# data[].attributes.body
I predict the story is going to be about migration and poverty. https://www.loc.gov/rr/print/list/128_migm.html

# data[].attributes.body
I think the book is going to be about people who are poor and are in need of money! https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

# data[].attributes.body
I think that the story is going to be about poverty and show the struggles  migrants  went through to help their families. https://www.loc.gov/rr/print/list/128_migm.html

# data[].attributes.body
ttps://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

# data[].attributes.body
The story is about poverty and inmigrants .https://www.loc.gov/rr/print/list/128_migm.html

# data[].attributes.body
I predict is about a sadlife

# data[].attributes.attachment_link.readable_text
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Reproduction Number: LC-USF34-T01-016270-C (b&w film dup. neg.) LC-DIG-fsa-8b31764 (digital file from original neg.)

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# data[].attributes.attachment_link.title
Eighteen year-old mother from Oklahoma, now a California migrant

# data[].attributes.attachment_link.description
Rights assessment is your responsibility. The Library of Congress does not own rights to material in its collections. Therefore, it does not license or charge permission fees for use of such material and cannot grant or deny permission to publish or otherwise distribute the material.

# data[].attributes.attachment_link.title
Dorothea Lange - Women Come to the Front | Exhibitions (Library of Congress)

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During World War II, Dorothea Lange documented the change on the homefront, especially among ethnic groups and workers uprooted by the war

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I predict that the story "Of Mice and Men" is going to be about poverty and their struggle with it.

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

# data[].attributes.attachment_link.title
Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

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I think that its of mice and and men is going to be about a character that is poor. and  poverty.
www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

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I predict that the story is aout poverty  https://www.loc.gov/exhibits/wcf/wcf0013.html

# data[].attributes.attachment_link.title
Dorothea Lange - Women Come to the Front | Exhibitions (Library of Congress)

# data[].attributes.attachment_link.description
During World War II, Dorothea Lange documented the change on the homefront, especially among ethnic groups and workers uprooted by the war

# data[].attributes.body
After I read this article I may know what Mice and men is about. I think Mice and men is about the poverty and the migrant workers there. Not only that but it may talk about World War.

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

# data[].attributes.attachment_link.title
Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

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The story "Of mice and men" seems to b

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I think that the story is going to be about poverty and may have to do with the great depression
https://www.biography.com/people/dorothea-lange-9372993

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I predict that the book is going to be  about poverty and immigrants
https://www.loc.gov/item/fsa1998018448/PP/

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I predict that the book will be about immigrants. Coming from other states to California to try and find jobs to get money. https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

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I predict that "Mice of men"will be about people in poverty.
https://www.biography.com/people/dorothea-lange-9372993

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My prediction based on the research I did for "Of Mice and Men" is that the novel is going to be about Dorothea Lange and poverty.
https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

# data[].attributes.body
I predict that "Of Mice and men" will be about people who live in low circumstances. It will probably be centered around a really low time in our history. https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

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My prediction  is that mice and men is going to be sad Dorothea Lange's "Migrant Mother" Photographs in the Farm Security Administration Collection: An Overview
https://www.loc.gov/search/?in=&q=dorothea+lange&new=true&st=

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I predict that the story is about the unemployed men that wandered the streets during the great depression. It will also be on how they migrated. https://www.biography.com/people/dorothea-lange-9372993

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i think the book mice and men will be about people living in the poor

# data[].attributes.body
I predict that the book will be about be about a time in history when poverty was really big.  https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

# data[].attributes.body
I predict that this story will be about  the depression era when poverty was everywhere. I predict that Dorothea will tell us about what happened in the era. https://www.loc.gov/rr/print/list/128_migm.html

# data[].attributes.body
i predict that mice of men will be about people in poverty.

# data[].attributes.body
I predict that the book Of Mice and Men will be about two friends that are poor and struggle with life

# data[].attributes.body
I predict that "Mice of Men'" will be about people in poverty.
https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

# data[].attributes.body
I predict that this book will be about sadness

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

# data[].attributes.attachment_link.title
Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

# data[].attributes.body
I predict that the book is gonna be about mice and men

# data[].attributes.body
I predict that the mice and men story will  be about poverty.
Dorothea Lange's "Migrant Mother" Photographs in the Farm Security Administration Collection: An Overview (Library of Congress)

