White Trash: The 400-Year Untold History of Class in America

by Nancy Isenberg

Instead of eliminating class distinctions, suburbs were turned into class-conscious fortresses. Zoning ordinances set lot sizes and restricted the construction of apartment buildings, emphasizing single-dwelling homes to keep out undesirable lower-class families. In Mahwah, New Jersey, for example, the local government attracted a Ford plant to the town, and then passed an ordinance that required one-acre lots containing homes in the $20,000 price range, ostensibly meaning that low-paid workers in the plant would have to live elsewhere. In New York’s Westchester County, the board of education agreed to build a deluxe school in a wealthy neighborhood, while doing nothing for schools in depressed-income areas where lower-class Italian and black families lived. In Los Angeles, suburbs were appraised by the Federal Housing Authority along class lines: high marks were given to places where gardening was a popular hobby, and low marks to places where poor whites raised food in their backyards.

In this and other ways, the federal government underwrote the growth of the new suburban frontier. Tax laws gave homeowners who took out mortgages an attractive deduction. Government made it profitable for banks to grant mortgages to upstanding veterans and to men with steady jobs. The Servicemen’s Readjustment Act of 1944, better known as the GI Bill, created the Veterans Administration, which oversaw the ex-soldiers’ mortgage program. Together, the FHA and the VA worked to provide generous terms: Uncle Sam insured as much as 90 percent of the typical veteran’s mortgage, thereby encouraging lenders to provide low interest rates and low monthly payments. Along these same lines, when potential buyers queued up for Levittown homes, the builder initially privileged veterans. With such perks, it became cheaper for “desirable” white men to buy a home than to rent an apartment. And rather than lift up everyone, the system tended to favor those who were already middle class, or those working-class families with steady incomes.

Suburban subdivisions encouraged buyers to live with their “own kind,” constantly sorting people by religion, ethnicity, race, and class. The esteemed architectural critic Lewis Mumford described Levittown as a “one-class community.” In 1959, the bestselling author and journalist Vance Packard summed up the suburban filtration process as “birds-of-a-feather flocking.” As we have so often seen, the importance of animal stock, and of “breed” generally, remained on the tip of the American tongue when idiomatic distinctions of class identity were being made.

Trailers had been controversial since the 1930s. Aside from the sleek streamlined capsules that traverse the open road, these rickety boxes tend to be viewed as eyesores. Almost as soon as they were turned into permanent housing, many were associated with slums built on town dumps. As an object, the trailer is something modern and antimodern, chic and gauche, liberating and suffocating. Unlike the dull but safe middle American suburb, trailer parks contain folks who appear on the way out, not up: retired persons, migrant workers, and the troubled poor. This remains true today.

Prior to World War II, the first generation of trailers were jerry-rigged contraptions built in backyards, expressly used on hunting and fishing trips. When they hit the road in the thirties, right when Okies took to their jalopies along Route 66, one journalist called them “monstrosities,” shanties on wheels. War changed that. Faced with a severe housing shortage, the federal government purchased trailers for soldiers, sailors, and defense workers. As many as thirty-five thousand trailers were drummed into service, and because military and defense installations were everywhere, trailer towns suddenly popped up in unexpected places from Maine to Michigan to Texas. In places like Hartford, Connecticut, defense workers living in “trailer villages” were easily compared to colonists and gypsies.

To be displaced and poor was to be white trash.

It proved difficult for the trailer to compete with the tract house. Potential buyers were placed at an economic disadvantage. The FHA did not get around to insuring mortgages for mobile homes until 1971, so until then, even though trailers were cheaper, owners faced other hidden costs and penalties. Trailer parks were exiled to the least desirable lots, a sorry distance from the nicer, better-protected residential areas. Many park managers forbade children and pets, the two most obvious attractions for young couples living in suburbia. More parks emerged with smaller lots, tiny lawns—or no lawns at all. In many cities and counties, even retirees found their welcome worn out, resented because they lived on tight budgets, contributed too little to commercial growth, and failed to pay property taxes.

