By Dee Brown
From the writer of the best-selling Bury My middle at Wounded Knee, Dee Brown's vintage account of the construction of the transcontinental railroad.
In February 1854 the 1st railroad from the East reached the Mississippi; through the top of the 19th century 5 significant transcontinental railroads associated the East Coast with the Pacific Ocean and hundreds of thousands of miles of tracks criss-crossed within the West, an enormous and virginal land quite a few years before.
The tale of this remarkable project is one in every of breathtaking technological ingenuity, otherwordly idealism, and all-too-wordly greed. The heroes and villains have been Irish and Chineselaborers, intrepid engineers, avaricious bankers, inventory manipulators, and corrupt politicians. sooner than it used to be over greater than a hundred and fifty five million acres (one 10th of the rustic) got away to the railroad magnates, Indian tribes have been decimated, the buffalo have been pushed from the good Plains, thousands of immigrants have been lured from Europe, and a enormous continental kingdom was once built.
Woven into this dramatic narrative are the origins of present-day governmental corruption, the 1st ties among strong organisations and politicians who "enjoyed the widespread showers of cash that fell upon them from railroad inventory manipulators, and gave away America." How the folks of that point replied to a feeling of disillusionment remarkably just like our personal provides a latest measurement to this story.
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Additional info for Hear That Lonesome Whistle Blow: The Epic Story of the Transcontinental Railroads
When Phemius has to justify his existence to Odysseus he does so on the grounds that he is αύτοδίδακτος, a word which clearly implies that there is at least an element of skill in the poet’s activity. At Od. xi 368 Alcinous praises Odysseus for telling his story έπισταμένως (that is, skilfully) like a bard. And, as I have pointed out, the phrase κατά κόσμον used of The Singer a n d his Muse 35 Demodocus’ song at Od. 79 Similarly, οΐδα, τέχνη, σοφός and σοφία denote practical ability and knowledge rather than ‘wisdom’.
29. Cf. T h . 104-14; Op. 661-2. 30. Cf. g. Pi. 0. X 1—6, xiii 93—100; P a . viib 15-20; lbyc. fr. 1. 23-6; Bacch. XV 47. 31. g. 0. iv 17-18, vi 20—1, vii 20-1, xiii 52 and P . i 86-7 on the importance of truth in general. Άλάθεΐα is invoked at 0. x 3-4 and at fr. 205. g. 0. xiii 93-5, P . i 42-5, N . i 18, vi 26-7. See further Bowra, P in d a r 26-33; Harriott 69-70; Maehler 96-8. The Singer a n d his Muse 39 32. g. 0. i 28-32, N . vii 20-3. g. Harriott 117—20; J. de Romilly, ‘Gorgias et le pouvoir de la poésie', J U S xciii (1973) 155-62.
Vi 50-8, viib 15-20; B. Snell, T he Discovery o f the M i n d , trans. T. G. Rosenmeyer (New York I960) 136-52. Invocations in Homeric epic occur elsewhere at //. i I, ii 761, xi 218, xiv 508, xvi 112; Od. i I. Cf. also the quasi-invocations at IL v 703, vili 273, xi 299, xvi 692. For scholarship on Homeric invocations see Harriott 44. 22. 177. 23. 'Invocation and Catalogue in Hesiod and Homer’, Τ Α Ρ Α xciii (1962) 190. 24. P o etty a n d Prophecy (Cambridge 1942) 41. 25. g. W. Marg points out, H om er über d ie D ich tu n g (Münster 1957) 10, the precise significance of this alternative is now lost to us.