You are reading that correctly: “…every effort to appear civilized.” The author was Aleko E. Lilus and the article, “The Old Seaport of the Sulu Pirates,” appreared in the highly popular monthly magazine, Travel, October 1931 (Robert M. McBride & Co., Camden, NJ). I did not seek out this magazine. This treasure of Western mores illustrated through travel was a recent gift knowing full well my interest in antiques and popular culture through the ages.
Travel (1902-2003) “…was reflective of the world at the time…” (Contextualization, Clay Dillon) and let’s remember the time. 1931, the depth of the greatest world economic depression ever, Fascism is flourishing in Italy with many European and American supporters, the Nazi Party is gaining ground in Germany, the Western empires control most of Asia, Africa and South America. In the USA the Klu Klux Klan is terrorizing and murdering African Americans, Jews and Catholics – and not just in the south – and the United States has shut the immigration door to all but white Christian Western Europeans.
Yet for the affluent who could travel, and the majority that could only dream through films and lavishly illustrated magazines, this was the “Golden Age” of Aryan dominance – the opportunity for the “savage” to rise above his station. Travel writers could transport minds from a 3-room Hoboken apartment to exotic lands, “educating” their audience that there were people that had it “far worse” than you had it at home.
The articles run the gamut from the cathedrals of Mexico, the American Southwest, the vineyards of France, a once great Medieval European city to the wilds of Australia. Yet the language used to describe non-Western cultures is far different than those used for lands closer to home.
“The sultan’s niece…became a co-ed of the University of Illinois. She was thoroughly Westernized, but on her return…she promptly forgot her pretty American ways…and went native…As an educational and social experiment she must be considered a complete failure.” (p.25).
“Some of them…have bought Fords…but in the back country they still shoot bows and arrows and have never heard they belong to a vanishing race…” (p.28 “Exploring the Southwest in Your Own Motor” by Harry Fergusson).
“They love their children but they are inclined to spoil them for discipline comes hard to the southern mind..” (p.17 “Malta – Stronghold of the Sea King” by Francis Mc Dermott).
“The Spanish Colonials…upon this land they called “New Spain” … lavished their genius, endowing it with…civilization…” (p.7 “The Glory of Mexico’s Cathedrals” by James Jenkins).
Despite the racism, my 1931 edition of Travel is a gorgeous magazine, especially its stunning black and white photography and its advertising illustrations. In researching the history of Travel, it was second only to The National Geographic in readership for an audience interested in the world outside the United States. Indeed the last article in the October issue is on Australia’s unique animal life, “Nature’s Side Show in Australia” by Georgia Maxwell.
Naturally, for any modern traveler, 1931 prices for hotels and steam ships seem absurdly inexpensive until one factors what a 1931 dollar purchased compared to 2011. Today’s traveler needs $14.00 for what $1.00 was worth during the Great Depression.
The queen of Philadelphia’s hotels, the Bellevue-Stratford Hotel, had rooms as low as $4/day in the depth of the Depression. You need $56 in 2011 – cheap but these were teaser rates if you didn’t have a job..). A 12-day cruise to the Bahamas started at $125 ($1,750 in 2011 dollars) and the French Railways campaign that “Everybody’s back” speaks to today’s travel ads urging the recession weary to travel once more.
I well remember this anticipated magazine that arrived at my home as a child and young adult. I assume the strong cultural inclusion of my parents negated any latent racism in the 1950s– 1960s. As a travel writer I’ll be the first to praise the work I’m fortunate enough to enjoy, yet I’m well aware of the fine line that separates being the eyes of the reader from the human that may color the picture with their own cultural prejudices.