In the late fifties, more mobile homes were built than prefabricated homes, yet municipalities continued to look down on them. In 1962, in an important New Jersey court case, the majority ruled that a rural township could prohibit trailer parks within its limits. Still, the judge who wrote the dissent exposed the dangerous implications of this decision: “Trailer dwellers” had become a class of people, he explained, through which discrimination was tolerated under the vague language of protecting the “general welfare.” For at least this one jurist, inherited social biases had reduced the owners of mobile homes to “footloose, nomadic people,” a group of “migratory paupers.”

In Richard Nixon’s birthplace of Yorba Linda, California, what was called “primordial Nixon country,” a remarkable trailer community went up. (Nixon country meant Republican, conservative, and deeply class conscious.) Lake Park offered a “country club” style of living, replete with man-made lake, swimming pool, landscaped greenery, and gently winding streets; to a New York Times reporter, it was “suburbia in miniature.” The developers, two men from Los Angeles, spent three years trying to find a city hall in Orange County that would allow them to build, and were repeatedly turned down. In order to convince Yorba Linda officials that it was not their intent to impinge upon the class consciousness of existing residents, they recast the prospective community as a “private club,” highlighting the beautiful environment and ensuring that residents would pay added expenses to maintain their lots. When that was not enough, the developers added one final touch: a five-foot-high wall around the entire complex. As one city administrator observed, “We don’t even know they’re there.” Another local resident, without any apparent shame, admitted, “We call them ‘the people inside the wall,’ and we’re ‘the people outside the wall.’” Was there any better symbol of an undisguised belief in class stratification than the construction of a wall?

To make matters worse, poor and working-class trailer communities were believed to be dens of iniquity. The charge actually went back to the World War II “defense centers,” to which prostitutes migrated, in a scattering of whorehouses on wheels. By the fifties, pulp fiction, with such titles as Trailer Tramp and The Trailer Park Girls, told stories of casual sexual encounters and voyeurism. In the parlance of the day, the female trailer tramp “moved from town to town—from man to man.” Alongside such tales was Cracker Girl (1953), soft-porn pulp that titillated readers and capitalized on the thrill of crossing the tracks and getting sex on the lowdown. Tramps and trailer nomadism, like drugs and gambling, identified social disorder on the edge of town.

The poor dominated the mobile home picture. In 1969, the thirteen Appalachian states were on the receiving end of 40 percent of mobile home shipments, and, not surprisingly, the cheapest models (under $5,000) headed for the hills. In 1971, New York City approved its first trailer park, after Mayor John Lindsay found support for a policy of housing the homeless in trailers. These were not Bowery bums, but people who were being uprooted as a result of urban renewal—yet somehow the solution was to stow them away in a most nonurban sort of accommodation. From Appalachia to the Big Apple, then, those without economic security and with the least political clout were seen as the most likely candidates for the trailer park.

Her white adversary wore a dress that was too tight, and as she propelled herself forward, menacingly, mouth agape, she projected the crude callousness of the recognized white trash type. That contrast was precisely what the photographers intended to record.42 The mysterious girl in the photo was one Hazel Bryan. A year later, at the age of sixteen, she would drop out of high school, marry, and go to live in a trailer. But it is what she was at fifteen that matters: the face of white trash. Ignorant. Unrepentant. Congenitally cruel. Only capable of replicating the pathetic life into which she was born.

Hazel and her family were part of the influx of poor whites into Little Rock after World War II. Her father was a disabled veteran, unable to work; her mother held a job at the Westinghouse plant. They had left the small rural town of Redfield in 1951, when Hazel was ten. Her mother had married at fourteen to a man twice her age. Neither of Hazel’s parents had earned a high school degree, her father having joined the circus. Their Redfield home had had no indoor plumbing and an outdoor privy; the Bryans’ move to the city granted basic amenities that they had not enjoyed before. The house they purchased in Little Rock was in an all-white, working-class neighborhood in the southeastern section of the state capital.

