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The Red Leather Diary Reclaiming a Life through the
Pages of a Lost Journal 1St Edition Edition Lily Koppel
Digital Instant Download
Author(s): Lily Koppel
ISBN(s): 9780061644665, 0061644668
Edition: 1St Edition
File Details: PDF, 3.22 MB
Year: 2008
Language: english
 THE
R E D L E AT H E R
DIARY
Reclaiming a Life Through
the Pages of a Lost J our nal

Lily Koppel
For Florence
 C O N T E N TS

Foreword vii

c hapter 1
T H E D IS COV ERY 1

c hapter 2
T H E D IARY 23

c hapter 3
MO D ER N MER CU RY 41

c hapter 4
A PORTRAIT OF THE ARTIST AS A YOUNG WOMAN 57

c hapter 5
T H E LAV END ER R EM I NGTON 73

c hapter 6
T H E AMER IC AN DR EA M 85

c hapter 7
T H E SNAKESKI N COAT 95

c hapter 8
EVA LE GALLI EN N E 10 9

c hapter 9
MY F IRST LOV E A F FA IR 129
chapter 10
S PR I NG L A KE 151

chapter 11
P EAR L 165

chapter 12
M 185

chapter 13
EV E LY N 203

chapter 14
T H E C IR C U S 221

chapter 15
T H E SA LO N O F F LOR ENC E WO L FS O N 23 3

chapter 16
T H E ITA LIAN COU NT 249

chapter 17
PR I VAT E EY E 277

chapter 18
S P EA K , M EMORY 295

Acknowledgments 321

About the Author

Credits
Cover
Copyright
About the Publisher
As a teenager, Florence Wolfson kept the diary from 1929 to 1934.
Rescued in 2003, the battered volume was reunited with its author
in 2006. Ninety-year-old Florence had forgotten about the diary
until Lily Koppel called with the news of its discovery. “Am quite
a busy young lady,” Florence read from an entry written when she
was fifteen. (Photo: Angel Franco/New York Times.)
 FOR EWOR D

A
t ninety, having survived a car crash and E. coli, I was
living what can only be called a bland life. Mobility was
low—no golf, no tennis, no long walks—but curiosity
about people and politics was high. And there were such activi-
ties as practicing scales on the piano, playing bridge, reading,
and agonizing with friends over America’s current quagmire.
Not too bad a life for a nonagenarian.
What was missing were expectations. Everything was
going to be the same until the final downhill slide. My beloved
husband, Nat, was already on that slide. What was there to
expect?
What, indeed! In my most cloud-nine dreams I could never
have imagined what awaited me. I was sitting on my patio in
Florida one glorious April afternoon when the phone rang. An
unknown voice greeted me when I answered. “Hello, my name
is Lily Koppel. Are you by any chance Florence Wolfson—
now Howitt?”
I thought, Do I want to admit that I am? Was this going to
be some marketing nuisance I regretted ever saying hello to?
Well, I was a little curious, so I owned up to being me. Said
Lily, “I have some old things belonging to you that I picked
up at 98 Riverside Drive, and I thought you might want them

g vi i g
back.” “What things?” I asked. “An old red leather diary, short
stories you wrote when you were fifteen, and your master’s
thesis from Columbia. I’ll be happy to send them to you.”
Those words changed my life. I told her not to bother send-
ing them because my daughters would pick them up on one of
their many trips to New York. So, waiting to hear from Valerie
or Karen, she didn’t send them. She read the diary. I had totally
forgotten about it and couldn’t imagine anyone finding it of
interest.
But in the meantime, Lily had arranged to do a piece for the
New York Times based on this seventy-six-year-old relic. When
I came back to Westport for the summer, she handed the diary
to me. That was a moment! How do you feel when a forgot-
ten chunk of your life, full of adolescent angst and passion,
is handed to you? How do you feel when you see your striv-
ing, feeling, immature self through your now elderly eyes? It
stopped my heart for a moment. That was me?
This tempestuous girl who did pretty much what she wanted
was now walking slowly and not really wanting to do much
of anything. I was stunned and a little sad—I read the diary
avidly and came to love that young girl. What happened next
was a surprise measuring ten on the Richter scale, my own
earth-moving experience. Lily’s article turned out to be a mes-
merizing piece of journalism, provoking enough interest to be
developed into a book—which you are now holding in your
hands, and I hope you will savor as you read about the New
York I knew and loved.
When I heard the news, it was as though I had been hit by
lightning. From no expectations to being written about, from
being hidden in a diary with a key, fourteen-year-old Florence

