Undergraduate Review
Volume 3 | Issue 1
Article 5
1989
"Chicago" and "Prairie": Carl Sandburg and a
Yearning for Paradise
Pamela Lannom '88
Illinois Wesleyan University
Recommended Citation
Lannom '88, Pamela (1989) ""Chicago" and "Prairie": Carl Sandburg and a Yearning for Paradise," Undergraduate Review:
Vol. 3: Iss. 1, Article 5.
Available at: http://digitalcommons.iwu.edu/rev/vol3/iss1/5
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Lannom '88: "Chicago" and "Prairie": Carl Sandburg and a Yearning for Paradi
: EDITOR •••
aging Editor at the end of last
y unheard of by both faculty
sadifficult process. However,
,biple the number of submis­
, last year), which was both
~ discovered we faced finan­
.ent Senate and Dean Hurwitz
to publish this year's edition.
dd just like to thank everyone
Chicago" and JJPrairie" :
Carl Sandburg and a Yearning for
Paradise
II
Pamefa Lannom
is edition: the students who
Senate, Dr. Bray (our faculty
l. I really believe that Under­
.because it highlights the best
~ for us to be published and for
f students on campus. I hope
ent many different majors and
'lay it can do so is with your
yone has given is deeply ap­
~ Review will soon be an esta~
~ojonnier
Maurer
Salzmann
!tzel
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Undergraduate Review, Vol. 3, Iss. 1 [1989], Art. 5
In Rediscooeries: Li
cusses literature from the ~
one reason or another has
that exists between the fa
sections, and the city of
polarity, he beli Yes, is
lie
Carl Sandburg's poems ha
discusses, many of them
urban and rural illinois.
conjunction, serve as espE
ment of this type of oonflic
same types of imagery, an
obviously deal with the sa
The basic conflict behind t
Chicago and the prairie,
I
accept either as his " sa fe p
For Sandburg the
appealing. The images of t
a nurturing, providing, ete
ies, nature in the west (illin
ered the west-or at least
ability, in the mind of the I
again,''2 and the prairie of
influence on him. Early in I
where he can " res t easy in
14).3 The prairie also has a v
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Lannom '88: "Chicago" and "Prairie": Carl Sandburg and a Yearning for Paradi
In Redisccroeries: Literature and Place in Rlinois, Robert Bray dis­
cusses literature from the period around the tum of the century that for
one reason or another has been neglected. He focuses on the polarity
that exists between the farming regions in the central and southern
sections, and the city of Chicago in the northern part of the state. This
polarity, he believes, is "definitive of illinois experience."l Although
Carl Sandburg's poems have not suffered from the type of neglect Bray
discusses, many of them do involve some type of conflict between
urban and rural Dlinois. Two of Sandburg's poems, when read in
conjunction, serve as especially good examples of Sandburg's treat­
ment of this type of conflict. Both "Chicago" and "Prairie" contain the
same types of imagery, and although they differ in many ways, they
obviously deal with the same subject matter in a very similar manner.
The basic conflict behind these two poems is Sandburg's love of both
Chicago and the prairie, combined with his inability to completely
accept either as his "safe place."
For Sandburg the prairie has many qualities which are very
appealing. The images of the prairie throughout the poem are ones of
a nurturing, providing, eternal entity. As Bray discusses in Redisccroer­
ies nature in the west (Dlinois for all practical purposes can be consid­
L
ered the west-4lr at least "westem"-for this time period) had the
ability, in the mind of the romantic to "make men and women whole
again,"2 and the prairie of Sandburg's poem has had just that type of
influence on him. Early in the poem, he describes the prairie as a place
where he can "rest easy in the prairie arms, on the prairie heart" (line
14).3 The prairie also has a voice in the poem, and her role is a nurturing
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Undergraduate Review, Vol. 3, Iss. 1 [1989], Art. 5
one, as she is "mother of men" (line 124). In this particular stanza, the
In addition to its lei
role of prairie as provider is strongly emphasized, as she claims as her
in the prairie is also depicteC
own people, places and animals. The use of the possessive phrase ''They
this particularly well:
are mine" repeatedly through this stanza indicates not only that the
I am here \'I
lamhereb
I am dust 0
prairie claims all she mentions as her own, but also seems to imply that
they in tum owe her for their existence. She is also responsible for
nourishing "the lonely men on horses" (line 28), and feeding "the boys
The prairie suggests an i
who went to France in great dark days" (line 45). Sandburg realizes the
characteristic of the cities. 11
prairie's role as mother and nourisher and addresses her saying, "0
being the source of all life 51:
prairie mother, I am one ofyour boys" (line 190), once again placing the
to hold this responsibility fOJ
prairie not only in a feminine role, but also in that of a nurturer.