The day after the photograph appeared, Hazel Bryan made herself visible once more, telling newsmen positioned outside the school that “whites should have rights, too.” If black students were let into Central High, she declared provocatively, then she would walk out. She knew enough about the social hierarchy in her adoptive hometown to understand that the reputation of working-class whites hinged on the system of segregation. Permeable racial boundaries would pull down people like her even further. A principal at Central High said that Hazel was known to have been beaten by her father, was emotionally unstable, and was not one of the “leading students” by any measure. As a troubled girl—a bad seed, one might say—she confirmed her dubious class origins by her antics.

Two new schools had been built in Little Rock: Horace Mann High for black students, and R. C. Hall High (nicknamed “Cadillac High”) for the wealthy families on the west side of the city. Only Central High, built in the 1920s and catering mostly to working-class families, however, was selected for desegregation. Armis Guthridge of the Capital Citizens’ Council, the lead spokesman for antidesegregation forces, willfully fanned the flames of poor white resentment when he announced that the rich and well-to-do were going to see to it that the “only race-mixing that is going to be done is in the districts where the so-called rednecks live.” “Redneck” was a loaded term, as he well knew. His purpose was to remind the white working class of the city that the school board elites looked down on them.

On the national stage, and standing before the cameras, the governor of Arkansas embodied the southern stereotype to a tee. He was a complete caricature of folly and backwardness.

For a reporter to go undercover safely, he had to alter his class appearance, passing as a poor white workingman.

The media easily slipped into southern stereotypes, depicting the “many in overalls,” “tobacco-chewing white men,” or as one New York Times article highlighted, a “scrawny, rednecked man” yelling insults at the soldiers. Local Arkansas journalists similarly dismissed the demonstrators as “a lot of rednecks.” Unruly women who stood by became “slattern housewives” and “harpies.” One southern reporter said it outright: “Hell, look at them. They’re just poor white trash, mostly.” In Nashville, mob violence erupted that same month, after the integration of an elementary school. There, a Time reporter had a field day trashing the women in the crowd: “vacant-faced women in curlers and loose-hanging blouses,” not to mention a rock-throwing waitress with a tattooed arm. One obnoxious woman yelled to no one in particular with reference to the African American children: “Pull their black curls out!”

Like Mississippi’s Vardaman and his own state’s Jeff Davis before him, Orval Faubus used the threat of poor white thuggery to stay in power. And it worked.

Does race trump class, or does class trump race? This is the choice the audience must make. Robinson represents the worthy, law-abiding blacks in the community. He is honest and honorable. The Ewells are white trash.

In Nashville, in 1957, the racist troublemaker at the head of the mob (with an affected southern accent) was a paid agitator from Camden, New Jersey.

Though redneck and hillbilly were both defined by the American Dialect Society in 1904 as “uncouth countrymen,” the following regional distinction was offered: “Hill-billies came from the hills, and the rednecks from the swamps.”

In 1949, an Australian observer described this phenomenon best. Americans had a taste for what he called a “democracy of manners,” which was not the same as real democracy. He meant that voters accepted huge disparities in wealth but at the same time expected their elected leaders to “cultivate the appearance of being no different from the rest of us.”

The positive mythology about hillbillies suited such appeals to authenticity. Beyond the image of feuding and wasting time fishing, hillbillies also tapped into a set of golden age beliefs: they were isolated, primitive, and rough on the outside yet practiced a kind of genuine democracy. They were once again William Goodell Frost’s rustic Americans of pure Anglo-Saxon blood.