viii Fo r e w o r d
was going to be revealed in a book! And how did I feel about
so many intimate thoughts and acts on public display? Here ’s
how I felt.
I am now ninety-two—my husband of sixty-seven years
died last April—and I am fighting to keep my fingers in the pie
of life. Young Florence would have agreed that this is a posi-
tive. She would have said, “Go for it.” It has been fun, it has
added zest to my life, it has brought back some of the passion
of my youth and made me feel more alive than I have in years.
I am probably one of the most excited old women in the world.
Thank you, Lily.

Florence Howitt
Westport, Connecticut
September 3, 2007

Fo r e w o r d ix
Fished out of a Dumpster, a 1930s diary brings to vivid life the world
of a privileged New York teenager, obsessed with the state of her soul
and her appearance. The cover of the diary originally read “Mile
Stones Five Year Diary.” A portrait of the actress Eva Le Galli-
enne lies underneath a telegram from Nathan Howitt. (Photo: Don
Hogan Charles/New York Times.)
 chapter 1

T H E D I S C OV E RY

O
nce upon a time the diary had a tiny key. Little red
flakes now crumble off the worn cover. For more
than half a century, its tarnished latch unlocked, the
red leather diary lay silent inside an old steamer trunk strewn
with vintage labels evoking the glamorous age of ocean liner
travel. “This book belongs to,” reads the frontispiece, followed
by “Florence Wolfson” scrawled in faded black ink. Inside, in
brief, breathless dispatches written on gold-edged pages, the
journal recorded five years in the life and times of a smart and
headstrong New York teenager, a young woman who loved
Baudelaire, Central Park, and men and women with equal
abandon.
Tucked within the diary, like a pressed flower, is a yellowed
newspaper clipping. The photograph of a girl with huge, soul-
ful eyes and marcelled blond hair atop a heart-shaped face
stares out of the brittle scrap. The diary was a gift for her four-
teenth birthday on August 11, 1929, and she wrote a few lines
faithfully, every day, until she turned nineteen. Then, like so
many relics of time past, it was forgotten. The trunk, in turn,
languished in the basement of 98 Riverside Drive, a prewar
apartment house at Eighty-second Street, until October 2003,
when the management decided it was time to clear out the stor-
age area.

g 1 g
 The trunk was one of a roomful carted to a waiting Dump-
ster, and as is often the case in New York, trash and treasure
were bedfellows. Some passersby jimmied open the locks and
pried apart the trunks’ sides in search of old money. Others
stared transfixed, as if gazing into a shipwreck, at the treasures
spilling from the warped cedar drawers: a flowered kimono,
a beaded flapper dress, a cloth-bound volume of Tennyson’s
poems, half of a baby’s red sweater still hanging from its knit-
ting needles. A single limp silk glove fluttered like a small flag.
But the diary seems a particularly eloquent survivor of another
age. It was as if a corsage once pinned to a girl’s dress were pre-
served for three quarters of a century, faded ribbons intact, the
scent still lingering on its petals. Through a serendipitous chain
of events, the diary was given the chance to tell its story.