a sense of continuity and a"
Although she does refer to herself once as brother and mother (line 38),
looks back to the days of tI:
her role is primarily as mother, and as such, the prairie is a distinctly
Natty Bumppo, in which t1
feminine entity in the poem.
Indians for possession of thI
The treatment of the prairie as a feminine entity is one that is
these days of the past, as the
common to American literature, and, according to Annette Kolodny,
and the red deaths" (line 45:
part of the myth of the American landscape. Kolodny states that one of
YetSandburg'spraiJ
the oldest and most important American fantasies is
in his poem, is very differenl
inhabit. Cooper's prairie is c
a daily reality of harmony between man and nature
based on an experience of land as essentially femi­
nine-that is, not simply the land as mother, but the
land as woman, the total female principle of gratifi­
cation-enclosing the individual in an environment
of receptivity, repose, and painless and integral sat­
isfaction.4
man are considered an inv.
industrialization, no matter
prairie is often described a
passenger train would defin
Kolodny goes on to say that once America "finally produced a
Natty is also very conscious
pastoral literature of her own, that literature hailed the essential femi­
land. He talks of the white rna
ninity of the terrain in a way European pastoral never had/'S Sandburg
says, ''He tames the beast of t
is an obvious example of a writer who views the landscape not only as
robbed the brutes of their n.
woman, but also as mother.
'earth of its trees to quiet th
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Lannom '88: "Chicago" and "Prairie": Carl Sandburg and a Yearning for Paradi
In this particular stanza, the
In addition to its femininity and its nurturing aspect, the land
phasized, as she claims as her
in the prairie is also depicted asbeingeternal. One stanza demonstrates
>fthe possessive phrase "They
this particularly well:
I.
r.a indicates not only that the
rt, but also seems to imply that
e. She is also responsible for
ine 28), and feeding "the boys
line 45). Sandburg realizes the
md addresses her saying, "0
ne 190), once again placing the
It also in that of a nurturer.
s brother and mother (line 38),
uch, the prairie is a distinctly
I am here when the cities are gone.
I am here before the cities come...
I am dust of men Gines 26-30).
The prairie suggests an inherent permanence in herself that is non­
characteristic of the cities. This coincides very closely with her sense of
being the source of all life she sustains. As an eternal being, she is able
to hold this responsibility for all of the time. This permanencealso gives
a sense of continuity and a feeling of the past in the prairie. Her history
looks back to the days of the prairie of James Fenimore Cooper and
Natty Bumppo, in which the whites are still struggling against the
Indians for possession of the land. Sandburg even makes reference to
l
feminine entity is one that is
:cording to Annette Kolodny,
lpe. Kolodny states that one of
1\ fantasies
is
ny between man and nature
of land as essentially femi­
y the land as mother, but the
11 female principle of gratifi­
ldividual in an environment
nd painless and integral sat-
these days of the past, as the prairie is one who has "seen the red births
and the red deaths" (line 45).
Yet Sandburg's prairie, both as he experiences it, and as itexists
in his poem, is very different from the prairie Natty and Ishmael Bush
inhabit. Cooper's prairie is one in which the settlements of the white
man are considered an invasion upon the prairie, and the "progress" of
industrialization, no matter on how small a scale, is unwelcome. The
prairie is often described as "naked" and "Still," and an overland
passenger train would definitely be out of place in this environment.
