The Running Encyclopedia
Though people have lived in the Yellowstone National Park region for at least 10,000 years, it was only “discovered” in 1807 by mountain man John Colter. People scoffed at his descriptions of the famous geysers and other features as “fire and brimstone.” Succeeding descriptions by other men during the following decades received similar dismissals.
An expedition led by geologist Ferdinand Hayden in 1871 established the reality of Colter’s observations. Its members included noted landscape painter Thomas Moran and photographer William Henry Jackson. Hayden immediately realized the potential of the area. Aided by the stunning images Moran and Jackson produced, he persuaded Congress to set aside the area as a national park—the first in the United States and perhaps the world. President Ulysses S. Grant signed the bill establishing the park on March 1, 1872.
It was hardly an instant success. The new park’s remoteness and lack of amenities made it accessible only to the hardiest of travelers. Only about 300 people visited it in the first year.
Compounding the problem of access was the disapproval of many people who lived near the park. They wanted to continue to hunt its wildlife and cut down its trees for lumber as well as begin to mine its minerals.
It was difficult to exercise any control over the situation. Congress refused to provide more than a pittance for the park’s protection.
A key development came in 1886 when US Army General Phil Sheridan, acting on his own authority, ordered troops to take control of Yellowstone Park. They built Camp Sheridan (later renamed Fort Yellowstone) inside the park boundaries. Though their presence helped curb poaching and mining, they had little authority to punish offenders.
George Bird Grinnell, publisher of Forest and Stream magazine and founder of the Audubon Society, had long promoted the park even though he lived in New York City. He linked up with rising politician (and future president) Theodore Roosevelt to take advantage of a notorious poaching incident in 1894 and help pass the Lacey Act the same year. The new law provided “teeth” to prosecute lawbreakers.
By then, travel to Yellowstone had become a little easier. Railroads dropped off visitors near the park entrance. They boarded stagecoaches which took them to newly established lodging facilities. And by 1916, when Yellowstone became part of the newly established National Park Service, automobiles were making the park much more accessible. Today more than 3 million people thrill to Yellowstone’s natural wonders every year.
Jim Whiting was a voracious reader when he was a kid, and now he has turned into a voracious writer. He writes books on adventure, sports, history, and most of all, he writes about people. One of his biography series is "Modern Role Models," featuring such popular titles as David Beckham, Jeff Gordon, and Tim Duncan. For more information on the series, click here.
MLA 8 Citation
Whiting, Jim. "The Birth and Growing Pains of the First National Park."
Nonfiction Minute, iNK Think Tank, 8 May 2018, www.nonfictionminute.org/
Carole Boston Weatherford
The Poet Professor
The Library of Congress Prints and Photographs Department has a wealth of primary source images. Many are from the Farm Security Administration/Office of War Information (FSA/OWI) Collection, a vast pictorial record of American life between 1935 and 1944. The collection boasts 174,000 black-and-white and 1,600 color photographs taken by government-employed photojournalists such as Walker Evans, Russell Lee, Arthur Rothstein, Jack Delano, Marion Post Wolcott, Carl Mydans, Dorothea Lange and Gordon Parks.
I first mined this collection in the 1980s—long before it was digitized or available online. Back then, I was researching my book, Remember the Bridge: Poems of a People (2002). I sought pictures to pair with poems that I had already penned. I found the desired images as well as others that spoke to me and begged for poems.
I didn’t realize it then, but I was writing ekphrastic poetry. According to the Poetry Foundation, “An ekphrastic poem is a vivid description of a scene or, more commonly, a work of art.” Romantic poet John Keats’ “Ode to a Grecian Urn” is a famous example.
I have since written more ekphrastic poems—two inspired by iconic images from the FSA/OWI collection. Gordon Parks: How the Photographer Captured Black and White America and Dorothea Lange: How the Photographer Found the Faces of the Depression tell the stories behind Parks’ 1942 “American Gothic” and Lange’s 1936 “Migrant Mother.” The resulting verse biographies go beyond describing the images to paint pictures of the photographers themselves.
Parks, a pioneering African American Renaissance man, documented racism in the nation’s capital by photographing Ella Watson, a government custodian who supported her family on $1,000 a year. Lange’s photo of a migrant mother and her starving children shows the misery caused by the Dust Bowl. Newspapers published these powerful photographs, exposing poverty and injustice.
Are you ready to browse the FSA/OWI collection online? Perhaps, start here. Choose one photograph that moves you. A gaze that will not let you look away. A face full of stories. A scene that draws you in. A landscape that transports you. Then, draft your poem. Write from that time and place, in the voice of the subject, the photographer, or a bystander. Read your draft aloud to yourself. Then, revise. When finished, arrange your poem and the photograph on the same page.