The first time I came to 98 Riverside Drive, an orange brick

and limestone building set like a misty castle overlooking
leafy Riverside Park and the Hudson River, I felt I was enter-
ing a hidden universe awaiting discovery. Under the maroon
awning, I entered the red marble lobby, pockmarked with age
like the face of the moon. I passed an old framed print of a
gondola gliding under Venice ’s Bridge of Sighs, the early
August evening light that filtered through stained-glass win-
dows illuminating a young gallant displaying a jeweled coat of
arms, with a dagger stuck in his belt. He was carrying a locked
treasure chest.
My gaze wandered to the building’s rusted brass buzzer.
There were fifteen stories, each floor divided into eight apart-

2 Lily Koppel
ments, A through H, where I half expected to find Holden
Caulfield’s name. Among the residents were several psy-
choanalytical practices and an Einstein. Floating through the
courtyard airshaft, I heard Mozart being worked out on piano.
The building seemed to have an artistic soul.
I was twenty-two. I had just landed a job at the New York
Times after graduating from Barnard College. An older woman
I had met at the newspaper had put me in touch with a friend
who wanted to rent a room in her apartment at 98 Riverside.
The building was on the Upper West Side, which has long held
the reputation of being Manhattan’s literary home, although
few young artists could still afford the rents.
I rang the pearl doorbell to 2E, waiting in front of the peep-
hole. The red door bordered in black opened, and my new
landlady introduced herself. Peggy was in her fifties, with a
Meg Ryan haircut. Midwest born and bred, she was glad to
learn that I was from Chicago. She was still wearing a pink leo-
tard and tights from Pilates, and her pert expression was hard
to read behind a black eye patch. “The pirate look,” she said,
explaining that a cab had hit her while she was biking through
Midtown. Peggy shrugged. “Just my luck.”
It was a marvelous apartment with an original fireplace,
high ceilings with ornate moldings, Oriental carpets, and an-
tiques. Her collection of Arts and Crafts pottery and vases
covered every available surface. When turned upside down,
they revealed their makers’ names stamped on the bottom—
Marblehead, Rookwood, Van Briggle, Roseville and Door. I
admired a faun grazing on a vase. “All empty.” Peggy giggled,
since none held flowers. “I know, very Freudian.” She opened
French doors, showing me the dining room with a parquet

The Red Leather Diary 3

border, and led me through the kitchen, past a no-longer-
ringing maid’s bell. Down the hallway, she pointed to her own
paintings, acrylic portraits and rural landscapes. “The building
even has a library,” added Peggy, who had just finished Willa
Cather’s A Lost Lady, which she recommended.
Over Brie with crackers and red grapes set out with silver
Victorian grape scissors, we became acquainted on the couch,
a pullout, where Peggy said she would sleep. I offered to take
the living room instead of her master bedroom, but Peggy in-
sisted. She mentioned rigging up a Chinese screen for privacy.
This way she could watch TV late or get up if she couldn’t
sleep. She told me that when she was my age, she had also come
to New York to become an artist. There was a short-lived mar-
riage in her early twenties to a jazz musician. Peggy admitted
she lived quietly now, designing Impressionist-inspired nap-
kins and guest towel sets painted with café chairs and names
like Paris Bistro, which she sold on the Internet.
“This will be your room,” announced Peggy, showing me
into a large bedroom with two windows hung with filmy cur-
tains billowing out, ushering in a warm breeze off the Hudson.
She fluffed the new bedding on the antique white iron bed piled
with lacy throw pillows. It was everything Virginia Woolf had
ordered in A Room of One’s Own for the young woman writer.
The lavender walls gave it a Bloomsbury charm. There were
two walk-in closets smelling of potpourri and an old vanity,
which would serve as a good desk. Not wanting to spend an-
other night going through the crawlspaces of Craigslist, I
moved in. I hoped the Tennessee Williams setting and resident
Blanche DuBois would only improve my writing. Hanging on
the wall opposite my new bed was an oil painting of a sleep-