In private, though, Johnson was not always kind to poor rural whites. He had this to say about white trash on driving through Tennessee and seeing a group of “homely” women holding up racist signs: “I’ll tell you what’s at the bottom of it. If you can convince the lowest white man he’s better than the best colored man, he won’t notice you’re picking his pocket. Hell, give him somebody to look down on, and he’ll empty his pockets for you.” Like the Nobel Prize–winning writer William Faulkner, LBJ knew about the debilitating nature of false poor white pride. As president, he never lost sight of how central class and race were to the fractured culture of the South.

But when driven by the wrong class of people, the luxury car only exaggerated the underlying discomfort Americans felt about upward mobility.

In mass media culture, lower-class delinquency was seen as something that could be contracted from pop idols. The “Mothers for a Moral America” that sponsored the negative campaign film about LBJ agreed, and linked his ostensible redneck ways to the danger of class disorder. As one of the Goldwater filmmakers explained, leadership at the top conditioned life at the bottom: if a president’s behavior was too common, too coarse, he gave license to immoral, lower-class desires. Wealth without hard work, sex without marriage, and success without proper breeding were all danger signs. Society suffered.

Besides being a fabrication of his family’s history, Haley’s book applied a kind of logic that was downright conservative. He construed himself as one of an African nobility, and he held that ancestry said a lot about what a person could become—and pass on. Roots was too good to be true, which was why Haley, who pitched his story to the networks before he had even written it, was eventually exposed as a hoaxer and a hustler.

Poverty was once again being blamed on questionable breeding, and hard work was proclaimed as the means through which strong families put down solid roots and achieved upward mobility.

When it led to social mobility, ethnic identity was seen as a positive attribute. Unappealing (or un-American) idiosyncracies were cleaned up; the food, literature, music, and dress promoted; and the whole ethnicity set apart from the diseased and dirty huddled masses who came through Ellis Island. Heritage, like historic memory itself, is always selective. Ethnics and poor folk can be admired from afar, or from a temporal distance, as long as doing so ensures the supremacy of the middle class in the narrative. People can choose to treasure those parts of their heritage that they see as favorable and wish to keep, jettisoning what unpleasant truths they would prefer to forget.

The same impulses would soon be used to refashion the redneck and embrace white trash as an authentic heritage. It was moonshiners known for trippin’ whiskey and outrunnin’ the law who started the rough and wild sport of stock car racing. By the seventies, with money from Detroit automobile companies and celebrity drivers, an outlaw sport had become NASCAR, the tamer pastime of arriviste middle-class Americans. Meanwhile, country crooners Johnny Russell and Vernon Oxford released the hit singles “Rednecks, White Socks, and Blue Ribbon Beer” (1973) and “Redneck! (The Redneck National Anthem)” (1976). Vernon Oxford defined “redneck” as “someone who enjoys country music and likes to drink beer.” In 1977, the year Elvis died, the new queen of country rock music, Dolly Parton, was featured in the elite fashion magazine Vogue. “Redneck chic” (the cleaned-up redneck) reached Hollywood in the 1981 film Urban Cowboy, in which Jersey boy John Travolta took on the role of hard-hat-wearing, honky-tonk-loving Texas two-stepper Buford Davis. In 1986, Ernest Matthew Mickler’s White Trash Cooking was published, celebrating low-down lingo and rural recipes. When Mickler, a country singer as well as a caterer, gave his book to his seventy-two-year-old aunt, she remarked, “Well, that’s what they call us, ain’t it?”

The transition to white trash acceptance or accommodation was not as smooth as it might seem. While Dolly Parton made over-the-top “floozydom” fashionable, and combined the burlesque of blonde bombshells Marilyn Monroe and Jayne Mansfield with Daisy Mae of Li’l Abner fame, her public identity did not escape the taint of white trash degradation. “You have no idea how much it costs to make someone look this cheap,” Parton told a reporter in 1986. The Hollywood blockbuster Deliverance lacked even an ounce of delicacy, but offered up instead one of the most devastating portraits of rude hillbillies since the eugenics movement faded from view. White middle-class readers of the novel and film audiences wrote fan mail to author James Dickey, praising the four intrepid Atlanta adventurers as if they were old-time pioneers overcoming wilderness dangers while escaping the clutches of white trash savages. A former student of Dickey’s wrote fawningly to his mentor, apparently oblivious to the dehumanizing tone of his letter. He was an ardent backwoods hiker, he said, “though I carry no bow and there are no rednecks awaiting me at the top for me to stalk and kill.” He could not differentiate, in moral terms, between the thrill of taking on the mountains and the thrill of sending mountain men to their deaths.