America "finally produced a
lture hailed the essential femi­
astoral never had."s Sandburg
iews the landscape not only as
Natty is also very conscious of the white man's use and abuse of the
land. He talks of the white man who settles the prairie with Ishmael and
says, ''He tames the beast of the field to feed his idle wants, and having
robbed the brutes of their natural food, he teaches them to strip the
'earth of its trees to quiet their hunger.''' Only Natty, because of his
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Undergraduate Review, Vol. 3, Iss. 1 [1989], Art. 5
picts the cities as part of a
Indian background and knowledge of correct use of the land, is able to
live on the prairie and remain at peace with nature. For Sandburg, the
I speak of
I tell you
Itellyou
asundJ
prairie can adapt not only to the settlements of white men, but also the
machines they bring with them. As Kolodny says of Cooper's prairie,
"Not only do the prairies' distance from the settlements make the
arrival of the axe and the 'chopper' highly improbable, but, more
The vitality and energ
important, their very terrain renders that aggression impotent."7
sion of the past, but in its eI
Perhaps one of the most notable and important differences
the reader at the end of this
between Cooper's prairie and Sandburg's prairie is the use of three
an ocean of tomorrows, I.
distinct images and motifs that Carl S. Smith discusses in his analysis of
Chicago and the American Literary Imagination, 1880-1920 as common to
Yet at other times ~
authors of the time writing about Chicago. These three images include
than its choked passengert
the railroads, the stockyards, and the large buildings. The significance
of prairie. At the times the
of these three symbols arises from their common characteristic: they are
the prairie; this has the effe
all "either machines of locomotion or [they] contained within them­
the city. For example, two s
selves such machines."sThe appearance of these three motifs in relation
such descriptions.
to Chicago is expected; their appearance in "Prairie," however, is
somewhat surprising. Even something as fundamental as the structure
A thousand red I
forcom/
and putuJ
wires, fee
smokesta.
of the poem is based on the movement of a train through the midwest­
ern prairies. AlthoughSandburgdoes criticize the "overland passenger
train" in the cityas being "choked," with pistons that "hiss" and wheels
In an early year I
greens an
the police
steamboa
that "curse" Gines 22-23), the train on the prairie "flits on phantom
wheels and the sky and / the soil between them muffle the pistons and
cheer the wheels" (lines 24-25). Sandburg's prairie is able to accept
mechanization, growth, and civilization in a way that Cooper's could
Sandburg has created,.
not. Sandburg appears to be disturbed by the image of men in the mills
location that contrast with
''Playing their flesh arms against the twisting wrists of steel" (line 95),
reproduced above isan esp
but yet the prairie claims as its own both the "old zigzag rail fences,
smokestacks "biting" the
[and] the new barbwire" Gine 135). Most importantly, Sandburg de­
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presence in the city-and y;
Lannom '88: "Chicago" and "Prairie": Carl Sandburg and a Yearning for Paradi
)rrect use of the land, is able to
piets the cities as part of an atmosphere of growth and promise.
rith nature. For Sandburg, the
mts of white men, but also the
oo.ny says of Cooper's prairie,
I speak of new cities and new people.
I tell you the past is a bucket of ashes.
I tell you yesterday is a wind gone down,
a sun dropped in the west (lines 194-97).
>m the settlements make the
lighly improbable, but, more
ilt aggression impotent."7
,Ie and important differences
1(s prairie is the use of three
The vitality and energy of the prairie lie not so much in its posses­
sion of the past, but in its eternal focus on the future. As the prairie tells
the reader at the end of this stanza, '''There is nothing in the world / only
an ocean of tomorrows, / a sky of tomorrows" Gines 199-2(0).
nith discusses in his analysis of
rltion, 1880-1920 as common to
Yet at other times Sandburg seems to criticize the city for more
~. These three images include
than its choked passenger trains, and depicts it on a level inferior to that
rge buildings. The significance
of prairie. At the times these criticisms are juxtaposed with images of
ommoncharacteristie: they are
the prairie; this has the effect of elevating the "uncivilized" prairie over
[they] contained within them­
the city. For example, two stanzas near the end of the poem contain two
of these three motifs in relation
nee in "Prairie," however, is
lS fundamental as the structure
){ a train through the midwest­
itidze the "overland passenger
such descriptions.
A thousand red men cried and went away to new places
for com / and women: a million white men came
and put up Skyscrapers, / threw out rails and
wires, feelers to the salt sea: now the
smokestacks bite / the skyline with stub teeth.
l pistons that ''hiss'' and wheels
the prairie "flits on phantom
en them muffle the pistons and
In an early year the call of a wild duck woven in
greens and purples: / now the riveter's chatter,
the police patrol, the song-whistle of the /
steamboat (lines 78-84).