4 Lily Koppel
ing teenage girl, her blond hair a storm cloud around her face
on the pillow—a Lolita creature reminiscent of Balthus, from
Peggy’s earlier period.
“Say hi to Miss Teeny.” Peggy held a gray ball of fur up
to my face as I was unpacking my one bag. Over the next few
weeks, other things came up, like the no-men-allowed rule.
I could tell Peggy was a good person. I could also tell when
tension was high by the determined hum of her whirring Dirt
Devil in the morning. Two single women and a blind cat was
hardly an ideal situation. Feeling shelved away in someone
else ’s life while my friends were living downtown or in Brook-
lyn with their boyfriends, I was beginning to wonder if I had
set myself up to live out my worst fear.
I left the apartment early and returned late at night. At the
New York Times, I started getting my own articles in the paper
while working as a news assistant on the Metro desk. I had carte
blanche into the city’s glamorous nightlife, reporting for the
Times celebrity column, traipsing from red-carpet movie pre-
miere to party to after-party, interviewing hundreds of bold-
face names—Martin Scorsese, Meryl Streep, Jack Nicholson,
Helen Mirren, Clint Eastwood, Jim Jarmusch, Sofia Coppola,
Scarlett Johansson. “Dahling,” Mick Jagger called me. On a
love seat, under a chandelier, in an empty ballroom, Shirley
MacLaine tried to convince me of my past life.
Opening up the Times in the morning and seeing my name in
print gave me a surge of hope. Other publications started writ-
ing about me, since I was now part of the scene. “The Bravest
Gossip Reporter Ever” said Gawker, a popular media Web site,
describing my relentless interviewing style when James Gan-
dolfini, better known as Tony Soprano, asked me out on a date.

The Red Leather Diary 5

The New York Observer wrote, “Bluish TV lights were installed
in the furniture stripped parlor—they made flame-haired and
pale-skinned Boldface Names legger Lily Koppel look like a
divine space-age ballerina.”
Although I took none of this too seriously, the image spoke
to my fantasy of superheroine feats to come. Since setting foot
in the celebrity world, I had abandoned the novel I was work-
ing on. Fiction seemed strange when my reality felt so unreal.
But despite all of the frivolity around me, I wanted to report
on life not found in the pages of glossy magazines or in news
recycled at the end of each day, and moment to moment on the
Internet. I really wasn’t interested in celebrities any more than
I was eager to run around the city covering crime scenes, which
is how young reporters are broken in. I wanted everything to
slow down. I was searching for a story that completely touched
my life and those of other people. More than ever, I had no idea
what to write about. What was I doing here?

It was almost eight a.m. on a crisp fall day, October 6, 2003,

a couple months after I had moved in, and I was late getting
to the Times. I would spend the next eight hectic hours an-
swering phones on the Metro desk, helping editors coordinate
news coverage, while writing my own articles, trying to break
into the paper’s ranks. As usual, after another late night and
one too many glasses of champagne, I was in a hurry to get to
the subway and make it to the newsroom before the editors,
to find out where a fire was blazing or a murder was under
investigation.

6 Lily Koppel
 I had just stepped out of my building. Parked in front of
98 Riverside ’s awning was a red Dumpster brimming with old
steamer trunks. One of the sides was collapsed. At a glance, I
counted more than fifty trunks and elegant valises piled high
like a magic mountain, just a polishing away from their descen-
dants at Louis Vuitton. At the top, a tan trunk studded with
brass rivets glowed in the sun with such luminescence that it
appeared spotlit. With a copious skin of grand hotel labels, it
betrayed its age like a sequoia. The world had been rounded.
Each label was a miniature painting, a dreamy portal into
a faraway destination. Elephants paraded past exotic geishas
twirling parasols. Pink palms swayed, hypnotizing passengers
aboard the Orient and Round the World Dollar Steamship
Line. Flappers frolicked. Seagulls working for I.M.M. Lines
hawked “Cruises to Every Land Through Every Sea!” An
orange ship sailed through a fuchsia pagoda. Two women sat
under an umbrella in Cannes. Giraffes kicked off the Around
Africa Cruise. A classic ruin in a desert signaled the Grand Ex-
press Europe-Egypt. The Hotel Schwarzer Bock in Wiesbaden
pictured a single-horned mythological ram staring boldly into
the distance above dark trees and puffy clouds. A ship shot like
a bullet from a kaleidoscopic Statue of Liberty. The red Italia
Prima Classe sticker stood out with a first-class F.
I felt a pang of longing. I was seized by the impulse that at
this moment, nothing mattered but seeing what lay inside the
trunks. They wouldn’t be around for long. I pulled my dyed red
hair back in a ponytail. Slinging my bag across my shoulders,
I grasped the Dumpster’s grimy edge and found toeholds with
my embroidered Chinese slippers. I pulled myself up. Careful
to avoid a tangle of lamp cords and a shattered gilt mirror, I

