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RailroadTreasures offers the following item: Mohawk That Refused to Abdicate and Other Tales, The by David Morgan 1975 DJ The Mohawk That Refused to Abdicate and Other Tales by David Morgan Copyright 1975 304 pages Indexed Hard cover with dust jacket (some damage) TABLE OF CONTENTS 6 FOREWORD 10 IN SEARCH OF STEAM 12 Steam safari 22 Eureka! 28 D-I-E-S-E-L? pronounce that, please 36 SMOKE OVER THE PRAIRIES 38 Always look back 46 Happy land of the plumber’s nightmares 52 “Gentlemen, your train is coming!” 58 The quick and the dead 64 Dig those domes! 72 Illinois incident 78 The quaint and the quiet 88 Oasis in dieseldom 96 Berkshires on the move 102 Curtain call in the coal fields 110 TVA to the rescue 118 The saddest train of all 126 Taking down the markers 138 STEAM IN INDIAN SUMMER 140 Roanoke: Alamo for steam 152 Lima’s finest in twilight 162 Little railroads in faraway places 170 The Mohawk that refused to abdicate, and other tales 184 Steam: It fares better in the flatlands 194 Concerning Henry Ford, a 4-6-0 built in 1900, small boys, and bliss and ignorance 202 A story of small, elderly engines 210 What a difference a driver diameter made 216 A chance-medley of lonesome local and helpers, short lines and lonesome 2-10-2 226 Holiday near Hollidaysburg, helplessness on Horse Shoe, oblivion at Orbisonia 234 Shades of steam and speed by the seashore! 240 Steam … at sea level and 6288 feet up 248 Thank heaven for quarries and sawmills! 254 Look up, brother-she’s steam! 262 AND OTHER TALES OF STEAM 264 Camelback to Dunellen 276 The 2-10-0’s that thought they could-and did! 284 Big Boy 298 EPILOGUE-David P. Morgan 300 EPILOGUE-Philip R. Hastings 301 ABOUT THE ENGINEER ON a pleasant October 12 in 1952 I accompanied a railfan uncle to a highway railroad crossing at Onalaska, Wis., and pointed my Kodak Hawkeye-a gift for my fourteenth birthday the year before-down the right of way of the Chicago & North Western. After a short wait, a yellow E unit led the Dakota 400 into the view finder of the camera. With the thump of the plunger I realized that I not only had committed the image of the train to film, but had committed myself to a new hobby-a hobby that would almost become a way of life. I returned to my hometown of Chicago and began innocent forays into the massive, overwhelming world of railroading. There were picture-taking trips to neighborhood suburban stations, culminating in a great adventure-a trip to downtown Chicago and my first encounter with Roosevelt Road, which spanned the trackwork leading into four major stations. My objective was trains in general. Thus, the fact that 9 out of 10 trains were diesel powered had no bearing on my enjoyment; in fact, I actually preferred the shiny, colorful diesels to the dirty old steam locomotives. My pursuit of what otherwise might have been a solitary hobby was reinforced and directed by my exposure to a slick-paper magazine out of Milwaukee, Wis., called TRAINS & TRAVEL. Little did I know, or care, that the appendage & TRAVEL would be no more than a short-lived titular experiment. In the pages of TRAINS I expanded the horizons of a 15-year-old’s mind and saw beyond the local railroad scene. It was a time of discovery, of exciting discovery. And what’s more, I quickly realized that my uncle and I, plus the neighbor boy or two I had talked into accompanying me on my local sojourns, were not alone in our fascination for railroading. Yes, TRAINS Magazine gave us credence and fellowship as well as discovery. I would not bother to relate this small tale of personal induction into railfanning if it were not for the fact that similar experiences were being shared by thousands of other young railfans across the country, and that countless railfans before and after our group of the 1950’s embraced the popular railroad press-and in particular TRAINS-as the focal point of their burgeoning hobby. The 1950’s were a particularly pertinent time for both railroading and railroad writing. In the late Forties and early Fifties railroading was undergoing a great revolution (some would say its last great revolution)-the switch from steam locomotion to diesel locomotion. By the mid-1950’s steam was on its last wheels. The remaining pockets of iron-horse operation were falling so fast that only in retrospect do we sometimes realize just how many steam locomotives were still active in that period. Railfan photographers of long standing, of course, were engaged in a nationwide personal documentation of the remaining steam power. Simple documentation, however, would not have done justice to the marvelous, animated piece of machinery that was the steam locomotive; needed were a writer and a photographer who possessed the ability to translate their observations into a definitive, permanent record. Of course, it was not as if prominent authors had ignored the steam locomotive. Indeed, locomotives and railroading had found fond expression in the writings of Henry David Thoreau and Thomas Wolfe. Edna St. Vincent Millay’s lines about there not being a train she wouldn’t