Class hostility persisted. Many southern suburbanites had no sympathy for the white trash underclass in their section. They drew a sharp class line between the lower-class rednecks and the “upscale rednecks.” Lillian Smith, a Southern novelist and civil rights activist, identified the places where these toxic feelings stewed. Like the blue-collar ethnics in northern cities who switched their allegiance to the Republican Party, marginally middle-class southerners hated the “weak, lazy, good-for-nothing ones who whine all month until the relief check comes in.” Seeing themselves as hardworking and self-reliant, the upwardly mobile sons of white trash parents believed, as Smith put it, that “he is responsible for himself and himself alone.” The same self-made man who looked down on white trash others had conveniently chosen to forget that his own parents escaped the tar-paper shack only with the help of the federal government. But now that he had been lifted to respectability, he would pull up the social ladder behind him. So suburban white animosity toward blacks was repeated in the treatment of poor whites.

Moving up meant staying ahead of those still trapped in the “poverty ditch.” But rather than help others escape destitution, this new addition to the middle class deeply resented a government that wasted money on the poor.

Byrd referred to people on welfare as “fornicating deadbeats.” He even appeared unsympathetic to children obtaining government assistance: if they were merely hungry, but not starving, they did not merit aid. As a former member of the Ku Klux Klan, Byrd conveniently distinguished welfare recipients in the District of Columbia (mostly black) from the deadbeats of his home state of West Virginia. Thus he made no effort to root out welfare cheaters among the mountain whites; they were his ticket into politics. In his first run for office, he courted the hillbilly crowd by playing fiddle tunes in the backseat of a car as he went from shack to shack. Reenacting the old tale of the Arkansas traveler, he cleverly played both roles in the nineteenth-century drama: the poor white and the ambitious politician. The New York Times declared Byrd to be the “embodiment of poor white power.” He was Lillian Smith’s angry redneck, who had “hacked his way out of the bushes” of poverty. As a symbol of political intolerance, he was as ruthless as they came.

Wannabe bandits were among the thousands of spectators at NASCAR who launched into rebel yells, drank too much, and ogled the floozy on the float with her “big blonde hair and blossomy breasts” and cheap Dallas Cowgirl outfit. They embraced a certain species of freedom—the freedom to be a boor, out in the open and without regrets. The “upscale rednecks,” the rising white trash middle class, identified with these hillbilly racers, men who had escaped the overalls and gained as much respect as could be had in accepting wads of cash from Detroit. Class structure had not changed appreciably for the rural poor: money may have made a hillbilly or two reputable, but those left in the hills were not reaping any social benefits. “Upscale rednecks” had no trouble spotting those below them in their rearview mirrors.

When speechwriter Bob Shrum resigned from the Carter team in 1976, he exposed a less compassionate candidate. The man who publicly advocated for miners when he spoke before a labor audience told Shrum privately that “he opposed increased black-lung benefits for miners, because ‘they chose to be miners.’” Seemingly lacking an understanding of class conditions, Carter right then revealed a mean streak a mile wide. Should miners suffer because they accepted the dangers of the job? He showed his mean side again in 1977 when he endorsed the Hyde Amendment for restricting Medicaid payments to poor women seeking abortions. In answer to a question from Judy Woodruff of NBC, the president did not defend his position on strictly moral grounds, but made a class argument instead: “Well, as you know, there are many things in life that are not fair, that wealthy people can afford and poor people can’t. But I don’t believe that the federal government should take action to try to make these opportunities exactly equal, when there is a moral factor involved.” He basically held that the federal government should be able to deny poor women benefits because they were poor. The wealthy could do as they please, and the poor had to be disciplined. Carter was prone to the fatalistic view: poor women deserve their destiny, and coal miners must endure black-lung disease. In effect, the message was: don’t expect equality or compassion if you can’t help yourself.