The Red Leather Diary 7

Trunks in the basement of 98 Riverside Drive headed for the Dump-
ster. The diary was found inside one of the trunks. (Photo: Don
Hogan Charles/New York Times.)

balanced each foot on a different precariously lodged chest in

the shifting maze. Lost among the trunks was a wooden stage
prop of the White Rabbit from Alice in Wonderland, wearing
what looked like a Marc Jacobs plaid coat, checking his pocket
watch.
There were about a dozen trunks across and six deep. Test-
ing my path with several taps of my foot, I crossed from trunk
to trunk as if they were bobbing in the middle of the ocean. I
gazed down my street, dotted with pots of magenta impatiens,
a quiet path leading from West End Avenue to Riverside Park,
lined in brownstones distinguished by polished door knockers
sculpted as winged cherubs, dolphins, rams’ heads, and Victo-

8 Lily Koppel
Other documents randomly have
different content
Cranial index 93.17
Height-length index 79.50
Height-breadth index 85.33
Upper facial index 54.97
Nasal index 46.15
Orbital index 79.07
75

Table 3
Comparison of Male Stature for Oneota Indians
Utlaut Site Height
Burial 1 (Oneota) 173.46 cm
Burial 2 (Oneota) 175.9 cm
[2]
Oneota Sites Mean Height
Leary site (Nebraska) 173.1 cm
Hartley site (Iowa) 164.2 cm
Leary site (Nebraska) 173.1 cm
Flynn site (Iowa) 169.7 cm
Blood Run site (Iowa) 168.2 cm
Correctionville site (Iowa) 171.2 cm
All sites 170.0 cm
76
 A REPORT OF SALVAGE INVESTIGATIONS AT
ST. CHARLES, MISSOURI
by J. M. Shippee

In the latter part of August 1956, Mr. Andrew H. McCulloch of St.

Charles, Missouri addressed a letter to the Department of
Anthropology, University of Missouri, in which he told of the
discovery of buried remains which were thought to be of Indian
origin. Road construction in a new housing area just north of St.
Charles, Missouri had exposed an Indian camp site on high ground
overlooking the Missouri-Mississippi River flood plain. Mr. McCulloch
had been informed by the land owner, Mr. J. D. Wright, that a
portion of a grave had been opened, exposing bones of humans and
animals and broken pottery vessels.

The letter was delivered to Carl H. Chapman, then Director of

American Archaeology at the university, who visited the site and
decided that further investigations were advisable. Professor
Chapman directed the writer to make limited investigations at the
site. This work was done in 3 days beginning September 1, with the
very capable assistance of Leonard Blake and Winton Meyer of St.
Louis, and Robert Wright of St. Charles.

The new road cut which exposed the remains is located at the
eastern edge of an old field, which has an elevation of 90 feet above
the river flood plain. Erosion had removed much of the dark topsoil
from above the light colored loess, which apparently is very deep. At
five locations in the road cut, dark deposits of cultural debris were
observed in clearly defined pits which had been cross-sectioned by
the grading machines. These pits were grouped at the deeper
excavations for the road which were approximately 500 feet apart.
At several places, in loose earth along the road, Indian artifacts were
found where the grading operations had deposited them; their exact
provenience is therefore, doubtful.

Pits A and B were at the north end of the field and were exposed in
the vertical bank at the east side of the new road. Both had been
gouged by curious persons, and nothing is known of the material
removed prior to the work described here.