# data[].attributes.body
I predict that the book of " of mice and men is going to be about the poor and there stories. https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

# data[].attributes.body
I predict that the book, "Of Mice and Men" is going to be about two men who are in a forest and they meet a mouse that can talk https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

# data[].attributes.body
I think the story is going to be about poverty. https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

# data[].attributes.body
I predict that the Of Mice and Men will be about poverty.

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

# data[].attributes.attachment_link.title
Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

# data[].attributes.body
I predict that the book "Of Mice and Men" will be about 2 people that tries to work hard to get out of poverty or how they migrant to other places.

# data[].attributes.attachment_link.readable_text
About this Item

Title

Migrant agricultural worker's family. Seven children without food. Mother aged thirty-two. Father is a native Californian. Nipomo, California

Summary

Photograph shows Florence Thompson with two of her children as part of the "Migrant Mother" series. For background information, see "Dorothea Lange's M̀igrant Mother' photographs ..." http://www.loc.gov/rr/print/list/128_migm.html

Contributor Names

Lange, Dorothea, photographer.

Created / Published

1936 Feb. or Mar.

Subject Headings

- Migrant agricultural laborers

- Mothers

- Poor persons

- United States--California--San Luis Obispo County--Nipomo

- Migrants--California

Genre

Nitrate negatives

Notes

- Additional information on caption card: See mount 9093-C [i.e. print caption for LC-USF34-009093-C].

- Title and other information from caption card.

- Transfer; United States. Office of War Information. Overseas Picture Division. Washington Division; 1944.

- More information about the FSA/OWI Collection is available at http://hdl.loc.gov/loc.pnp/pp.fsaowi

- Published in: American women : a Library of Congress guide ... Washington : Library of Congress, 2001, p. 186.

- Published in: Eyes of the nation : a visual history of the United States / Vincent Virga and curators of the Library of Congress ; historical commentary by Alan Brinkley. New York : Knopf, 1997.

- Temp. note: usf34batch1

Medium

1 negative : nitrate ; 4 x 5 inches or smaller.

Call Number/Physical Location

LC-USF34- 009095-C

Source Collection

Farm Security Administration - Office of War Information Photograph Collection (Library of Congress)

Repository

Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA dcu http://hdl.loc.gov/loc.pnp/pp.print

Library of Congress Control Number

2017762905

Reproduction Number

LC-USF34-T01-009095-C (b&w film dup. neg.)

Rights Advisory

No known restrictions. For information, see U.S. Farm Security Administration/Office of War Information Black & White Photographs http://www.loc.gov/rr/print/res/071_fsab.html

Description

Photograph shows Florence Thompson with two of her children as part of the "Migrant Mother" series. For background information, see "Dorothea Lange's M̀igrant Mother' photographs ..." http://www.loc.gov/rr/print/list/128_migm.html

LCCN Permalink

https://lccn.loc.gov/2017762905

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MODS Record

Dublin Core Record

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Citations are generated automatically from bibliographic data as a convenience, and may not be complete or accurate.

Chicago citation style:

Lange, Dorothea, photographer. Migrant agricultural worker's family. Seven children without food. Mother aged thirty-two. Father is a native Californian. Nipomo, California. California Nipomo San Luis Obispo County United States, 1935. Feb. or Mar. Photograph. Retrieved from the Library of Congress, https://lccn.loc.gov/2017762905. (Accessed October 20, 2017.)

APA citation style:

Lange, D., photographer. (1935) Migrant agricultural worker's family. Seven children without food. Mother aged thirty-two. Father is a native Californian. Nipomo, California. California Nipomo San Luis Obispo County United States, 1935. Feb. or Mar. [Photograph] Retrieved from the Library of Congress, https://lccn.loc.gov/2017762905.

MLA citation style:

Lange, Dorothea, photographer. Migrant agricultural worker's family. Seven children without food. Mother aged thirty-two. Father is a native Californian. Nipomo, California. Feb. or Mar. Photograph. Retrieved from the Library of Congress, <https://lccn.loc.gov/2017762905>.

