| dc.description.abstract | In 1933, when Franklin D. Roosevelt became president, he promised Americans a New Deal. Roosevelt's policies and programs represented a break from the American tradition of rugged individualism and laissez faire. With policies such as social security, subsidies to agriculture, and federal recognition of unions, Roosevelt introduced a new strain of liberalism into society. No longer would government refrain from participation in the economic and social arenas. Instead, according to Roosevelt's vision, government would become an active force in areas previously thought to be the domain of the private sector. The federal government worked to rescue the millions of Americans whom the Great Depression ravished. To alleviate the dire conditions of these Americans, Roosevelt's focus turned to work relief. New Deal programs such as the Tennessee Valley Authority, the Civilian Conservations Corps, and the works Progress Administration were manifestations of his conviction that the government must take some responsibility for the individual citizen. The President's New Deal programs offered employment for millions of jobless Americans. Most of this employment consisted of laboring in construction and public works projects. Roosevelt, and Harry Hopkins, administrator for the WPA, also recognized the need for aid for unemployed white-collar professionals, intellectuals, and artists. Federal One, part of the WPA, was a product of the Roosevelt administration's concern for the artist and intellectual. In 1935, when it was initiated, Federal One encompassed the Federal Art Project, the Federal Theatre Project, the Federal Music Project, and the Federal Writers' Project. The idealism and naivete of artists and writers on Federal One continually conflicted with the social and political realism of the Roosevelt years. Tensions between this idealism and reality shaped the operations and organization of the Federal Writers' Project. An analysis of the Oklahoma Writers' Project reveals the problems inherent in such government-subsidized art programs as Federal One. The focus of this study will be on the four administrations of the Oklahoma Writers' Project. Although the administrations varied in their style, management, and operations, they faced similar problems in dealing with the national offices in Washington. It is my contention that these difficulties which included politics and an inflexible bureaucracy stifled the freedom and creative atmosphere in which artists wished to work, and made progress on the program difficult if not impossible. If the project can be said to have failed, then these are the causes of that failure. The major problem for the Oklahoma Writers' Project, however, concerned the contradictions in the stated goals and purposes of Federal One. Because the administration of Federal One lacked proper direction and clear intentions, the Oklahoma project could not easily accomplish its work. Besides struggling with the Washington office, the Oklahoma Writers' Project also had to please state WPA administrators and local politicians. In its early years, the program had to contend with some hostility from state leaders who disliked its direction and organization. This situation did improve with a change of administrators in 1940. Yet, even with these changes, political considerations greatly influenced the work of the project. When he established Federal One, Roosevelt was more interested in insuring that the jobless make enough money for food and shelter than he was in creating a broadly based cultural program. According to government regulations for Federal One, between 75 and 90 percent of all employed on the projects had to be from public relief rolls. The Oklahoma Writers' Project experienced the dilemma that too often qualified writers were not on the state's relief rolls. State administrators for the Writers' Project constantly complained that may of those on the relief rolls did not have sufficient education or experience to be writers. The Oklahoma Writers' Project thus could not efficiently operate because it had great difficulty in complying with the government regulation concerning relief quotas. During its seven-year history, the project's leaders found it almost impossible to fulfill their goals because the government's rules were antithetical to the program's purpose and mission. The bureaucracy of the Washington office also plagued the Oklahoma project in other ways. Staff officials in Washington often sent the project leaders contradictory instructions. Comments from the national staff were baffling to the writers in Oklahoma. While one editor might praise submitted copy, another would severely criticize it. The Oklahoma writers wondered if the editors in Washington knew what they wanted. The editors in Washington really had little insight into or knowledge of the rather young state. They sometimes viewed Oklahoma as Steinbeck's Oklahoma from The Grapes of Wrath, and they wanted the state's copy to reflect this image. On occasion the editors would reject the work of eminent scholars from the state, claiming that these writers had not captured the essence of the spirit of Oklahoma. Conservative politics in Oklahoma also served to hinder the progress of the state's Writers' Project. By the 1930s, conservative political forces dominated the state. The state's earlier tendency toward progressivism had died out by the late 1920s. In the 1930s, most Oklahoma politicians and administrators still adhered to the virtues of rugged individualism and free enterprise. Yet, these values often were in opposition to those espoused by some of the leaders of the Oklahoma Writers' Project. For instance, the first project leader, William Cunningham, was considered a Marxist with strong pro labor sentiments. Especially during the years 1935 to 1939, the work of project leaders reflected vi a concern for the worker and the minority member. Under the direction of Cunningham, the project's staff assembled a handbook of cooperative labor movements in the state. The leftist ideology of some members of the project paralleled the interests of many writers and artists throughout the country. Writers and artists of the 1930s attempted to exalt the heritage of the average American in their works. The classics Let Us Now Praise Famous Men and The Grapes of Wrath portrayed the nobility .of southern sharecroppers during the bleakest days of the depression. But Oklahomans were not interested in the poor and downtrodden in their state. Many of Oklahoma's politicians scorned relief projects and equated unionism and liberalism with the rise of communism. Thus, as the Oklahoma Writers' Project failed to gain support from state administrators, it faced severe setbacks in its work. Although the Oklahoma Writers' Project continually faced problems during its tenure, many times factors outside of the state program were the causes of the trouble. There were a few poor administrators and same incompetent writers on the staff. But state politics and federal government bureaucracy doomed any success that the project might have had. The economically and socially troubled decade of the 1930s proved to be a difficult period for the development of a federally sponsored writers' program in Oklahoma. | |