Carole Boston Weatherford writes hybrid genre poetry, nonfiction and biographies. BOX: Henry Brown Mails Himself to Freedom chronicles one of slavery’s most daring escapes.
How many of you have ever taken a selfie with friends and posted it on Instagram? Millions of people carry their cell phones with them all the time just in case they get a call or email. But we also use the camera on our iphones to record our day-to-day lives, sometimes exaggerating for affect.
Did you know that the first selfie was taken in 1839 by Robert Cornelius, an American pioneer in photography? He had to uncover the lens, run to be in the photo and then go back to replace the lens cap. There is a copy of his selfie etched onto his gravestone.
In 1913 the Grand Duchess Anastasia of Russia was only thirteen when she took a picture of herself in the mirror with a Kodak Brownie camera and sent it to a friend.
In the 1970s instant cameras made it easier for amateur photographers to take photos with instant results. And digital cameras thirty years later made it even easier.
When did the word selfie become a common word in the English language? I first heard it from my granddaughter, now thirteen-year-old Clara, who asked me to take a selfie with her on her smart phone. That was only about three years ago but by then “selfies,” especially by teenage girls, had flooded the internet. By 2017, social media, such as Facebook, Instagram and Snapchat, all of which encouraged the practice, reported over 800 million monthly users of their selfie promotion app. Features of this selfie phenomenon include apps that allow users to alter their appearance, sometimes in both hilarious and unflattering ways.
In 2013 the Oxford English Dictionary anointed the selfie word of the year, making it officially worthy of a spot in our vocabulary. Here is their definition.
“A photograph that one has taken of oneself, typically one taken with a smartphone or webcam and shared via social media.”
Cindy Sherman, an artist who uses photographs as her medium, just as others might use paints and brushes, has made a career of using herself as the model, the photographer, the director and the costumer of her artwork. As a child she loved dressing up, disguising herself with make-up and clothes she collected at Goodwill or secondhand shops. When she grew up, she still liked playing dress-up and at art school, started photographing herself posed in various roles. Her first photographs in black and white, grainy images she meant to be faded and imperfect, came out in 1977. She was in her twenties, living in New York, working as a receptionist in an art gallery. As a clown, a teen queen, a society matron, a biker, and many other characters in elaborate costumes, she mainly explored roles of women in America’s cultural landscape. The art world took notice of these sixty-nine black-and-white prints of young women, who each seemed caught in an uncomfortable or scary moment. Sherman’s career has moved forward with fame and fanfare ever since.
Two summers ago she took her private Instagram account public. Tens of thousands of followers signed on to watch Sherman’s self-portraits, wildly distorted headshots of herself. Instead of masquerading with fake noses and lips, thick make-up and wild get-ups, she used Facetune, Perfect365, and YouCamMakeup to change the shape of her face, the color of her eyes, her hair and her complexion. The results were both hilarious and frightening. How did she start on this new quest? She says she was lying around for weeks after an injury and just started playing around with her iphone, taking a look at some apps friends had told her about. The results, she says, are not competing with her serious art. She’s not a perfectionist about these selfies as she is in her studio. But selfies freed her up to experiment. They allowed her to imagine the images of these molded and sculpted, at times grotesque, at other times fetching portraits going out into cyber space. She envisioned them arriving onto thousands of screens and devices, each time making us all wonder yet again, “Who is the real Cindy Sherman?” “Who is the real me?”
Jan Greenberg's latest book (with Sandra Jordan) is Meet Cindy Sherman: Artist-Photographer-Chameleon. They have created an unconventional biography, that much like Cindy Sherman's famous photographs, has something a little more meaningful under the surface. Infusing the narrative with Sherman's photographs, as well as young people's first impressions of the photographs, this is a biography that goes beyond birth, middle age, and later life. It's a look at how we look at art.
Kryptos stands in the shadow of the Central Intelligence Agency (CIA) headquarters in Langley, Virginia−waiting to be revealed. No, Kryptos is not a foreign spy. It is a mysterious sculpture. The large, curved copper monument is covered with 1800 cut-out letters that together form four separate coded messages.
The sculpture was created by artist Jim Sanborn who was chosen to create it for the grounds of the CIA. When Sanborn began the work, he was not an expert in codes. He learned about writing codes and breaking codes from Ed Scheidt of the CIA.