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Migrant agricultural worker's family. Seven children without food. Mother aged thirty-two. Father is a native Californian. Nipomo, California

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Title Migrant agricultural worker's family. Seven children without food. Mother aged thirty-two. Father is a native Californian. Nipomo, California Summary Photograph shows Florence Thompson with two of her children as part of the "Migrant Mother" series. For background information, see "Dorothea Lange's M̀igrant Mother' photographs ..." http://www.loc.gov/rr/print/list/128_migm.html Contributor Names Lange, Dorothea, photographer.

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Mice of men will be  about 2 migrant worker and as they travel they will encounter problems.
https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

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i think "of mice and men " will be about how poverty affected people back then https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

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I predict that "Of mice and men" will be about migrant and poverty.

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Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

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Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

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Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

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I predict it'll be about the "Great Migration" since how it talks about how they've had to move their crop plantation since the weather was not suiting their crops. https://www.loc.gov/search/?in=&q=dorothea+lange&new=true&st=

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I predict that the book is about two men that are in poverty and travel from place to place to try to find a place to settle in.

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Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

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Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

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In the title it discripts that it will be about big people and small people.

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I predict that this book is about two farm workers that run away from their previous farm ( ranch) and set off to find another one for them to work so they can get money to get their own ranch. i predict this because i read this book already

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I predict of "Mice and Men" will be about the migrants d
uring the great depression.

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

# data[].attributes.attachment_link.title
Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

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I predict that the book, Of Mice and Men, is going to be how poverty was really bad back then.
https://www.loc.gov/rr/print/list/128_migm.html

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I predict that this book will be about

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I predict that the book is about two men going through some tough trials such as the great depression and them trying to get a job and survive through the depression.

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

# data[].attributes.attachment_link.title
Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

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I predict that the book will be about the Great Depression and Dorothea Lange.

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I predict the book is going to be about Dorothea and about migrant workers/poverty in the old times.
https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

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My prediction based on the research and images and everything we have did so far related to "Of Mice  of Men". Is that it's gonna be about Dorothea Lange, about poverty, It may also be about the great depression considering it was in that time.
https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

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i predict that the book of mice and men will be about the migration and poverty

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

# data[].attributes.attachment_link.title
Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

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I predict this story will be about Dororthea Lang and how her life was experiencing the Great Depression.

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I predict "Of Mice and Men" is going to have a lot of deaths, since the book was written during the 1900s.

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https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/  I predict that the book will be about the past and the problems that went on.

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https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

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i say its about poor people that happened because others probloms

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I predict it will be about Dororthea Lange.

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I feel like It is going to have to do something with Poverty with Dorothea Lange

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I think that the book "Of Mice and Men" will be about migrant ranch workers in the Great Depressions
https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

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https://www.loc.gov/collections/fsa-owi-black-and-white-negatives/articles-and-essays/documenting-america/migrant-workers/

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i predict  the book "of mice and men "

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I predict that the book " Of Mice and Men " will be about problems in the past during the great depression

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I predict that this book will be about the great depression and how it took place along with how it affected the nation

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Many years after Dorothea Lange's iconic 1936 photograph, a reporter asked Florence Owens Thompson about the life she eked out for her family. "We just existed," she said, with no sentimentality. "We survived, let's put it that way."

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I predict that the book "Of Mice and Men" will be about and take place during The Great Depression.

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Synopsis

During the Great Depression, Dorothea Lange photographed the unemployed men who wandered the streets. Her photographs of migrant workers were often presented with captions featuring the words of the workers themselves. Lange's first exhibition, held in 1934, established her reputation as a skilled documentary photographer. In 1940, she received the Guggenheim Fellowship.

Early Years

One of the preeminent and pioneering documentary photographers of the 20th century, Dorothea Lange was born Dorothea Nutzhorn on May 26, 1895, in Hoboken, New Jersey. Her father, Heinrich Nutzhorn, was a lawyer, and her mother, Johanna, stayed at home to raise Dorothea and her brother, Martin.

When she was 7, Dorothea contracted polio, which left her right leg and foot noticeably weakened. Later, however, she'd feel almost appreciative of the effects the illness had on her life. "[It] was the most important thing that happened to me, and formed me, guided me, instructed me, helped me and humiliated me," she said.

