Tangents, the Journal of the Stanford Program at Stanford University

summer 2011 THE JOURNAL OF THE MASTER OF LIBERAL ARTS PROGRAM AT STANFORD UNIVERSITY in this issue... Essays by Brad Bauer, Emily Goldberg, Ken Jensen, Nancy Krajewski, Lauren McElhatton, Pat Nicholson Fiction by Andy Grose Poems by Sarah Anne Cox, Katherine Orloff, Dwain L. Sparling summer 2011 THE JOURNAL OF THE MASTER OF LIBERAL ARTS PROGRAM AT STANFORD UNIVERSITY V OLUM E 1 0 in this issue... 4 Dorothea Lange’s Internment Photographs: Sculpting American Public Opinion Through Censorship During World War II Lauren McElhatten 6 Story: The Circus Tent of Déjà Vu Andy Grose 12 Epistolatory Subversives Brad Bauer 13 Poem: Old Love Katherine Orloff 18 From Theriac to Treacle Emily Goldberg 25 Call and Response: Civil Rights and Jazz Pat Nicholson 26 Poem: MotheRose Dwain L.Sparling 31 From Gutenberg to Google: From Hand-set Type to the Digital Book Ken Jensen 32 Poem: Medea Sarah Anne Cox 33 Bertolt Brecht, Hanns Eisler, and the Guide to War Nancy Krajewski 36 Contributors TANGENTS 1 P U B L I S H I N G N OTES L ETTER FROM THE E DITORS This publication features the works of students and alumni of the Master of Liberal Arts We are proud to present the tenth edition of Tangents, The Journal of the Stanford Program at Stanford University. Master of Liberal Arts Program. This issue presents a diverse group of works by Editor students and alumni that deal with the following questions: Oscar Firschein i How did the Federal Government attempt to control publicity about the Assistant Editor Lindi Press Japanese-American internments? Reviewers i How did some ordinary German citizens protest against the Nazi government? Oscar Firschein Theda Firschein i How was a very questionable medication considered a universal panacea for Nancy Krajewski hundreds of years? Lindi Press Faculty Advisor i How did the civil rights movement affect the development of jazz? Dr. Linda Paulson i Is the Google Book Settlement inherently evil? Original Design Suzanne West i How did Brecht and Eisler express their anti-war sentiments? Layout of Current Issue We are also pleased to offer a short story and three poems. Jill Kadlec, Principal AKA — Ahmann Kadlec Associates, Palo Alto, CA i i I I www.akacreativegroup.com Contributions We have been able to continue publication through the generosity of individuals. Contributions to support the production of Tangents can be sent to the attention of Dr. Linda If there is a group of MLA alumni “angels” who would like to take Tangents under Paulson, Stanford University, 482 Galvez Street, Stanford, CA 94305-3004. Please make checks its wing, please contact the MLA office. payable to Stanford University and clearly mark “For Tangents.” i i I I Rights and Permissions Copyrights for material included in this publication belong to their creators. Japanese internment photos courtesy Oakland Museum, Oakland CA, Lange collection. Photos from We hope that Tangents will continue to showcase the varied talents of the MLA Kriegsfibel, by Bertolt Brecht, reprinted with the kind permission of Eulenspiegel Verlag, participants in the years to come. Berlin. Bertolt Brecht: Kriegsfibel.© 1955 by Eulenspiegel Verlag, Berlin. © 1967 by Stefan S. Brecht.Theriac woodcut courtesy Wellcome Library, London. Front Cover: Dorothea Lange Collection, Oakland Museum. The full caption reads: “Hayward, California. Two children of the Mochida family who, with their parents, are awaiting evacuation bus. The youngster on the right holds a sandwich given her by one of a group of women who were present from a local Church. ” Back Cover: Dorothea Lange Collection, Oakland Museum. The full caption reads: “Woodland, California. Ten cars of evacuees of Japanese ancestry are now aboard and the doors are closed. Their Caucasian friends and the staff of the Wartime Civil Control Administration stations are watching the departure from the platform. Evacuees are leaving their homes and ranches, in a rich agricultural district, bound for Merced Assembly center about 125 miles away.” 2 TANGENTS TANGENTS 3 images hauntingly confirmed the injustice that the depicting interned Japanese Americans are devoid Dorothea Lange’s Internment interned Japanese Americans faced. The images show of such cultural markers, in favor of more universal the infirm and ill left in sparse or even “outdoor” dress. These pamphlets were designed to allow and Photographs: hospitals, and long food lines reminiscent of many encourage the “us” or “them” polarization that the Lange images from the Dust Bowl and Depression. government found beneficial to their early wartime SCULPTING AMERICAN PUBLIC OPINION THROUGH Lange also chronicled the devastation by recounting agenda. When the official government stance on CENSORSHIP DURING WORLD WAR II the story of Dave Tatsuno, a friend and her husband’s internment later changed, and officials wanted to former student, whom she photographed prior to create a vision of the Japanese Americans as loyal, by Lauren McElhatton internment and kept in touch with after the camps the photographs they released allowed such American