Her image, as Parton confessed in her autobiography, expressed the desire of poor white trash girls to see themselves as magazine models. She explained, “They didn’t look at all like they had to work in the fields. They didn’t look like they had to take a spit bath in a dishpan. They didn’t look as if men and boys could just put their hands on them any time they felt like it, and with any degree of roughness they chose.” Poverty, for a female, went beyond the wretchedness of having no money.

Tammy Faye’s drag queen look was embraced by the gay community. She was one of very few conservative evangelicals to show sympathy for gay men who were dying of AIDS.

Redneck, cracker, and hillbilly were simultaneously presented as an ethnic identity, a racial epithet, and a workingman’s badge of honor. A North Carolina journalist neatly summed up the identity confusion: “If you think you’re a redneck, you think you’re hardworking, fun-loving and independent. If you don’t think you’re a redneck, you think they’re loud, obnoxious, bigoted and shallow.”

amount of amiability, however, could quell the hatred of conservative Republicans on losing the White House. Beltway reporters said they had never seen such vitriol before. The attacks on President Clinton seemed disrespectful of the office, highly personal, and relentless. In 1994, journalist Bill Maxwell of Florida, an African American, said he thought he knew why. He saw something familiar in the tone of the Clinton bashing, and it had to do with his being seen as white trash. Reagan press aide David Gergen and the effusive speechwriter Peggy Noonan saw their President Reagan as a transcendent father figure, partaking of the family feeling inspired by a British king. To Reagan’s admirers, Clinton was unworthy, an impostor whose upbringing besmirched the office: the prince had been replaced by the pauper.

By the time the Monica Lewinsky scandal broke in 1998, Clinton’s enemies were primed to portray the flawed president as a character in a Tennessee Williams play. “Slick Willie” had finally been caught in a tawdry sexual escapade suited to a trailer park—he had befouled the Oval Office. Independent counsel Kenneth Starr claimed that his official investigation was not about sex, but about perjury and the abuse of power, yet his final report mentioned sex five hundred times. Harper’s Magazine contributing editor Jack Hitt claimed that Starr was intent on writing a “dirty book,” recording (and relishing) every trashy detail of a sad soap opera. President Clinton’s legal team countered that Starr’s sole purpose was to embarrass the president. This was white trash outing on the grand national stage. Impeachable offenses demanded the “gravest wrongs” against the Constitution, or “serious assaults on the integrity of the process of government,” if they were to rise to the standard of “high crimes and misdemeanors.” By recording every salacious detail, Starr was trying to equate high crimes with low-class lewdness.

Sex formed a meaningful subtext throughout Palin’s time of national exposure. In terms of trash talk, daughter Bristol Palin’s out-of-wedlock pregnancy was handled rather differently from Bill Clinton’s legendary philandering. Bloggers muddied the waters by spreading rumors about Sarah’s Down syndrome child, Trig: “Was he really Bristol’s?” they asked. A tale of baby swapping was meant to suggest a new twist on the backwoods immorality of inbred illegitimacy. Recall that it was Bill Clinton’s mother, Virginia, whose pedigree most troubled the critics. The legacy held: the rhetoric supporting eugenics (and the sterilization laws that followed) mainly targeted women as tainted breeders.