Just before Dorothea reached her teen years, her parents divorced. Dorothea grew to blame the separation on her father and eventually dropped his surname and took her mother's maiden name, Lange, as her own.

Art and literature were big parts of Lange's upbringing. Her parents were both strong advocates for her education, and exposure to creative works filled her childhood.

Following high school, she attended the New York Training School for Teachers in 1913. Lange, who'd never shown much interest in academics, decided to pursue photography as a profession after a stint working in a NYC photo studio. She went on to study the art form at Columbia University, and then, over the next several years, cut her teeth as an apprentice, working for several different photographers, including Arnold Genthe, a leading portrait photographer. In 1917, she also studied with Clarence Hudson White at his prestigious school of photography.

By 1918, Lange was living in San Francisco and soon running a successful portrait studio. With her husband, muralist Maynard Dixon, she had two sons and settled into the comfortable middle-class life she'd known as a child.

Change of Focus

Lange's first real taste of documentary photography came in the 1920s when she traveled around the Southwest with Dixon, mostly photographing Native Americans. With the onslaught of the Great Depression in the 1930s, she trained her camera on what she started to see in her own San Francisco neighborhoods: labor strikes and breadlines.

In the early 1930s, Lange, mired in an unhappy marriage, met Paul Taylor, a university professor and labor economist. Their attraction was immediate, and by 1935, both had left their respective spouses to be with each other.

Over the next five years, the couple traveled extensively together, documenting the rural hardship they encountered for the Farm Security Administration, established by the U.S. Agriculture Department. Taylor wrote reports, and Lange photographed the people they met. This body of work included Lange's most well-known portrait, "Migrant Mother," an iconic image from this period that gently and beautifully captured the hardship and pain of what so many Americans were experiencing. The work now hangs in the Library of Congress.

As Taylor would later note, Lange's access to the inner lives of these struggling Americans was the result of patience and careful consideration of the people she photographed. "Her method of work," Taylor later said, "was often to just saunter up to the people and look around, and then when she saw something that she wanted to photograph, to quietly take her camera, look at it, and if she saw that they objected, why, she would close it up and not take a photograph, or perhaps she would wait until... they were used to her."

In 1940, Lange became the first woman awarded a Guggenheim fellowship.

Final Years

Following America's entrance into World War II, Lange was hired by the Office of War Information (OWI) to photograph the internment of Japanese Americans. In 1945, she was employed again by the OWI, this time to document the San Francisco conference that created the United Nations.

While she battled increasing health problems over the last two decades of her life, Lange stayed active. She co-founded Aperture, a small publishing house that produces a periodical and high-end photography books. She took on assignments for Life magazine, traveling through Utah, Ireland and Death Valley. She also accompanied her husband on his work-related assignments in Pakistan, Korea and Vietnam, among other places, documenting what she saw along the way.

Lange passed away from esophageal cancer in October 1965.

While Lange sometimes grew frustrated that her work didn't always provoke society to correct the injustices she documented, her photography has endured and greatly influenced generations of documentary photographers.

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During the Great Depression, Dorothea Lange photographed the unemployed men who wandered the streets. Her photographs of migrant workers were often presented with captions featuring the words of the workers themselves. Lange's first exhibition, held in 1934, established her reputation as a skilled documentary photographer. In 1940, she received the Guggenheim Fellowship.

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i think its about mice and men

# data[].attributes.body
I think this story will be about someone or multiple people who are struggling during the great depression and they're trying to due well in life

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

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Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

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Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

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My prediction is that the story will take place during an old time or have something to due with poverty.

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I predict that the book "Of Mice and Men" will be about Mice being friends with men

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i predict that the book will be about the old day in San Francisco and what people did to help out in world war I and II

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I predict that the book "Mice and Men" will be about a family struggling with food and money and have to work in the fields.

# data[].attributes.attachment_link.readable_text
Dorothea Lange, photographer. Destitute pea pickers in California. Mother of seven children. Age thirty-two. Nipomo, California. 1936. U.S. Farm Security Administration/Office of War Information. Prints & Photographs Division.