Pit A could be clearly defined in outline beneath 28 inches of

overburden. This overburden consisted of 4 inches of top soil and 24
inches of light colored soil. The pit outlined by the cultural fill
measured 8 inches deep, and had been approximately 40 inches in
diameter. Excavation later revealed that the deposit extended only
13 inches into the bank, the greater part of the deposit having been
previously removed. The sterile overburden was examined as it was
removed from above the pit. The pit fill was so compact that Blake
had difficulty in examining it. The deposit contained 3 rimsherds
(Fig. 1) and 31 bodysherds in the upper part, and considerable bone
scrap of animals in the lower. A trace of burned clay and a few small
lumps of fired limestone were scattered in the fill. Charred wood was
collected for radiocarbon dating, and according to Dr. J. B. Griffin of
the University of Michigan and Professor H. R. Crane, University of
Michigan Memorial-Phoenix Radiocarbon Laboratory, it was found to
be dated (M-619)—1240±200 years before present, which would
give the date before 1950 as A.D. 710±200. Also found in the pit
were a few flint flakes and one crude flint blank. The bones in pit A
were thought to be from game animals and consisted of 5 mandibles
and 2 long bones. A large mandible, from which all the teeth had
been removed by pot-hunters, is thought to be that of a bison.
Three mandibles were from deer.

77
Figure 1. Pit A pottery
 a
THE LIP HAS BEEN SMOOTHED.
THE CORDMARKED EXTERIOR SURFACE IS BROWN, THE INTERIOR
IS DARK GREY
b
c
EXTERIOR COLOR OF b AND C IS DARK BROWN TO LIGHT BROWN.
THE CORDMARKING IS TYPICAL OF THE SITE, INTERIORS ARE
SMOOTH, COLOR IS A DULL BROWN. THE TEMPER IS CLAY
c
THIS SHERD IS PROBABLY NAPLES DENTATE STAMPED OF THE
MIDDLE WOODLAND OR HOPEWELL COMPLEX. ITS
OCCURRENCE IN THIS PIT IS PUZZLING.

The potsherds from pit A are from large vessels, and with one 78
exception they have lightly re-smoothed cordmarked exteriors.
All sherds have been smoothed inside. Of the three rimsherds
recovered, two have rounded lips and one a rather flat lip which, in
the process of smoothing, received considerable more burring over
the outer edge than those with the rounded lip. All sherds are hard
and clay tempered. The color of these sherds is a muddy-brown or
brownish-grey. An exceptional sherd from pit A is tan in color, clay
tempered except for a few particles of grit, has a smooth interior
and is decorated on the outer surface with roulette or dentate
stamping (Fig. 1, d).

Pit B, located 33 feet south of pit A in the same east bank was
similar, but only a small remnant of it remained after the usual
vandalism. This pit was beneath 24 inches of overburden; it had a
concentration of cultural fill that measured 6 inches in depth and the
diameter had been approximately 30 inches. Small lumps of fired
limestone were scattered through the fill, which included two
rimsherds (Fig. 2, a and b) and 12 small body sherds. One rimsherd
is evidently from a miniature pot. It is smooth inside and out, grey in
color, very hard and without apparent tempering material. The other
rimsherd is similar to those from pit A which have the rounded lips.
The body sherds seem to be from rather large vessels which had
cordmarked exterior surfaces and are clay tempered except for one
which was tempered with grit. One flake of white chert showed
usage.

Pit C was a small, poorly defined deposit of material foreign to the

light colored soil about it. The top of the deposit was 15 inches
below the present surface of the field. Three large cordmarked
sherds and a number of small ones were excavated. There were also
bits of burned clay and a few flint chips. Nearby, in the disturbed
earth of the road, several large, grit tempered and cordmarked
sherds were recovered.

Pit D was exposed partly in the west bank of the road at its southern
end. In addition to the part of the pit exposed in the cutbank, the
horizontal outline of the pit could be traced on the surface of the
graded road. Approximately half the contents of the pit had been
graded away. This pit, which excavation revealed to be 20 inches
deep, as marked by the dark fill, was covered by 18 inches of light
colored soil. The sides belled considerably and the flat, oval bottom
measured 4 feet northwest to southeast by 5 feet northeast to
southwest.

