Maine Memory Network

Electrical 'danger' sign, ca. 1930

Contributed by: Maine Historical Society Date: circa 1930 Media: Enameled metal

Balloonist at Merchant Carnival, Biddeford, 1909

Contributed by: McArthur Public Library Date: 1909 Location: Biddeford Media: Photographic print

The Barns of the St. John River Valley: Maine's Crowning Jewels

Maine's St. John River Valley boasts a unique architectural landscape. A number of historical factors led to the proliferation of a local architectural style, the Madawaska twin barn, as well as a number of building techniques rarely seen elsewhere. Today, these are in danger of being lost to time.

Music in Maine - Civil War drum, ca. 1861

"Drumming at war was dangerous, because the enemy knew that without the drum, commanders lost contact with their troops."

Biddeford History & Heritage Project - III. An undercurrent of danger: Colonial Biddeford

"III. An undercurrent of danger: Colonial Biddeford Copy of Major Phillips sale of lands to Richard Russell, Biddeford, 1673McArthur Public…"

Historic Hallowell - Blizzard Poems

"Blizzard Poems Blizzard 1952 dangerous outcomes galore overwhelming white Snow unexpected depth 28 inches of white unforgettable Surprise disaster…"

Epidemic of violence against Indigenous people
by Michael-Corey F. Hinton

Systemic racism, murder, and the danger of stereotypes

An allegory about the Vietnam war
by Bill Hinderer

An allegory about my service in the Vietnam War

Longfellow Studies: Longfellow's "The Village Blacksmith" and "Whitman's Song of Myself" - Alternative Constructions of the American Worker

Grade Level: 9-12 Content Area: English Language Arts, Social Studies
Most if not all of us have or will need to work in the American marketplace for at least six decades of our lives. There's a saying that I remember a superintendent telling a group of graduating high-school seniors: remember, when you are on your deathbed, you will not be saying that you wish you had spent more time "at the office." But Americans do spend a lot more time working each year than nearly any other people on the planet. By the end of our careers, many of us will have spent more time with our co-workers than with our families. Already in the 21st century, much has been written about the "Wal-Martization" of the American workplace, about how, despite rocketing profits, corporations such as Wal-Mart overwork and underpay their employees, how workers' wages have remained stagnant since the 1970s, while the costs of college education and health insurance have risen out of reach for many citizens. It's become a cliché to say that the gap between the "haves" and the "have nots" is widening to an alarming degree. In his book Wealth and Democracy, Kevin Phillips says we are dangerously close to becoming a plutocracy in which one dollar equals one vote. Such clashes between employers and employees, and between our rhetoric of equality of opportunity and the reality of our working lives, are not new in America. With the onset of the industrial revolution in the first half of the nineteenth century, many workers were displaced from their traditional means of employment, as the country shifted from a farm-based, agrarian economy toward an urban, manufacturing-centered one. In cities such as New York, groups of "workingmen" (early manifestations of unions) protested, sometimes violently, unsatisfactory labor conditions. Labor unions remain a controversial political presence in America today. Longfellow and Whitman both wrote with sympathy about the American worker, although their respective portraits are strikingly different, and worth juxtaposing. Longfellow's poem "The Village Blacksmith" is one of his most famous and beloved visions: in this poem, one blacksmith epitomizes characteristics and values which many of Longfellow's readers, then and now, revere as "American" traits. Whitman's canto (a section of a long poem) 15 from "Song of Myself," however, presents many different "identities" of the American worker, representing the entire social spectrum, from the crew of a fish smack to the president (I must add that Whitman's entire "Song of Myself" is actually 52 cantos in length). I do not pretend to offer these single texts as all-encompassing of the respective poets' ideas about workers, but these poems offer a starting place for comparison and contrast. We know that Longfellow was the most popular American poet of the nineteenth century, just as we know that Whitman came to be one of the most controversial. Read more widely in the work of both poets and decide for yourselves which poet speaks to you more meaningfully and why.