The photograph that has become known as "Migrant Mother" is one of a series of photographs that Dorothea Lange made of Florence Owens Thompson and her children in March of 1936 in Nipomo, California. Lange was concluding a month's trip photographing migratory farm labor around the state for what was then the Resettlement Administration. In 1960, Lange gave this account of the experience:

I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean- to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it. (From: Lange's "The Assignment I'll Never Forget: Migrant Mother," Popular Photography, Feb. 1960).

The images were made using a Graflex camera. The original negatives are 4x5" film. It is not possible to determine on the basis of the negative numbers (which were assigned later at the Resettlement Administration) the order in which the photographs were taken. Extended captions and supplementary textual files relating to this series in the FSA Written Records have not been found.

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The photograph that has become known as "Migrant Mother" is one of a series of photographs that Dorothea Lange made of Florence Owens Thompson and her children in March of 1936 in Nipomo, California. Lange was concluding a month's trip photographing migratory farm labor around the state for what was then the Resettlement Administration.

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I predict that the book "Of Mice and Men" will be about things that were happening during The Great Depression.

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

# data[].attributes.attachment_link.title
Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

# data[].attributes.body
I predict that Mice and Men would be a book taken place in 1930s .

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

# data[].attributes.attachment_link.title
Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

# data[].attributes.body
I predict that the book "Mice and Men" will be about poverty.

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

# data[].attributes.attachment_link.title
Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

# data[].attributes.body
I predict the book "Of Mice and Men" will be about The Great Depression and what people went through in those times.

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

# data[].attributes.attachment_link.title
Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

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I predict that the book "Mice and Men" will be about poor families and the old times.

# data[].attributes.body
I predict that that the book we are going to read is going to be how people dealed with pearl harbor and the great depression.

# data[].attributes.body
I predict that the book "Mice and Men" will be about poor families and plenty of judgement

# data[].attributes.attachment_link.readable_text
Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

# data[].attributes.attachment_link.title
Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

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Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

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I think the book will be about poverty and depression. It can might also be about mice and men.
https://www.loc.gov/rr/print/list/128_migm.html

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Based on the research you did using the library of congress website. Make a prediction about the novel "Of Mice and Men" by John Steinbeck. [Attach A link to the Article you read using the Plus (+) key]

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this will be about poor people

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I predict that the book "mice and Men" will be able poor families and how they are able to manage to leave it.

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I predict the book will be about the Depression and include devastation

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Dorothea Lange, photographer. Destitute pea pickers in California. Mother of seven children. Age thirty-two. Nipomo, California. 1936. U.S. Farm Security Administration/Office of War Information. Prints & Photographs Division.

The photograph that has become known as "Migrant Mother" is one of a series of photographs that Dorothea Lange made of Florence Owens Thompson and her children in March of 1936 in Nipomo, California. Lange was concluding a month's trip photographing migratory farm labor around the state for what was then the Resettlement Administration. In 1960, Lange gave this account of the experience:

I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean- to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it. (From: Lange's "The Assignment I'll Never Forget: Migrant Mother," Popular Photography, Feb. 1960).

The images were made using a Graflex camera. The original negatives are 4x5" film. It is not possible to determine on the basis of the negative numbers (which were assigned later at the Resettlement Administration) the order in which the photographs were taken. Extended captions and supplementary textual files relating to this series in the FSA Written Records have not been found.

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The photograph that has become known as "Migrant Mother" is one of a series of photographs that Dorothea Lange made of Florence Owens Thompson and her children in March of 1936 in Nipomo, California. Lange was concluding a month's trip photographing migratory farm labor around the state for what was then the Resettlement Administration.

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I predict that the book "Of Mice and men" takes place in a farm.

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 I predict that the book will follow 2 guys and their adventures during the Great Depression

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 I predict that the book will follow 2 guys and their adventures during the Great Depression

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I predict that "Mice and Men", will be about the old times in history.

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I predict that the book oh "Mice and Men" will be about poor families.
https://www.loc.gov/rr/print/list/128_migm.html

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I predict that the book "Mice and Men" will be about rich and poor people.

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i predict that the book ''of Mice and Men" will be about people who are in poverty.  

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i predict that the book ''of Mice and Men" will be about people who are in poverty.  