Kryptos stood there, like a silent challenge, after it was installed in 1990. Two years later men from the National Security Agency (NSA) set out to crack the code and they did solve the first three messages. Then in 1998 one man at the CIA also solved the first three. But neither agency publicly announced they had done it. Nine years after Kryptos was unveiled, Jim Gillogly was the first person who did not work for a government agency who solved the first three of four messages. These three messages are a poetic phrase, coordinates for a location on the grounds of the CIA, and an account of the opening of King Tut’s tomb.
The fourth message is the shortest and only has 97 letters. For more than twenty years people all over the world have tried to figure it out. Sanborn, the creator of Kryptos, has grown impatient that the last section of Kryptos has not been solved. In 2010 he released a clue and revealed that one six word section of letters were code for the word “BERLIN.” Still no one could solve it. In November 2014, Sanborn announced another clue, a five word section of letters were code for the word “CLOCK.”
Still the fourth message on the Kryptos code has not been broken. It remains one of the world’s most famous unsolved mysteries.
Would you like to try to crack the fourth code of Kryptos? Here it is:
Carla Killough McClafferty writes about international intrigue in her book In Defiance of Hitler: The Secret Mission of Varian Fry. In this book you will learn the true story of how one American man traveled to France during World War II with the intention of rescuing refugees from the Nazis. Fry lived a double life as he secretly smuggled people out of Europe. Ultimately Varian Fry’s efforts saved the lives of more than 2000 people.
Carla McClafferty is a member of iNK's Authors on Call and is available for classroom programs through Field Trip Zoom, a terrific technology that requires only a computer, wifi, and a webcam. Click here to find out more.
“What is this country bumpkin up to? Is this some kind of a joke?” Laughter rippled through the conference room in Richmond as Lemuel Chenoweth unloaded his saddlebags and took out a bunch of oak sticks wrapped in newspapers.
He was the last builder to show his plans for the great competition in 1850 to build a bridge across the Tygart River in western Virginia (now West Virginia). Only a ferry connected the bustling north-south throughway at Philippi, causing traffic jams and the slowing of our young nation’s relentless commerce and travel.
Engineers had come from all over the east to show their plans … blueprints of cable suspension bridges, fancy cantilevered structures, an arched bridge. It had to be durable, and support wagonloads of heavy goods and herds of livestock. ridge across the Tygart River in western Virginia (now West Virginia). Only a ferry connected the bustling north-south throughway at Philippi, causing traffic jams and the slowing of our young nation’s relentless commerce and travel.
Quietly Lemuel assembled a miniature bridge, using no hammer or nails. Compared to the fancy bridge models shown, his was plain. Then, he pulled out two chairs, placed his construction across them, and spoke.
“Since I have no blueprints,” he said, “you may allow me a demonstration.”
Suddenly he stepped up onto the top of the model, and walked across it--from one end to the other. A gasp went up. No way could it hold! They knew their mathematics. Had this been the actual bridge it would have been as if a six-hundred-foot man stood on it. But the model held, and in the hushed silence that followed, Lemuel turned to the other contestants and asked, “Can you stand on your models?”
No one dared. They all knew theirs would be crushed.
And that's how Lemuel Chenoweth, a shy western Virginian with a third-grade education, won the competition for the famous Tygart River Bridge.
The double-barreled bridge has survived fires, the Civil War, floods, and 18-wheeler trucks. It is the only covered bridge left in the US serving a federal highway. It has its own museum, and in 1983 Governor Jay Rockefeller declared June 15 Lemuel Chenoweth Day.
Lemuel started out making furniture, wagons, and coffins, and later built houses, a church, and many bridges. He married Nancy Hart, the great-granddaughter of John Hart, signer of the Declaration of Independence. They had 13 children.
So how do we know about this story?
Because Lemuel Chenoweth was my great-great- granddaddy, and throughout my childhood I heard the story of Lemuel, the model bridge, and the two chairs.
Roxie Munro's newest book uses thirty-seven of her favorite masterpieces by great artists as an inspiration for her own masterpiece that is a cityscape and a game. You can read a review of the book here.
Roxie is also a member of iNK's Authors on Call where you can invite her to your classroom virtually.
MLA 8 Citation
Munro, Roxie. "Lemuel's Bridge." Nonfiction Minute, iNK Think Tank, 16 Oct. 2017, www.nonfictionminute.org/the-nonfiction-minute/lemuels-bridge.
For Vicki Cobb's BLOG (nonfiction book reviews, info on education, more), click here: Vicki's Blog
The NCSS-CBC Notable Social Studies Committee is pleased to inform you
that 30 People Who Changed the World has been selected for Notable Social Studies Trade Books for Young People 2018, a cooperative project of the National Council for the Social Studies (NCSS) & the Children’s Book Council