Relief for the Unemployed

First and foremost, Americans still needed jobs. Since the private economy left eight million people jobless by 1935, Roosevelt and his advisers launched a massive work relief program. Roosevelt believed that direct government handouts crippled recipients with “spiritual and moral disintegration . . . destructive to the human spirit.” Jobs, by contrast, bolstered individuals’ “self-respect . . . self-confidence, . . . courage, and determination.” With a congressional appropriation of nearly $5 billion—more than all government revenues in 1934—the New Deal created the Works Progress Administration (WPA) to give unemployed Americans government-funded jobs on public works projects. The WPA put millions of jobless citizens to work on roads, bridges, parks, public buildings, and more. In addition, Congress passed over Roosevelt’s veto the bonus long sought by Bonus Marchers, giving veterans an average of $580 and further stimulating the economy.

By 1936, WPA funds provided jobs for 7 percent of the nation’s labor force. In effect, the WPA made the federal government the employer of last resort, creating useful jobs when the capitalist economy failed to do so. In hiring, WPA officials tended to discriminate in favor of white men and against women and racial minorities. Still, WPA made major contributions to both relief and recovery, putting thirteen million men and women to work earning paychecks worth $10 billion. (See “Documenting the American Promise.”)

About three out of four WPA jobs involved construction and renovation of the nation’s physical infrastructure. WPA workers built 572,000 miles of roads, 78,000 bridges, 67,000 miles of city streets, 40,000 public buildings, and much else. In addition, the WPA gave jobs to thousands of artists, musicians, actors, journalists, poets, and novelists. The WPA also organized sewing rooms for jobless women, giving them work and wages. These sewing rooms produced more than 100 million pieces of clothing that were donated to the needy. Throughout the nation, WPA projects displayed tangible evidence of the New Deal’s commitment to public welfare.

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VISUAL ACTIVITY City Activities Mural During the 1930s, artists—many of them employed by New Deal agencies—painted thousands of murals depicting the variety of American life. These murals often appeared in public buildings. The mural shown here, by Missouri-born artist Thomas Hart Benton, illustrates the seductive pleasures and the spirit found in American cities. Thomas Hart Benton, America Today, City Activities with Subway, 1930–31. Image copyright © The Metropolitan Museum of Art. Gift of AXA Equitable, 2012 (2012.478a-j). Image Source: Art Resource, NY READING THE IMAGE: What features of urban experience does Benton emphasize in this mural? What ideas and attitudes, if any, link the people shown here? CONNECTIONS: To what extent does the mural highlight activities distinct to U.S. cities, compared with urban life in Europe, Africa, or Asia?