IUrg'S prairie is able to accept
n in a way that Cooper's could
Sandburg has created, within a single poem, images of the same
'Y the image of men in the mills
location that contrast with one another. The imagery in the first stanza
risting wrists of steel" (line 95),
reproduced above is an especially caustic view of the city. The image of
>th the "old zigzag rail fences,
smokestacks ''biting'' the skyline suggests a hostile and invading
ost importantly, Sandburg de­
presence in the city-and yet Sandburg has already accepted the city as
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Undergraduate Review, Vol. 3, Iss. 1 [1989], Art. 5
the promise of the future. Even within this one poem, he seems unable
of criticism. As Bray indic
to make up his mind about his opinion of the appearance of the city on
Chicago Poems "reveals
the prairie, and the mechanization it brings with it.
always have with Chical
Sandburg is also unable to reach a decision in "Chicago." The
"Chicago" and in "Prairit
city is very appealing to Sandburg, for a number of reasons. The city of
In addition to his i
this poem is new, like the cities in ''Prairie,'' and also possesses a type
Sandburg's attraction to tI
of raw energy that fascinates Sandburg. His descriptions of the city
earlier criticism (if it can
concentrate on images of action and growth. Chicago is "alive and
acknowledgment of 80m.
coarse and strong and cunning" (line 16); a "tall bold slugger" Oine 18)
second halfof the poem by
which is ''Fierce as a dog with tongue lapping for action, cunning as a
form of praise exists in the
savage pitted / against the wilderness" (lines 19·20). According to
associates with Chicago.
Smith, such imagery was common to authors of the time writing about
comparison ofChicago to i
Chicago. "Since the middle of the nineteenth century," he states,
lines of the poem. Smith (
"visitors had spoken of Chicago in terms of its raw vitality" (p. 2). This
states that,
vitality seems to be the main attraction of Chicago for Sandburg.
ThiscomF
meaning)
Yet Sandburg does not view Chicago with pure admiration,
either. Another characteristic of the authors of the period, according to
century,D
SuchcODlI
growth an
expectatio
Smith, is a combination of admiration for the city, and a questioning of
its consequences. Authors during this period, Smith writes, were
(i. e. theCl
"trying not only to capture the city's energy ... but also to question the
sources and implications of these qualities and the disruptions, both
Thisanalysisisa very 81
good and bad, that the rise of the city had caused in society and in the
- he is described as an "ig
lives of individuals" (p. 7). Sandburg fits into this category of authors
whoisundefeated.lndesa
perfectly. In lines six to twelve of the poem, the Chicago Sandburg
that at some time in the ft.
describes is less than ideal. He believes when they tell him that the city
experience, he will no long
is "wicked," "crooked," and "brutal" (lines 6,8, and 10). Not only does
also cease laughing; perha.
he agree with these opinions, however, but he proceeds to provide the
tion of the damage to the ir
reader with the evidence which has convinced him of his opinions.
life - once it recognizes tho
Sandburg isobviously caught between a feeling ofadmiration and one
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its women and children (lir
Lannom '88: "Chicago" and "Prairie": Carl Sandburg and a Yearning for Paradi
lis one poem, he seems unable
of criticism. As Bray indicates in Redisaroeries, Sandburg's collection of
If the appearance of the city on
Chicago Poems "reveals the attraction-repulsion conflict he would
ngswith it.
always have with Chicago."9 This conflict is clearly evident in both
na decision in "Chicago." The
"Chicago" and in "Prairie."
number of reasons. The city of
In addition to his attraction to the vitality of Chicago, however,
rie," and also possesses a type
Sandburg's attraction to the city does become evident as he negates his
g. His descriptions of the city
earlier criticism (if it can be considered criticism; it is mainly a mere
;rowth. Chicago is "alive and
acknowledgment of some negative characteristics of the city) in the
I); a "tall bold slugger" (line 18)
second half of the poem by praising the city in one form or another. One
lpping for action, cunning as a
form of praise exists in the images of vitality and energy that Sandburg
s" (lines 19-20). According to
associates with Chicago. The second form of praise occurs in the
Ithors of the time writing about
comparison of Chicago to a youth that Sandburg makes in the last eight
ineteenth century," he states,
lines of the poem. Smith discusses this comparison in his work, and
\Sof its raw vitality" (p. 2). This
states that,
l
of Chicago for Sandburg.