ride are possibly the most quoted in all of rail-related literature. These men and women of letters lifted their subject out of the mechanical manuals and established for us a rich heritage of romantic and esthetic appreciation for railroading. Not until the 1930’s, however, did the field of railroad writing have its own devotee, a man who could maintain one foot in the world of letters while crunching the ballast of a hundred main lines with the other. Lucius Beebe, often with camera in hand, left behind the world of New York cafe society and engaged his flamboyant pen in describing “where feline Hudsons of the New York Central panted in the hot darkness, mousing for green lights among the switch points.” If Thoreau and Wolfe called our attention to the romance of railroading, Beebe most certainly legitimatized that romance. Although Beebe often took liberties with facts and sometimes didn’t even attend school let alone do his homework, we were grateful and reassured that a man in his literary tradition had found his ultimate enjoyment in our avocation of railroading. His immense personal prestige would be a large factor in founding the popular railroad book market we have today. If the romance of railroading could attract a man of letters from the 19th century and a novelist, a poet, and a bon vivant of the 20th century, the field of railroad writing nevertheless awaited its own champion, a writer born not of philosophical training, literary tradition, or even newspaper society columns, but of childhood visits to railroad stations, adolescent afternoons of roundhouse wanderings, and late teen years of caboose and locomotive riding. The penalty for traveling along this path of railroad literature might be exclusion from wider literary recognition, but we, the faithful railroad fans, would be the richer for it, because our man would be able to combine fact and knowledge with his romanticism. Our man would be equal to the calling of writing the ultimate documentation of the steam locomotive era. Our man was-and is-David P. Morgan, a Southerner (born in Georgia, raised in Kentucky, first employed in Texas) whose initial effort at railroad writing was published by Railroad Magazine in 1948. Through free-lance efforts submitted to Al Kalmbach, the publisher of TRAINS, Morgan’s talent was recognized, and in 1948, barely at the legal age of 21, he was summoned to work for the fledgling magazine, itself not yet 10 years old. His writing style flourished. He took over authorship of the magazine’s lead-off “Railroad News and Editorial Comment” section, and by the time he had been appointed Editor of TRAINS in January 1953 the news section had become a true editorial comment section, providing fresh views and sorely needed independent (nontrade) analysis of railroading. Today this eagerly awaited section contains some of the most succinct, knowledgeable writing in the railroad industry. But we enjoyed David P. Morgan the most for his descriptions from trackside. Whether riding the Panama Limited, reporting on RDC’s, or observing experimental turbines, he had the unique ability to bring the reader to trackside with him, to project the event into the reader’s eyes. Such an ability and the last great moments of the steam age were meant for each other. Permit me to continue my personal narrative of railfanning in the early 1950’s, when the steam locomotive was retreating from one railroad property after another. Although most railfans were painfully aware of the demise of steam and were spending every leisure hour watching and photographing the great locomotives, I was not among them. I was still a rookie in the hobby; I was still fascinated by the shiny diesels so accessible. Although I was cognizant of steam’s demise, I felt no overriding concern. Then one day the April 1954 issue of TRAINS arrived in the mail. In the pages of that magazine David P. Morgan compared steam to a dinosaur facing extinction, and in the company of photographer Philip R. Hastings he stalked the eldest of the beleaguered breed to a remote corner of Canada, reveling in the sight of younger members of the species along the way. Stirred by Morgan’s writing, my avocation of train-watching reached a dramatic turning point. By the time the second installment of “In Search of Steam” had arrived, I was plotting my own “steam safari” for my one-week spring vacation. That safari in 1954 took me by bus and streetcar and rapid transit to the outer reaches of Chicagoland, to the surviving steam facilities of such roads as Illinois Central, Nickel Plate, and Baltimore & Ohio. During later years the perimeter would expand to adjacent states, and then to far-off continents. Why, the Morgan words would even be an inspiration for my own career in journalism, and one day would lead me to an associate editor position on that very same TRAINS Magazine. Happily, “In Search of Steam” was only a prelude to further Morgan/ Hastings adventures as the writer-photographer team chronicled the twilight of the steam age in North America. In the January 1955 issue of TRAINS began the classic series with the