An artful selection of photographs commissioned by the FSA but 'killed' by Roy Stryker with some fantastic accompanying text.

"This manuscript examines the Farm Security Administration's political and administrative history and assesses the ideology of the institution against the overall goals of the New Deal. Roberts argues that the FSA's operating procedure in the rural south was woefully inadequate, stemming from a misunderstanding of rural poverty from leading New Dealers, a bogged-down bureaucracy that offered contradictory advice to southern farmers, and ineffective on-the-ground efforts by FSA agents"--

Photographs by a team of photographers who traveled across the United States documenting America's experience of the Great Depression and World War II.

Life on the road was anything but glamorous for Farm Security Administration photographers traveling through southern Illinois in the mid-1930s. Often their most promising subjects lived at the end of the worst roads, many of which lacked bridges, drainage ditches, or gravel. Outfitted with three government-issue cameras, flashbulbs, tripods, and film-processing chemicals, their job was to help "explain America to Americans" by seeking out and photographing the one-third of the nation FDR described as "ill-housed, ill-clad, and ill-nourished." Featured in this book are more than one hundred photographs from the collection of a quarter of a million taken by FSA photographers between 1935 and 1943. These pictures capture life during the Great Depression as viewed in the coal-mining towns of Herrin, West Frankfort, and Zeigler; the river communities of Shawneetown, Cairo, and Grayville; the farming regions near McLeansboro, Newton, and Harrisburg--more than two dozen southern Illinois county seats, hamlets, and landings. Together they comprise a photographic portrait of the determination, hard work, and capacity to find ways to celebrate life exemplified by the people of southern Illinois during one of the most difficult periods of American history. FSA photographers helped to invent and popularize the "documentary style," a type of photography in which pictures and their arrangement carry much of the information in a story. Intended to document the success of a government project, these pictures survived to preserve for later generations the story of the people of southern Illinois and how they endured the difficult times of the Great Depression.

One tool the FSA used to defend itself against political attacks was its Photographic Section, under the direction of Roy Stryker.".

Photos by Dorthea Lange and other FSA photographers whose names are less familiar. Focus is on agricultural communities, settlers fleeing the Dust Bowl, the classic Pie Town series, and various New Mexico villages. Further high-grade ore from the mine of 270,000 negatives now held by the Library of Congress. Annotation copyrighted by Book News, Inc., Portland, OR

Housed at the Library of Congress, the archives of the Farm Security Administration constitute an essential visual record of American life from the late 1920s through the onset of the Second World War. Guided by the adroit hands and watchful eyes of the master photo editor Roy Stryker, the FSA archive includes the work of dozens of photographers, from acknowledged giants like Walker Evans, Ben Shahn, and Dorothea Lange to Marion Post Wolcott and Russell Lee, whose names and work may be less familiar. Stryker's approach to his photographers' assignments was a bracing mix of structure and improvisation. He sent his artists across the country to shoot for a few weeks, mostly in small towns and rural areas. They worked from what Stryker called shooting scripts - laundry lists of possible subjects and situations - but were always free to explore their own perspectives on a locale, its inhabitants, and their activities. When negatives and prints arrived, Stryker would guide his artists with suggestions, advice, and sharp-eyed criticism, all designed to elicit their best work. This book collects work from nine of these trips - Evans in Louisana and Alabama, Shahn in West Virginia, Lange in California, and others - uniting them with Stryker's shooting scripts, letters, and other relevant archival documents. What emerges, beyond the images themselves, is a complex and vital overview of the FSA at work, not just the work, but how the work evolved and matured under Stryker's guidance. The book concludes with photographs of New Orleans, the only city photographed in depth by the FSA artists. Reproduced in duotone, the 175 photographs in The Likes of Us, all printed from the original negatives at the Library of Congress, offer a rare opportunity not only to see a choice selection of famous and little-known images but also to understand the working of one of the government's most original and creative pre-war initiatives.