:hicago with pure admiration,
horsof the period, according to
or the city, and a questioning of
is period, Smith writes, were
This comparison of Chicago to a healthy and well­
meaning youth appears well into the twentieth
century, most notably in Sandburg's "Chicago."
Such comparisons rationalize the city's undisciplined
growth and crudity and neatly summarize the
expectation that, once the body matures, the mind
(i. e. the cultural amenities) will follow. 10
lel"8Y ••• but also to question the
lities and the disruptions, both
!\ad caused in society and in the
fits into this category of authors
~
poem, the Chicago Sandburg
J when they tell him that
the city
lines 6, 8, and 10). Not only does
" but he proceeds to provide the
convinced him of his opinions.
\ a feeling of admiration and one
This analysis is a very accurate one; Sandburg'syouth is very crude
- he is described as an "ignorant fighter" (line 28) who laughs as one
who is undefeated. In describing him in this manner, Sandburg implies
that at some time in the future, once he had gained knowledge and
experience, he will no longer be laughing. Thus, Chicago one day will
also cease laughing; perhaps this will result from an eventual recogni­
tion of the damage to the individual that appears to be inherent in city
life - once it recognizes the marks of "wanton hunger" on the faces of
its women and children (line 12). Yet at the conclusion of the poem, the
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Undergraduate Review, Vol. 3, Iss. 1 [1989], Art. 5
fighter, and Olicago, remain proud of what they are (line 33). This
will rather than their own
would appear to be an inconsistency, unless it is taken into considera­
as many voices as there arE
tion that Sandburg judged oncago's pride as false and uneducated­
of voices does explain S<l
the image ofa proud, happy, ignorant Oedipuscomes to mind. The fate
either poem-it would se
of oncago in the poem is left as a very uncertain one, as Sandburg's
or for any type of consist
descriptions of the city and the comparisons he makes are filled with
specific poem. Kolodny eli
conflict and inconsistency.
cans that despite thcirUnai
After reading and analyzing these two poems simultaneously,
"the despoliation of the Ie
the reader is left with an inability to reconcile the different viewpoints
consequence of human ha
Sandburg takes in each of the poems, and even within the poems
the development of the Ian
themselves. Severalcriticshave attempted to reconcile this difficulty for
was a fate neither he nor tI
themselves. Amy Lowell, in Tendencies in Modern American Poetry,
same time was unable tc
suggests that "his American experiences have sown his heart thickly
Perhaps, in looking for a "
with a strange combination of dissatisfaction and idealism,"l1 and that
desire of the early settlers
11t is ... [aJ belief in joy in the midst of a joyless world that makes the
Kolodny, as a "yearning fc
paradox of Mr. Sandburg's writings."12 Bray, also editor of A Reader's
Guide to nIinois Uterature, states in an essay in that work that ''Most
fiction critical of the city tries to find an accommodating middle ground
on which their protagonists can meet oncago's nearly impossible
demands without sacrificing their ethical selves."13 Perhaps Sandburg
attempted to find some middle ground in his poems, in which he could
praise and criticize simultaneously. Either of these seem to be accept­
able explanations of the inconsistency within the poems.