79
Figure 2. Pits B and D, Artifacts
 PIT B POTTERY
a
INTERIOR IS DARK GREY
b
FRAGMENT OF A MINIATURE POT SURFACES ARE SMOOTH AND
GREY
NO TEMPERING VISIBLE.
SECTION OF CLAY RING
PERFORATED CANINE
CORDMARKED DISC OF TAN COLORED POTTERY
PROJECTILE POINTS ARE FROM FLAKES CHIPPED AROUND THE
EDGES
a AND d. ARE OF PINK CHALCEDONY
FLINT FLAKE DRILL

Over 150 potsherds were recovered; 17 were rims of vessels, 80

nine are sketched in Figure 3. With few exceptions, these rims
were similar to those from pits A and B and are from large vessels.
They were cordmarked, very hard, and are tempered with clay and
some grit. Many sherds break squarely, others flake badly and even
crumble. From these potsherds, one vessel has been restored
sufficiently to give its characteristics (Fig. 4). The pot, of about 3
quarts capacity, is 8 inches high, 8 inches at its greatest diameter
and is rather thin walled. It has dark grey paste, is clay tempered,
very hard and has fine vertical cordmarks over the upper body with
cordmarks at random below the shoulder. The smooth interior has
small angular impressions or punctates inside the lip, which is
slightly everted. This vessel, considerably different from the others
at the site, is very similar to one from Arnold-Research Cave which is
70 miles west in Callaway County, Missouri (Shippee, 1966). The pot
from the cave was shell tempered. In a personal communication of
April 13, 1959, Dr. James B. Griffin states that in theory the pottery
from this site can be compared to that from sites where Canteen grit
tempered cordmarked and perhaps Korando clay tempered
cordmarked material is recovered. Of the many sherds recovered
from pit D, all are cordmarked or brushed. One sherd is from a
vessel with a thick conical base.
A baked clay object from pit D seems to be a section of a small ring
(Fig. 2). One unperforated disc of cordmarked pottery was found
(Fig. 2). Three projectile points were found (Fig. 2). These points
were made from flakes struck from cores. Two have only primary
chipping around the perimeter; the third has secondary chipping on
one edge. Two of the points were made from a pale pink chalcedony.
Of the small number of flint flakes found, few show evidence of use,
but one had been modified to form a drill (Fig. 2). The perforated
canine of a dog or wolf was in the fill of this pit (Fig. 2). Two antler
sections have been altered; one by a cut which removed the tine
and the other by cutting or scraping to thin it. Bone scrap of fish and
animals, mussel shells and burned limestone fragments occurred in
pit D. Of the considerable charcoal recovered from pit D, a sample
sent to Michigan was dated (M-620) at 930±100 years B.P. or A.D.
1020±100 before 1950. The wood was from a white ash group, a
red oak group and hickory. Identification by R. Yarnell Nov. 21, 1962.
Reported by letter from George J. Armelagos Jan. 28, 1963.

Pit E contained one rimsherd similar to those numerous on the site,

and 14 body sherds, one of which was from a large vessel having a
conoidal base. Three sherds were from a miniature pot. Pit E was 24
feet south of pit D and on the same west road bank. It could be
defined below 19 inches of light colored overburden and had a depth
of 8 inches. A radiocarbon date for charcoal from pit E is (M-621)—
1180±100 B.P. or A.D. 770±100 before 1950. The charcoal was from
red oak and white oak groups, as identified by Richard Yarnell at the
University of Michigan.

81
Figure 3. Pit D pottery
INTERIOR
IMPRESSIONS INSIDE LIP ARE BY A CORD WRAPPED ROD
INTERIOR
EXTERIOR OF THE LARGE RIMS HAVE VERTICAL CORDMARKS, LIP TO
SHOULDER AND AT RANDOM BELOW.
SLIGHT RESMOOTHING IS EVIDENT, COLOR IS BROWN TO BLACK.
ALL PIT D RIMS HAVE CORDMARKED EXTERIORS
LIP AND INTERIOR ARE PREDOMINATELY SMOOTHED
SHERD INTERIOR IS ON RIGHT

82
Figure 4.
 RESTORED FROM PIT D
SMALL DENTATE IMPRESSIONS ARE ON THE INSIDE OF THE LIP.
EXTERIOR
BRUSHED EXTERIOR
INTERIOR
SURFACE OF ROAD

From the surface of the road there was collected three 83

rimsherds, 20 body sherds, bone scrap, and a hammerstone
which had a pit in two of its flat faces. Artifacts are reported to have
been found on the surface of the field surrounding this hilltop site,
but we found scant evidence of occupation in the plowed soil. This
lack of surface material may be further evidence of considerable
deposition over the pits that were exposed in the roadway across the
site.