When you turn an election into a three-ring circus, there’s always a chance that the dancing bear will

Donald Trump’s The Apprentice, billed as a “seductive weave of aspiration and Darwinism,” celebrated ruthlessness. In these and related shows, talent was secondary; untrained stars were hired to serve voyeuristic interests, in expectation that, as mediocrities, they could be relied on to exhibit the worst of human qualities: vanity, lust, and greed. In 2008, Palin underwent an off-camera “Extreme Makeover”—to borrow a title from one of the more popular such shows. McCain campaign advisers bought into the conceit of reality TV, which said that anyone could be turned into a pseudo-celebrity; in this instance, their experiment had the effect of reshaping national politics.

After 2008, a new crop of TV shows came about that played off the white trash trope. Swamp People, Here Comes Honey Boo Boo, Hillbilly Handfishin’, Redneck Island, Duck Dynasty, Moonshiners, and Appalachian Outlaws were all part of a booming industry. Like the people who visited Hoovervilles during the Depression, eyeing the homeless as if they were at the zoo, television brought the circus sideshow into American living rooms. The modern impulse for slumming also found expression in reviving the old stock vaudeville characters. One commentator remarked of the highly successful Duck Dynasty, set in Louisiana, “All the men look like they stepped out of the Hatfield-McCoy conflict to smoke a corncob pipe.” The Robertson men were kissing cousins of the comic Ritz Brothers in the 1938 Hollywood film Kentucky Moonshine.

A corps of pundits exist whose fear of the lower classes has led them to assert that the unbred perverse—white as well as black—are crippling and corrupting American society. They deny that the nation’s economic structure has a causal relationship with the social phenomena they highlight. They deny history. If they did not, they would recognize that the most powerful engines of the U.S. economy—slaveowning planters and land speculators in the past, banks, tax policy, corporate giants, and compassionless politicians and angry voters today—bear considerable responsibility for the lasting effects on white trash, or on falsely labeled “black rednecks,” and on the working poor generally. The sad fact is, if we have no class analysis, then we will continue to be shocked at the numbers of waste people who inhabit what self-anointed patriots have styled the “greatest civilization in the history of the world.”

American democracy has never accorded all the people a meaningful voice. The masses have been given symbols instead, and they are often empty symbols. Nation-states traditionally rely on the fiction that a head of state can represent the body of the people and stand in as their proxy; in the American version, the president must appeal broadly to shared values that mask the existence of deep class divisions. Even when this strategy works, though, unity comes at the price of perpetuating ideological deception. George Washington and Franklin Roosevelt were called fathers of the country, and are now treated as the kindly patriarchs of yore; Andrew Jackson and Teddy Roosevelt descend to us as brash, tough-talking warriors. Cowboy symbols stand tall in the saddle and defend the national honor against an evil empire, as Reagan did so effectively; more recently, the American people were witness to a president dressed in a pilot jumpsuit who for dramatic effect landed on an aircraft carrier. That, of course, was George W. Bush, as he prematurely proclaimed an end to combat operations in Iraq. Left out of our collective memory, meanwhile, are corporate puppet presidents such as William McKinley, who was in the pocket of Big Steel and a host of manufacturing interests. When presidential candidate Mitt Romney in 2012 responded to a heckler with the line “Corporations are people, my friend,” he inadvertently became the new McKinley. The “1 percent” were his constituency, and wearing bl...

We know, for instance, that Americans have forcefully resisted extending the right to vote; those in power have disenfranchised blacks, women, and the poor in myriad ways. We know, too, that women historically have had fewer civil protections than corporations. Instead of a thoroughgoing democracy, Americans have settled for democratic stagecraft: high-sounding rhetoric, magnified, and political leaders dressing down at barbecues or heading out to hunt game.

The theatrical performances of politicians who profess to speak for an “American people” do nothing to highlight the history of poverty. The tenant farmer with his mule and plow is not a romantic image to retain in historic memory. But that individual is as much our history as any war that was fought and any election that was hotly contested. The tenant and his shack should remain with us as an enduring symbol of social stasis.