The best explanation, however, is one that is much less favor­
able to Sandburg. Bray, this time in an unpublished manuscript, dis­
cusses Sandburg in an extremely critical light. In a general statement
about Sandburg, he provides an excellent explanation of the conflict in
these two poems. "The poet calls the world what he wants to," Bray
asserts, "despite its claim to objective existence, makes words work his
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f what they are (line 33). This
nless it is taken into considera­
ide as false and uneducated ­
ledipuscomes to mind. The fate
,uncertain one, as Sandburg's
risons he makes are filled with
Lannom '88: "Chicago" and "Prairie": Carl Sandburg and a Yearning for Paradi
will rather than their own, and may wear as many personas or speak in
as many voices as there are poems."l. The usage ofan unlimited number
of voices does explain Sandburg's inability to reach a conclusion in
either poem-it would seem as if he was not looking for a conclusion,
or for any type of consistency, either in his work as a whole, or in a
specific poem. Kolodny discusses the realization on the part of Ameri­
cans that despite their image of the land as a nurturing, feminine entity,
ese two poems simultaneously,
:oncile the different viewpoints
J,
and even within the poems
led to reconcile this difficulty for
ies in Modern American Poetry,
:es have sown his heart thickly
action and idealism,"l1 and that
fa joyless world that makes the
12 Bray,
"the despoliation of the land appeared more and more an inevitable
consequence of human habitation."ls Perhaps Sandburg realized that
the development of the land, and its ensuingdestruction of the prairies,
was a fate neither he nor the country as whole could avoid, and at the
same time was unable to release his ties to the maternal prairies.
Perhaps, in looking for a "safe place," he was unable to overcome the
desire of the early settlers in the New World ­
a desire termed, by
Kolodny, as a "yeaming for paradise."16
also editor of A Reader's
essay in that work that ''Most
accommodating middle ground
~ Chicago's nearly impossible
.cal selves.'113 Perhaps Sandburg
Iin his poems, in which he could
lther of these seem to be accept­
,within the poems.
!I', is one that
is much less favor­
n unpublished manuscript, dis­
.callight. In a general statement
lent explanation of the conflict in
world what he wants to," Bray
~tenee, makes words work his
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NOTES
Ull
Robert Bray, Rediscoveries: Literatureand Placein nlinois (Urbana: Uni­
versity of illinois Press, 1982), p. 7.
Bray, Robert, ed. A Retuler
Illinois State University, 19f
1
Ibid., p. 16.
2
Bray, Robert. Rediscoveries;
University of illinois Press,
Given Sandburg's background and experiences, he can reasonably be
equated as the speaker in most of his poems. As David Hoffman states
in Moonlight Dries No Mittens (Washington: Library of Congress, 1979,
p. 5), "Sandburg excludes nothing, or at least very little, of his own
experience from his poetry."
3
Bray, Robert. "The People
manuscript.
Hoffman, David. Moonlight
Congress, 1979.
Annette Kolodny, The Lay of the Land (Chapel Hill: The University of
North Carolina Press, 1975), p. 4.
4
Kolodny, Annette. The Ulyo
North Carolina Press, 1975.
Ibid., p. 6.
5
Lowell, Amy. TendenciesinM
House Publishers, Ut., 1921.
James Fenimore Cooper,_The Prairie (New York: Airmont Publishing
Company, Inc., 1964), p. 75.
6
7
Smith, Carl S. Chicago and th.
Chicago: University of Olic
Kolodny, p. 101.
Smith. Chicago and the American Literary Imagination, 1880-1920
(Chicago: University of Chicago Press, 1984), p. 10.
S Carl S.
9
Bray, p. 46.
10
Smith, p. 58.
Amy Lowell, Tendencies in Modern American Poetry (New York:
Haskell House Publishers, Ltd., 1921), p. 202.
11
12 Ibid.,
p. 212.
13 Robert Bray, ed., A Reader's Guide to Rlinois Literature (Springfield:
Illinois State Library, 1985), p. 33.
14 Robert
Bray, The PeopleMizybe, the Place Perhaps, Unpublished Manu­ script.
15 Kolodny,
16 Ibid.,
p. 7.
p. 4.
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Lannom '88: "Chicago" and "Prairie": Carl Sandburg and a Yearning for Paradi
BIBLIOGRAPHY
dP1aceinRlinois (Urbana: Uni­
Bray, Robert, ed. A Reader's Guide to Rlinois Literature. Springfield:
lllinois State University, 1985.
Bray, Robert. Rediscoveries: Literature and Place in Illinois. Urbana:
University of lllinois Press, 1982
leriences, he can reasonably be
~. As David Hoffman states
:00: Library of Congress, 1979,
at least very little, of his own
Bray, Robert. ''The People Maybe, the Place Perhaps," unpublished
manuscript.
Hoffman, David. Moonlight Dries No Mittens. Washington: Library of
Congress, 1979.
:hapel Hill: The University of
Kolodny, Annette. The Lay of the lAnd. Chapel Hill: The University of
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