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I believe that of mice and men has something to do with back then and something with poor people

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Anna Eleanor Roosevelt was born in New York City on October 11, 1884. Orphaned by the time she was ten, the young niece of President Theodore Roosevelt was raised by her grandmother. After attending finishing school in England, she returned to America and became involved in various social service activities as well as teaching at the Rivington Street Settlement House in New York City, initiating lifelong work on behalf of the underprivileged.

In 1905, Roosevelt married her distant cousin Franklin Delano Roosevelt. Over the next ten years she had six children, one of whom died in infancy. Although her duties as mother and wife took most of her time, Eleanor Roosevelt continued to volunteer for good causes. While her husband served in Washington as assistant secretary of the navy during World War I, she worked with the Red Cross and visited wounded troops in the Naval Hospital. Upon returning to New York City in 1920, Mrs. Roosevelt involved herself more actively with women's organizations, particularly those that dealt with political and labor issues.

In 1921, Franklin Roosevelt contracted poliomyelitis (polio) and was permanently paralyzed from the waist down. In order to maintain her husband's political career and to assert her own personality and interests, Eleanor Roosevelt significantly increased her political involvement. She participated in the League of Women Voters, joined the Women's Trade Union League, and worked for the Women's Division of the New York State Democratic Committee. In addition, she helped found Val-Kill Industries, a non-profit furniture factory in Hyde Park, New York. During this period she began to act as her husband's "eyes and ears" traveling to places and talking to people her husband found difficult to reach.

When Franklin Roosevelt was inaugurated as the thirty-second president in 1933, Eleanor Roosevelt continued to serve as a liaison between the president and the people. Beginning in 1936, her daily syndicated newspaper column, "My Day," provided a constant means of communication with the American public.

At times, the First Lady surpassed the president in her commitment to the disadvantaged. She championed anti-lynching laws, for example, but President Roosevelt did not share her enthusiasm. He believed acceding to the National Association for the Advancement of Colored People's (NAACP) demands for federal anti-lynching laws would endanger congressional support for his New Deal programs. In March 1936, Eleanor wrote a "personal and confidential" letter to NAACP Executive Secretary Walter Francis White expressing dismay that the atrocity of lynching would not be addressed by the Congress or the president:

Before I received your letter today I had been in to the President, talking to him about your letter...I told him that it seemed rather terrible that one could get nothing done...and asked him if there were any possibility of getting even one step taken and he said the difficulty is that it is unconstitutional apparently for the Federal Government to step in in the lynching situation...I will talk to him again about the Van Nuys resolution and will try to talk also to Senator Byrnes and get his point of view. I am deeply troubled about the whole situation as it seems to be a terrible thing to stand by and let it continue...

After Franklin Roosevelt's death in 1945, President Harry Truman appointed the former First Lady as a delegate to the United Nations. She chaired the Human Rights Commission during drafting of the Universal Declaration of Human Rights adopted by the General Assembly on December 10, 1948.

In 1953, Mrs. Roosevelt resigned her position, but maintained involvement with the United Nations and other humanitarian causes. The former First Lady spent most of her later years at Val-Kill Cottage, her home in Hyde Park, New York. Eleanor Roosevelt died on November 7, 1962, in New York City.

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Anna Eleanor Roosevelt was born in New York City on October 11, 1884. Orphaned by the time she was ten, the young niece of President Theodore Roosevelt was raised by her grandmother.

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I predict that the book "Of Mice and Men" will be about the past problems and what people could and couldn't do because of reasons

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I predict that.... the book "Of Mice and Men" will be about the man and the mice going on a adventure

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I predict that mice and men are still about the two brothers one is very dull will the other is like every one else

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Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

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Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

# data[].attributes.attachment_link.description
Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.

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I predict that the story "Of Mice and Men" will be about migration and poverty.

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Photographer: Dorothea Lange

Imperial Valley, California, February and March 1937
Resettlement Administration, Lot 345

Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.

Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. 1 Unlike the agency's other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. 2 She and Taylor were married that winter.

Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:

I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3

As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land." 4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland. 5

In his biography of Lange, Milton Meltzer includes a marvelous account of Lange's trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange's four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:

She would walk through the field and talk to people, asking simple questions--what are you picking? . . . How long have you been here? When do you eat lunch? . . . I'd like to photograph you, she'd say, and by now it would be "Sure, why not," and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work. 6

In the file, Lange's ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.