closed. Tatsuno’s infant son died of exposure in a Utah dress and themes in newly-captured photographs. internment camp. Typifying Lange’s style, the particular composition Identification tags were another major motif the of Figure 1 seems to focus intently on a single face, government sought to censor at the outset of the the eldest’s. Her expression in the photograph perfectly internment. Images featuring Americans, labeled like encapsulates the bewilderment experienced by Executive Order 9066, issued meaning in the tilt of head, old luggage, were contrary to the picture that the Japanese Americans, as their own nation excluded in 1942, forced all Japanese a facial expression, or even government intended to paint. The tags were racial them from society. The sign behind the family, with Americans from their homes a detail of posture.” She identifiers, a type of branding, and a hallmark of the one word (station) obscured, reads “CIVIL CONTROL.” and into government custody. certainly exploited all three impounded images. Once again, it is revealing that What could more adequately characterize the intern- Dorothea Lange chronicled to weave narratives into her government publications were all but devoid of ment than the ominous term control? The photo shows this exodus with her prescient images, which were disap- photographs featuring tagged Americans. Also, Lange’s another facet of the internment the government photographic eye, already proving at best. Her meaning photography concentrates on youth, contrasting the sought to hide: forceful control, namely military made famous in her Farm endures today. Lange’s government’s focus on working age internees in the control, over the camps. Security Administration compositional dexterity is one images chosen for publication. Small and innocent Military presence is a significant, recurring theme (FSA) work during the Great of the most undeniable Japanese-American children were tagged in the exact in the photographs censored by the Wartime Civilian Depression. Curiously, the reasons Lange’s images were same way as the potentially “treacherous” adults American government hired suppressed. Thus, the content emphasized in government-released imagery. Lange’s photographs weave Lange to record the “relo- of her censored images is Figure 1 contains a myriad of themes that persist cation,” yet censored her important; the difference in the impounded photographs. First, a white social a horrifying narrative about photographs. Only in 2006 between these concealed worker leans out of a doorway, directing three the Japanese internment. were any of her internment images and the published Japanese Americans to a waiting bus. His emphatic images released for publica- internment photographs of motion echoes the swift effect of Executive Order Control Agency. It is no coincidence that so many of tion. Lange’s photographs others highlights what the 9066. The racial delineation present in the photo, a Lange’s impounded images feature men in uniform contain tales of American government tried to conceal. white man versus the young evacuees, is a familiar supervising the exodus to camps (see Figure 2). military authority and govern- As a collection, Lange’s thread in Lange’s impounded images. This racial Many photographs show these officers towering over mental manipulation of photographs weave a hor- contrast, a white person’s power next to the hapless- young children, holding alarming looking rifles (with public opinion, all in the name rifying narrative about the ness of Japanese internees, is tellingly absent from bayonets!), or standing at attention in front of vulner- of security. They expose an internment. Her photographs War Relocation Agency (WRA) and Office of War able Japanese Americans, who appear both smaller ugly juxtaposition between of families in their homes Information (OWI) pamphlets concerning the relocation. in stature and far less threatening than the military progressive American ideals prior to evacuation are listed A government official castigated Lange when she officials. However, in the Government-published and political realities in World in the National Archives leaked an image showing a similarly racially-charged images showing members of the military, the officers War II. The solemn message alongside images of horse photograph of a Japanese American handing his appear almost as if their presence is coincidental; of the imagery is striking, F I G U R E 1 stalls used to house the relocation paperwork to a white official (Gordon, they are never shown in imposing postures. particularly in light of the tension between Lange’s relocated on their way to the internment camps. In Impounded). She was almost (but tellingly not) fired. Dorothea Lange knew the military’s daunting perspective and her employer’s. the same catalog, Japanese-American students salute The Japanese-American family in Figure 1 is clad presence in the camps all too well. In the course of Acknowledging a disparity between the admin- the American flag in San Francisco public schools in American fashion.

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