Leonard Blake sent a copy of the original manuscript of this

excavation to Patrick J. Munson of the Department of Anthropology,
University of Illinois, and Mr. Munson kindly submitted comparisons
and comments on the 23SC50 and Late Woodland ceramics in the
American Bottoms. The following is from his letter of June 15, 1966.

“The pottery shows similarities to both Korondo Cordmarked and

what I call “Early Bluff” (which includes part of what Griffin calls
Canteen Cordmarked and which conforms to part of Titterington’s
Jersey Bluff focus). Korondo and Early Bluff are definitely related in
some way (probably regional variants of what is basically the same
cultural pattern) and your material therefore represents still another
variant of this same pattern.

The comparisons and contrasts can best be illuminated in the

following table:

Early St.
Korondo Bluff Charles
Vessel Shape x x x
Mostly Cordmarked x x x
Mostly Sherd Tempered x x
Mostly Grit Tempered x
Squared Lip x
Rounded, “sloppy” lip x x
Interior Lip Cord Wrapped Stick x x x
stamp
Interior Lip plain stamp x x
Exterior Lip plain stamp x
Vertical Lip plain stamp x
Undecorated Lip x x x

As such, your material seems about as similar to one as the other,

every attribute being shared with either Korondo or Early Bluff, or
with both.

Also your radiocarbon dates, or at least the two earliest ones,

conform quite well. Dr. Robert Hall, now of the University of Chicago,
has two dates for a Korondo site in the southern part of the
American Bottoms (Stolle Quarry) AD-700 and 900, and by a process
of elimination, Early Bluff in the northern portion of the Bottoms
must date pre-850. (Korondo is found in the southern part of the
Bottoms and south; Early Bluff is in the northern portion and north.)
Your one dentate stamped sherd (Fig. 1) is probably Naples Dentate
Stamped, and as such is surely an accidental inclusion—I doubt if
this Middle Woodland type was made later than A.D. 400 at the
latest. Also the largest projectile point from pit D looks like a 84
sloppy Snyders Point, again a Middle Woodland type and
probably an accident (or a specimen collected by the Late Woodland
peoples). The smallest point from the pit is probably a Late
Woodland Koster Point (cf. Perino, 1963, Central States Arch. Jour.,
Vol. 10, No. 3, pp. 95-100).
An attribute you might include in your pottery description is the
direction of twist of cords used in making the cordmarkings; “S”
twist (right hand) and “Z” twist (left hand)—but remember, the
impressions on the pottery are negative, so the cord was the
opposite of the impressions that you see. I found the percentage of
this attribute quite significant in separating Early Bluff from Late
Bluff.”

CONCLUSION

The three days of salvage archaeology at this site at St. Charles,

Missouri were well rewarded by the information gained and
especially by the recovery of charcoal associated with the artifacts in
the pits. The three radiocarbon dates, with the exception of the late
one, must be of considerable value to archaeologists investigating
sites in the Midwest, and especially those in the vicinity of St. Louis
and the American Bottoms. As for the site, the writer understands
that it is totally built over, but isolated finds during construction work
at the location could provide further important knowledge of the
prehistoric Indians who inhabited the site. The passage of 16 years
since the initial investigation, before this report could be concluded,
is further proof that the archaeologist’s job is a difficult one to
pursue, and it is only by the persistent endeavor and cooperation of
the various persons interested that anything is accomplished.
 FOOTNOTES

[1]
Parentheses indicate estimated measurement

[2]
Based on data from Table 34, Myers and Bass (n.d.)
 Transcriber’s Notes
Silently corrected a few typos.
Retained publication information from the printed edition: this
eBook is public-domain in the country of publication.
In the text versions only, text in italics is delimited by
_underscores_.
 *** END OF THE PROJECT GUTENBERG EBOOK THE MISSOURI
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