The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist's eye and depict posture, gesture, and gaze with an ethnologist's. But their subjects are anonymous and the pictures become genre studies: "the pea picker" or the "jobless man on relief."

Lange's photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her "negatives are loaded with ammunition." She added that the situation was "no longer a publicity campaign for migratory agricultural labor camps" but rather "a major migration of people and a rotten mess." 7

Much of Lange's correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration's regional office. 8 She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals. 9

Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. 10 The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them "some of this new Imperial stuff to choose from, if they decide to run the series." 11 Stryker replied that "LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us." 12 Ten days later, Lange asked, "Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. -- for assemblage elsewhere." 13

In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make "a more pointed story" than a series of pictures from across the nation. 14 Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published. 15

Only one of Lange's photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a "new pioneer" seeking a new life in California. According to Life, his "courageous philosophy" led him to say, "I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin' I can make me a livin'." 16

In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life's use of her Imperial Valley photograph may have contributed to her bleak assessment that "during the years [the section] was being formed, it was not a [public relations] success." Recalling Stryker's encounters with major magazines, she asked, "Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn't make it . . . ? That's a little bit humiliating, and embarrassing to him." 17

The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media's emphasis on current events. The photographs "got mixed up with news," Lange told Doud, adding, "This was a state and a condition we were describing, and had no appeal." But she concluded that the judgment of history has established the importance of the photographs. "But time of course is a very great editor, and a great publicist," Lange said. "Time has given those things the value." 18

Notes

1 Copies of the reports are in Lots 897 and 898, Prints and Photographs Division, Library of Congress.

2 Much of the information in this text is from Karin Becker Ohrn, Dorothea Lange and the Documentary Tradition (Baton Rouge: Louisiana State University Press, 1980), 38-49; Milton Meltzer, Dorothea Lange: A Photographer's Life (New York: Farrar Straus Giroux, 1978), 126-29; and Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art, Smithsonian Institution.

3 Lange to Stryker, 16 February 1937, Stryker Collection.

4 Paul S. Taylor and Dorothea Lange, An American Exodus: A Record of Human Erosion (New York: Reynal and Hitchcock, 1939; rev. ed., New Haven: Yale University Press, 1969; reprint, New York: Arno Press, 1975), 145, 148.

5 Federal Writers' Project, California: A Guide to the Golden State (New York: Hastings House, 1939), 639-40.

6 Meltzer, Dorothea Lange: A Photographer's Life, 163-70.

7 Lange to Stryker, 12 March 1937, Stryker Collection.

8 Lange to Stryker, 12 March 1937, Stryker Collection.

9 Meltzer, Dorothea Lange: A Photographer's Life, 166-69. Clippings from serials may be found in the Supplementary Reference files and agency scrapbooks, FSA-OWI Written Records. Not all of the clippings offer full bibliographic citations. Lange's 1937 Imperial Valley pictures were used in the following newspapers, journals, and magazines: St. Louis Post Dispatch Sunday Magazine, 17 April 1938, 4; Current History, April 1939, 33; Social Work, April 1939; St. Louis Post Dispatch Sunday Magazine, 28 January 1940; Country Gentleman, February 1940, 9; and Democratic Digest, June-July 1940, 46.

10 Stryker to Lange, 2 December 1936, Stryker Collection.

11 Lange to Stryker, 16 February 1937, Stryker Collection.

12 Stryker to Lange, 9 March 1937, Stryker Collection.

13 Lange to Stryker, 19 March 1937, Stryker Collection.

14 Lange to Stryker, 23 March 1937, Stryker Collection.

15 Meltzer, Dorothea Lange: A Photographer's Life, 164-65.

16 "The U.S. Dust Bowl," Life, 21 June 1937, 60-65.

17 Dorothea Lange interview by Richard Doud, 22 May 1964, Archives of American Art.

18 Lange interview by Doud, 22 May 1964, Archives of American Art.

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Migrant Workers - Farm Security Administration/Office of War Information Black-and-White Negatives

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Photographer: Dorothea Lange Imperial Valley, California, February and March 1937 Resettlement Administration, Lot 345 Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade.