmland were built on the New England model).
The farmer revolts didn’t come out of nowhere. The immigrant populations in states like Iowa were already strongly community-focused and civic-minded. With them, they brought values of work ethic, systematic methods of farming, love of education, and much else. As an interesting example, Iowa was once known as the most musical state in the country because every town had local bands.
Unlike the stereotype, Iowans were obsessed with high culture. They saw themselves on the vanguard of Western Civilization. With so many public schools and colleges near every community, Iowans were well educated. The reason school children to this day have summers off was originally to allow farm children to be able to help on the farm while still being able to attend school. These Midwestern farm kids had relatively high rates of college attendance. And Iowa has long been known for having good schools, especially in the past. My mother has noted that so many Iowans she knows who are college-educated professionals went to small rural one-room schoolhouses.
Another factor is that Northern Europeans had a collectivist bent. They didn’t just love building public schools, public libraries, and public parks. They also formed civic institutions, farmer co-ops, credit unions, etc. They had a strong sense of solidarity that held their communities together. As the Iowa farmers stood together against the capitalist elites from the cities (the banksters, robber barons, and railroad tycoons), so did the German-American residents of Templeton, Iowa stood against Prohibition agents:
The most powerful weapon against oppression is community. This is attested to by the separate fates of a Templetonian like Joe Irlbeck and big city mobster like Al Capone. “Just as Al Capone had Eliot Ness, Templeton’s bootleggers had as their own enemy a respected Prohibition agent from the adjacent county named Benjamin Franklin Wilson. Wilson was ardent in his fight against alcohol, and he chased Irlbeck for over a decade. But Irlbeck was not Capone, and Templeton would not be ruled by violence like Chicago” (Kindle Locations 7-9 [Bryce T. Bauer, Gentlemen Bootleggers]). What ruled Templeton was most definitely not violence. Instead, it was a culture of trust. That is a weapon more powerful than all of Al Capone’s hired guns.
Damnation is a fair portrayal of this world that once existed. And it helps us to understand what destroyed that world — as vulture capitalists targeted small family farmers, controlling markets when possible or failing that sending in violent goons to create fear and havoc. That world survived in tatters for a few more decades, but government-subsidized big ag quickly took over. Still, small family farmers didn’t give up without a fight, as they were some of the last defenders of a pre-corporatist free market based on the ideal of meritorious hard work — the Jeffersonian ideal of the yeoman farmer with its vision of agrarian republicanism, in line with Paine’s brand of socially-minded and liberty-loving Anti-Federalism.
On a more prosaic level, one reviewer offers a critical observation. Mike Hale writes, from a New York Times piece (Review: ‘Damnation’ and the Sick Soul of 1930s America):
Any fidelity to the story’s supposed place and time is clearly incidental to Mr. Tost. He’s transposed the clichés of 19th-century Wyoming or South Dakota to 1930s Iowa, and doesn’t even get the look right — shot in Alberta, the locations look nothing like the Midwest.
Perhaps he was drawn to the contemporary echoes of the Depression-era material but wanted to give it some mock-Shakespearean, “Deadwood”-style dramatic heft. There’s a lot of literary straining going on — the characters are more familiar than you’d expect with the work of Wallace Stevens and Theodore Dreiser, and the sordid capitalism and anti-Communist fervor depicted in the story invoke Sinclair Lewis and Jack London.
I’m not sure why Mike Hale thinks the show doesn’t look like Iowa. He supposedly grew up in Iowa, but I don’t know which part. Anyone who has been in Western Iowa or even much of Eastern Iowa would recognize similar terrain. I doubt anything has been transposed.
Iowa is a young state and, as once being part of the Wild West, early on had a cowboy culture. Famous Hollywood cowboys came from the Midwest, specifically this region along the Upper Mississippi River — such as Ronald Reagan who was from western Illinois and worked in Iowa and John Anderson who was born in Western Illinois and was college-educated in Iowa, but also others who were born and raised in Iowa: John Wayne, Hank Worden, Neville Brand, etc (not just playing cowboys on the big screen but growing up around that cowboy culture). This isn’t just farm country with fields of corn and soy. Most of that is feed for animals, such as cattle. Iowa is part of the rodeo circuit and there is a strong horse culture around here. A short distance from where I live, a coworker of mine helps drive cattle down a highway every year to move them from one field to another.
But as I pointed out, none of this contradicts it also being a highly educated and literate population. I don’t know why Hale would think that certain writers would be unknown to Midwesterners, especially popular and populist writers like Jack London. As for Theodore Dreiser, he was a fellow German-American Midwesterner who wrote about rural life and was politically aligned with working class interests, including involvement in the defense of radicals like those Iowa farmers — the kind of writer one would expect Iowans, specifically working class activists, to be reading during the Great Depression era. That would be even more true for Sinclair Lewis who was from neighboring Minnesota, not to mention also writing popular books about Midwestern communities and radical criticisms of growing fascism — the same emergent fascism that threatened those Iowa farmers.
It’s interesting that an Iowan like Mike Hale would be so unaware of Iowa history. But maybe that is because he was born and spent much of his life outside of Iowa, specifically outside of the United States. His family isn’t from Iowa and so he has no roots here. I noticed that he tweeted that he “Was intrigued ‘Damnation’ is set in my state, Iowa. Didn’t expect the crucifixion, gun battles and frontier brothel”; to which someone responded that “If in Palo Alto, San Jose & NYC since ’77, IA hasn’t been ur state 4 awhile.” Besides, part of his childhood wasn’t even spent in Iowa but instead in Asia. And beyond that, many people simply don’t think he is that great of a critic (see Cultural Learnings, Variety, and Mediaite).
A better review is by Jeff Iblings over at The Tracking Board (Damnation Review: “Sam Riley’s Body”). The review is specifically about the first episode, but goes into greater detail:
Damnation is a new show on USA Networks set in the 1930’s during prohibition, the dust bowl era, and the social unrest during the unionization and strikes that accompanied the corruption of that time. It’s an intriguing look at a moment in American history when people began to wrest control away from a government bought and paid for by industrialists, only to have their movement squashed by the collusion of moneyed interests and the politicians they’d paid for. The series begins in Holden, Iowa as farmers have formed a blockade around the town so no more shipments of produce can reach the city. The powerful banker in town, who owns the newspaper and the Sheriff, has bribed the market in town to keep his food prices low, to price the famers out of making a profit on their crops so they’ll default on the loans he’s given them. A preacher in town fans the flames of the farmer’s unhappiness and gets them to revolt against the banker. Who is this mysterious preacher, and what does he have planned? […]
Damnation is clearly well researched, and the true-life stories it uses to flesh out its world are there to service the narrative, not overburden the show. 1930’s America was a desperate, bleak time, where moneyed interests controlled everything. The game was fixed back then, with politicians in the pocket of industrialists and wealthy bankers. The people had nothing more to give, since the wealthy had taken nearly everything from them. It’s a very relevant tale. Almost the same exact thing is going on again in present day America, which I would imagine, is one of the points of Damnation.
Iblings writes in another Damnation review of the second episode:
Tony Tost and his writers room delve into the history of the Great Depression in order to mine forgotten aspects of our political and social movements. It’s incredible how prescient much of the struggles of the farmers depicted still are problems today. Price fixing, bank negligence and dishonesty, politicians in the pockets of big business, the stifling of the labor movement when it’s needed most, and the inherent racism and protectionism of white Americans towards other races are all as topical today as they were in the 1930’s. It’s as if little has actually changed 100 years later. Damnation may be a historical television series, but it’s speaking to the America of today.
And about the third episode, he writes:
There are a few interesting moments I want to point out that really stuck with me. The first is the opening scene of a couple watching their kids playing baseball and taking great joy in it. When the wife goes into the shed to get the kids some cream soda, there are nooses hanging from the ceiling and Black Legion outfits hung up on the walls. The man then exclaims to his wife, “If this isn’t the American dream, I don’t know what is.” Damnation uses this banal setting, and these uneventful people to show how the American dream was an exclusionary ideal. They look like normal people you’d run into, but underneath this veneer are racist secrets. This prejudice was pervasive back then, but in Trump’s America this type of hatred and racism has become the norm once again. It was disgusting then, and it’s disgusting now.
What I like about the show is how it portrays the nature of populist politics during that historical era. The show begins in 1931, a moment of transition for American society in the waning days of Prohibition. The Great Depression followed decades of Populism and set the stage for the Progressivism that would follow. The next year Franklin Delano Roosevelt would be elected and later on re-elected twice more, the most popular president in US history.
What many forget about both Populism and Progressivism is the role that religion played, especially Evangelicalism. In the past, Evangelicals were often radical reformers in their promoting separation of church and state, abolitionism, women’s rights, and such. Think of the 1896 “Cross of Gold” speech given by William Jennings Bryan. This goes back to how Thomas Paine, the original American populist and progressive, used Christian language to advocate radical politics. Interestingly, as Paine was an anti-Christian deist, the leader of the farmers revolt is a guy falsely posing as an itinerant preacher, although he shows signs of genuine religious feeling such as sparing a man’s life when he sees the likeness of a cross marked on the floor near the man’s head. However one takes his persona of religiosity, the preaching of a revolutionary Jesus is perfectly in line with the political rhetoric of the period.
I also can’t help but appreciate how much it resonates with the present. The past, in a sense, always remains relevant — since as William Faulkner so deftly put it, “The past isn’t over. It isn’t even past.” In a New York Post interview, the show’s creator Tony Tost was asked, “How relevant is the plot about the common man battling the establishment today?” And he replied that, “I wrote the first two episodes, like, three years ago, but contemporary history keeps making the show feel more and more relevant. I’m not necessarily trying to do an allegory about the present, but history is very cyclical. There’s some core elemental conflicts and issues that we keep returning to. In a way, the present day almost caught up.”
As with Hulu’s The Handmaid’s Tale and Amazon’s Man in the High Castle, Damnation has good timing. Such hard-hitting social commentary is important at times like these. And in the form of entertainment, it is more likely to have an impact.
* * *
State of Emergency: The Depression and the Plots to Create an American Dictatorship
by Nate Braden, Kindle Locations 510-571
(see Great Depression, Iowa, & Revolts)
“In September 1932 Fortune published a shocking profile of the effect Depression poverty was having on the American people. Titled “No One Has Starved” – in mocking reference to Herbert Hoover’s comment to that effect – Fortune essentially called the President a liar and explained why in a ten page article. Predicting eleven million unemployed by winter, its grim math figured these eleven million breadwinners were responsible for supporting another sixteen and a half million people, thus putting the total number of Americans without any income whatsoever at 27.5 million. Along with another 6.5 million who were underemployed, this meant 34 million citizens – nearly a third of the country’s population – lived below the poverty line. [1]
“Confidence was low that a Hoover reelection would bring any improvement in the country’s situation. He had ignored calls in 1929 to bail out banks after the stock market crashed on the grounds that the federal government had no business saving failed enterprises. With no liquidity in the financial markets, credit evaporated and deflation pushed prices and wages lower, laying waste to asset values. Two years passed before Hoover responded with the Reconstruction Finance Corporation, created to distribute $300 million in relief funds to state and local governments. It was too little, too late. The money would have been better served shoring up the banks three years earlier.
“With each cold, hungry winter that passed, political discussions grew more radical and less tolerant. Talk of revolution was more openly voiced. Harper’s, reflecting the opinion of East Coast intellectuals, pondered its likelihood and confidently asserted: “Revolutions are made, not by the weak, the unsuccessful, or the ignorant, but by the strong and the informed. They are processes, not merely of decay and destruction, but of advance and building. An old order does not disappear until a new order is ready to take its place.”[2]
“As this smug analysis was rolling off the presses, the weak, the unsuccessful, and the ignorant were already proving it wrong. Most people expected a revolt to start in the cities, but it was in the countryside, in Herbert Hoover’s home state no less, where men first took up arms against a system they had been raised to believe in but no longer did. On August 13, 1932, Milo Reno, the onetime head of the Iowa Farmer’s Union, led a group of five hundred men in an assault on Sioux City. They called it a “farm holiday,” but it was in fact an insurrection. Reno and his supporters blocked all ten highways into the city and confiscated every shipment of milk except those destined for hospitals, dumping it onto the side of the road or taking it into town to give away free. Fed up with getting only two cents for a quart of milk that cost them four cents to bring to market, the farmers were creating their own scarcities in an attempt to drive up prices.
“The insurgents enjoyed local support. Telephone operators gave advance warning of approaching lawmen, who were promptly ambushed and disarmed. When 55 men were arrested for picketing the highway to Omaha, a crowd of a thousand angry farmers descended on the county jail in Council Bluffs and forced their release. The uprising just happened to coincide with the Iowa National Guard’s annual drill in Des Moines, but Governor Dan Turner declined to use these troops to break up the disturbance, saying he had “faith in the good judgment of the farmers of Iowa that they will not resort to violence.”[3]
“The rebellion spread to Des Moines, Spencer, and Boone. Farmers in Nebraska, South Dakota, and Minnesota declared their own holidays. Milo Reno issued a press release vowing to continue “until the buying power of the farmer is restored – which can be done only by conceding him the right to cost of production, based on an American standard of existence.” Business institutions, he added, “whether great or small, important or humble, must suffer.” While advising his followers to obey the law and engage only in “peaceful picketing,” Reno issued this warning: “The day for pussyfooting and deception in the solution of the farmers’ problems is past, and the politicians who have juggled with the agricultural question and used it as a pawn with which to promote their own selfish interests can succeed no longer.”[4]
“Reno and his men had laid down their marker. Aware that the insurrectionists might call his bluff, the governor stopped short of issuing an ultimatum, but he kept his Guardsmen in Des Moines just in case. The showdown never came – a mysterious shotgun attack on one of Reno’s camps near Cherokee was enough to persuade him to call off the holiday – but others weren’t cowed by the violence. The same day Reno issued his press release, coal miners in neighboring Illinois went on strike after their pay was cut to five dollars a day. Fifteen thousand of them shut down shafts all over Franklin County, the state’s largest mining region, and took over the town of Coulterville for several hours, “exhausting provisions at the restaurant, swamping the telephone exchange with calls and choking roads and fields for a mile around” the New York Times reported. Governor Louis Emmerson ordered state troopers to take the town back. Wading into a hostile, sneering crowd who shouted “Cossacks!” at them, the police broke it up with pistols and clubs, putting eight miners in the hospital.
“The rebels were bloodied but unbowed. Vowing to march back in to coal country, strike leader Pat Ansbury told a journalist, “if we go back it must be with weapons. We can’t face the machine guns of those Franklin County jailbirds with our naked hands. Not a man in our midst had even a jackknife. When we go back we must have arms, organization and cooperation from the other side.” Shaking his head at the lost opportunity, he made sure the reporter hadn’t misunderstood him. “This policy of peaceful picketing is out from now on.” Reno conducted a similar post-mortem, acknowledging that his side may have lost the battle but would not lose the war: “You can no more stop this movement than you could stop the revolution. I mean the revolution of 1776.”[5]
“Not only were farmers burdened by low commodity prices, they were also swamped with high-interest mortgages and crushing taxes. In February 1933 Prudential Insurance, the nation’s largest land creditor, announced it would suspend foreclosures on the 37,000 farm titles it held, valued at $209 million. Mutual Benefit and Metropolitan Life followed suit, all of them finally coming to the conclusion that they couldn’t get blood from a rock.
“It was also getting very dangerous to be a repo man in the Midwest. When farms were foreclosed and the land put up for auction, neighbors of the dispossessed property holder would often show up at the sale, drive away any serious bidders, then buy the land for a few dollars and deed it back to the original owner. By this subterfuge a debt of $400 at one Ohio auction was settled for two dollars and fifteen cents. A mortgage broker in Illinois received only $4.90 for the $2,500 property he had put into receivership. An Oklahoma attorney who tried to serve foreclosure papers to a farm widow was promptly waylaid by her neighbors, including the county sheriff, driven ten miles out of town and dumped unceremoniously on the side of the road. A Kansas City realtor who had foreclosed on a 500-acre farm turned up with a bullet in his head, his killers never brought to justice. [6]”
Marmalade 
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