100 books like Posters for the People

When I was researching my book, I spent hours and hours in the National Archives and the Library of Congress, poring over the records of the Federal Writers’ Project. But I turned up few documents that offered as much insight into the FWP as this absorbing novel from 1941. Its author, Jack Balch, worked for the project in Missouri—one of the most dysfunctional and tumultuous outposts anywhere in the country. His thinly fictionalized account describes how the project’s idealistic workers came up against the machinations of a local political machine and, eventually, went out on strike. Balch’s memories, and his anger, are still fresh as he takes stock of both the FWP’s promise and the obstacles it faced in carrying out its mission. 

When Harry Hopkins, the head of the WPA, needed someone to run the Federal Theater Project, he made a bold choice: Hallie Flanagan, a visionary director, dramatist, and critic. Flanagan is at the center of Furious Improvisation, Quinn’s lively and deeply researched history of the FTP. Quinn’s propulsive narrative never flags, even as she showcases the project’s many triumphs, such as the “Living Newspaper” productions dramatizing current events, or Orson Welles’s so-called “voodoo Macbeth” featuring Black actors. But these productions and others were highly controversial, and the project was eventually attacked by the House Un-American Activities Committee. When a defiant Flanagan told the committee that she was fighting against the “un-American inactivity” imposed by the Depression, they ignored her—but this book stands as a monument to her achievements.   

Today, most people know Zora Neale Hurston as a novelist, thanks to her classic Their Eyes Were Watching God. But she was also an accomplished folklorist, anthropologist, playwright, and essayist. And yet, by the late 1930s, she was broke, and she found work with both the Federal Theater Project and Federal Writers’ Project. This book collects Hurston’s writing for the FWP in her home state of Florida, along with an incisive essay by Pamela Bordelon. The sheer variety of material on display here wasn’t unusual for the FWP: you’ll find essayistic meditations on folklife and art, collections of tall tales and children’s songs, and sketches of labor in the turpentine camps and citrus groves—as well as a chilling report on a racist massacre in Ocoee. 

This is a scholarly work, but don’t let the unassuming title fool you: Stott’s writing is crisp, elegant, and highly readable, and his insights are crucial to any understanding of the New Deal’s place in American culture. He covers the Roosevelt administration’s cultural undertakings—from the WPA projects to Farm Security Administration photographers to FDR’s own political style and “documentary imagination”—but his real subject is the broader documentary impulse that was expressed so forcefully and variously during the 1930s. This impulse was hardly confined to the federal government’s interventions in the arts. The connections he draws between the New Deal and, say, Martha Graham’s dance productions, or James Agee and Walker Evans’s Let Us Now Praise Famous Men, are illuminating and convincing. 

This is a collection of four novellas that feature pack horse librarians, a project of the Works Progress Administration that delivered books to remote regions in the Appalachian Mountains between 1935 and 1943. I knew nothing about the program and was captivated by these brave women who traveled deep into the mountains by themselves to bring reading and education to the poor (As someone who loses her car in a mall parking lot I can’t imagine doing this). What I loved most about the stories is the impetus it created for me to dig deeper into the program and the women themselves. Being a book lover and former library trustee, what these women did moved me on a deeply emotional level.

Several books focused on the Works Progress Administration (WPA), or discreet parts of it, had been published before Borchert’s was released but this is the best of them. I doubt that any other book will ever tell the story of the Federal Writers’ Project (FWP) quite so well. On one level, it lays out the project’s scope and walks readers through the politics involved with its creation and continued operation. And on another, it explains what the project meant for the writers it employed and how it influenced their work. Every other book on this list was written by an author employed by the project or another part of the WPA; this book will help you understand them as part of a coherent literary moment in American history.     

Unlike Welty’s works featuring honorable or broadly comic characters, this dense story cycle was never excerpted in anthologies. It’s a trickier cast: consider Jinny Love Stark and Virgie Rainey, who cut through the languor of Depression-era Mississippi with stone-cold intention. Jinny Love plays croquet with her lover to enrage her volatile husband; she encourages her daughter to wear lizards as earrings to offend the propriety of her own controlling mother. Impoverished piano prodigy Virgie flouts her gift merely to watch her teacher go mad. Later, she trims her dead mother’s yard with sewing scissors while neighbors do the real work of laying out the body and receiving mourners. The heat presses forward. What day is it? What hour? This is weird, experimental Welty, and the payoff is sweet.

In the 1930’s some very forward-thinking person at the Work Projects Administration got the idea to interview former slaves and record their stories before it was too late, and their stories had been lost.

The result was some 2,300 interviews with men and women who had been enslaved across many states (not just the South). The interviews are generally brief but always unvarnished and compelling.

The resulting record of their lives and experiences will leave a mark on anyone who reads them. And you should read them.

This latest compilation of the records of the Salem witch trials is a must for anyone researching any aspect of the trials. 

Its importance lies not only in its comprehensive documentation of the events of 1692, but also in its inclusion of several documents newly discovered since previous publications offering such records. It also provides corrections that have been made in previous collections, dating to the work of the WPA in the 1930s.

The records are arranged chronologically, but also well indexed, along with a general introduction, linguistic introduction, biographical notes, and bibliography.  

Never Come Morning is Nelson Algren’s second novel and his first great book.  He wrote it during his time with the Federal Writers’ Project in Chicago, between working on a cookbook, a travel guide, and sundry other assignments. In some ways, this book feels of a piece with his first. In some ways, this book feels like a piece with his first. Both books center on alienated young men; both are coming-of-age stories (after a manner). But this novel was a leap forward for Algren. The psychological portrait of its protagonist is fully realized, and the prose sings. Algren had the project to thank for both developments. He used the access his job afforded him to conduct interviews, portions of which made their way into the novel verbatim. And with the projects’ financial support, he was able to revise for months, and months – folding nuance, insight, and poetry into… show more.