Historical Essay: Endnotes
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that follow you may return to the text of the historical essay or by clicking on the underlined oral history citations, you may access the related location in the cited interview transcript. You will need to use the back button
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1. Mary Panzer, Matthew
Brady and the Image of History (Washington, D.C.: Smithsonian Institution
Press, 1997); Benson J. Lossing, Matthew Brady's Illustrated History of
the Civil War (New York: Fairfax Press, 1977; originally published in
1912); Jacob A. Riis, How the Other Half Lives: Studies among the Tenements
of New York, with a new preface by Charles A. Madison (New York: Dover,
1971; originally published in 1901); Maren Stange, Symbols of Ideal Life:
Social Documentary Photography in America, 1890-1950 (New York: Cambridge
University Press, 1989); America and Lewis Hine: Photographs, 1904-1940,
foreword by Walter Rosenblum, biographical notes by Naomi Rosenblum, and essay
by Alan Trachtenberg (New York: Aperture, 1977); Carl Fleischhauer and Beverly
W. Brannan, eds., Documenting America, 1935-1943 (Berkeley: University
of California Press, 1988); William Stott, Documentary Expression and Thirties America (New York: Oxford University Press, 1973). Return
2.
Earl Dotter, In Mine and Mill (New York: Pilgrim Press, 1979); Matthew
Witt and Earl Dotter, In Our Blood (New Market, Tenn.: Highlander Research and Education Center, 1979); Portraits in Steel, photographs by Milton Rogovin, interviews by Michael Frisch (Ithaca: Cornell University Press, 1993); Bill Bamberger and Cathy N. Davidson, Closing: The Life and Death of an American Factory (New York: W.W. Norton, 1998). Return
3.
George Harvan, "Witness to a Closing," in George Harvan, The Coal Miners
of Panther Valley (Easton, Penn.: Canal History and Technology Press,
1998; originally published in 1995), p. 11. For the full text, see "Witness."
Harvan's description of his commitment to record the lives of miners reminds
one of the perspective of the anthropologist, Oscar Lewis. See La Vida:
A Puerto Rican Family in the Culture of Poverty--San Juan and New York
(New York: Random House, 1966). Return
4.
Interview 1. All citations to the interview transcripts that follow provide links to the actual locations of the quotations in question. Return
5.
Interview 2. Return
6.
Interview 2. Return
7.
Interview 2. Return
8.
For a thoughtful account of the last years of the Lehigh Coal and Navigation
Company from the point of view of the president of its coal mining subsidiary,
see W. Julian Parton, The Death of a Great Company: Reflections on the
Decline and Fall of the Lehigh Coal and Navigation Company (Easton, Penn.:
Canal History and Technology Press, 1998; originally published in 1986). Return
9.
For an article which explores migration and persistence in the anthracite
region of Pennsylvania and places George Harvan's individual choices within
a broader context, see Thomas Dublin, "Working-class Families Respond to Industrial
Decline: Migration from the Pennsylvania Anthracite Region since 1920," International
Labor and Working Class History, 54 (Fall 1998), 40-56. Return
10.
For examples of the thinking of other men and women from the anthracite region
faced with similar choices, see Thomas Dublin, When the Mines Closed: Stories
of Struggles in Hard Times, photographs by George Harvan (Ithaca: Cornell
University Press, 1998).
Return
11.
Interview 4. Return
12.
For a brief treatment of this history, see Thomas Dublin, "Two Hundred Years
in the Panther Valley," in Harvan, Coal Miners of Panther Valley, pp.
5-10. Return
13.
The best discussion of work at Lanscoal comes from the oral history of one
of its miners, Mike Sabron. See Dublin, When the Mines Closed, pp.
41-65. Return
14.
It is telling evidence of George Harvan's catholic approach to preserving
mining's history in the Panther Valley that he is currently photographing
and digitizing a collection of portraits of managers of the Lehigh Coal and
Navigation Company held by the No. 9 Mine Museum in Lansford. Return
15.
See Dublin, When the Mines Closed, pp. 163-83. Return
16.
For fuller elaboration, see Dublin, When the Mines Closed, pp. 41-65;
Thomas Dublin and George Harvan, "When the Mines Closed: One Worker's Oral
History," Labor's Heritage, 9:4 (Spring 1998), 46-59. Return
17.
Interview 3. Return
18.
George Harvan produced two other photographs for "The Face of America" series,
but we have not included them in this edition because no usable negatives
or original prints survive. They remain fascinating views in their published
form. See "The End of Freedom," Saturday Evening Post, March 19, 1960,
pp. 40-41 and "Nuns' Day Off," Saturday Evening Post, October 1, 1960,
pp. 34-35. Return
19.
"Farewell, Dear Relics," Saturday Evening Post, November
14, 1959, p. 34. Return
20.
Interview 5. Harvan expressed this aspect
of his approach explicitly: "When I go into a mine, for instance, I will never
tell a miner to do something because it's going to look better, or `Look this
way, you're going to look better.' I would rather take him the way he is and
what he is doing and let the chips fall where they may. If it's a good photograph,
fine. If it's not, at least it's real. . . ." Return
21.
Interview 3. Return
22.
Lawrence W. Levine, "Photography and the History of the American People in
the 1930s and 1940s," in Fleischhauer and Brannan, eds., Documenting America,
1935-1943, pp. 21-22. For Evans's thoughts about his approach to documentary
photography, see Leslie Katz, "An Interview with Walker Evans," in Vicki Goldberg,
ed., Photography in Print: Writings from 1816 to the Present (New York:
Simon and Schuster, 1981), pp. 358-69. For a useful introduction to Evans
and his work, see "Walker
Evans Revolutionizes Documentary Photography." Return
23.
Levine, "Photography," pp. 25-26. Return
24.
Our thanks to photographer Fred Lonidier for comments that helped crystallize
the distinction we are offering here. Return
25.
Benjamin H.D. Buchloh and Robert Wilkie, eds., Mining Photographs and Other
Pictures, 1948-1968: A Selection from the Negative Archives of Shedden Studio,
Glace Bay, Cape Breton, photographs by Leslie Shedden; essays by Don Macgillivray
and Allan Sekula; introduction by Robert Wilkie (Halifax, Nova Scotia: Press
of the Nova Scotia College of Art and Design and the University College of
Cape Breton Press, 1983). Return
26.
Allan Sekula, "Photography Between Labour and Capital," in Buchloh and Wilkie,
eds., Mining Photographs and Other Pictures, p. 257. Return
27.
Sekula, "Photography Between Labour and Capital," p. 257. Return
28.
Dotter, In Mine and Mill. Photos used here with permission of Earl
Dotter.
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