classic title, “Smoke Over the Prairies.” David P. Morgan’s fine writing, this time limited in length (but never in impact) by a photo-and-caption presentation, continued. The pictorial layouts offered Photographer Hastings his hour of prominence. Phil Hastings was one of a select group of one or two dozen photographers who had demonstrated-most often in the pages of TRAINS’ “Photo Section”-an exceptional ability to record on film the passing railroad scene. In “Smoke Over the Prairies” he was given an unusual opportunity in the guise of a photographic forum, and his expertise with the camera has left us a portfolio to enjoy again and again. Rail photography-even more so than railroad writing-was undergoing a dramatic evolution in the early 1950’s. Today, with the assistance of versatile lenses and fast color films, the general level of creative rail photography is higher than it ever has been. In the early days of railroad photography, slow films and slow shutter speeds limited most photographers to the locomotive portrait, or side-view “roster” shot. There were notable exceptions. A few photographers took action photos and even “panned” shots. When more suitable films and cameras became available, particularly after World War II, the action shot came into its own, usually in the form of the classic 3/4 angle, or wedge. The decade of the 1950’s witnessed for the first time individual rail photographers combining all the methods that had gone before into one presentation. Wedge shots, panned shots, framed shots, even night shots and human-interest shots-Hastings (and a group of his contemporaries) put them all together in an unforgettable record of steam railroading. There was Hastings, taking a prairie setting disdained by most rail photographers-the mid-America of Illinois Central’s main line-and making it come alive with storming 4-8-2’s in a series of views almost as diverse as the locomotives were similar. Who could forget the first time we paged to the centerspread in that episode and were overwhelmed by the sight of 400 tons of muscular steel staging a flatland meet at speed? There was Hastings, taking a dismal day in the rain in Minnesota, taking steam on its last legs, and making you wish you had been there with him. There was Hastings, not only finding at Cincinnati the majesty that was New York Central steam, but conveying that majesty on silver-bromide crystals and then halftone, almost to the point of cinders. And most important, there was Hastings, giving us a portfolio not just of steam, but of steam railroading. The concluding installment of “Smoke Over the Prairies” contained the heartening news that yet another steam series would soon be starting: “Steam in Indian Summer.” The new series began on the most logical of railroads, the Norfolk & Western. Steam enthusiasts (probably at least 90 per cent of the railfans at the time) were still enjoined in the steam vs. diesel debate, and the Norfolk & Western was our shining example of how efficient modern steam could be when given the proper support and opportunity. In the second and third installments, attention was focused on the Chesapeake & Ohio and a few short lines. I think that I knew something good was in the offing just from the title of the fourth installment: “The Mohawk That Refused To Abdicate and Other Tales.” (By now the ensuing chapters of the series were the most eagerly awaited articles in the magazine.) The story is yours to enjoy anew on pages 170-183 so we won’t relate too many of the specifics here. Although the era is long gone now, the words are as vital as the day they were written. In fact, the story never fails to take me back to the living-room chair and the day I first read it . . . to an era when we wanted so desperately to believe that steam at its best was still the equal of any diesel. David P. Morgan built the suspense slowly as he described the downtrodden main character, New York Central Mohawk No. 3005, reduced to hauling dead freight amidst a tide of passenger-train schedules, and encountering problems doing even that. But unexpectedly, almost inexplicably, 3005 and her engineer refused to accept their fate. Did I say the words were vital? By the time Morgan had summoned forth No. 3005 to thunder across the diamond at Shelby, 0., the great 4-8-2 no longer existed in words, but threatened to roar straight out of the trembling pages of TRAINS Magazine, to leap out at me from the dynamic Hastings photograph. It would have been hard to convince me that this-this, the shabby twilight of steam, with the odds stacked against it-was not actually steam’s finest hour. The response to this installment was instantaneous, universal, and long lasting. An acquaintance of mine immediately drove to Shelby, only to find that NYC steam had retrenched beyond the city by the time of the article’s appearance. A month or so later I camped at Riverside Yard near Cincinnati for three days during a steel strike traffic lull (using time that could have been spent more effectively elsewhere) before finally watching a Mohawk emerge from the roundhouse. And whenever we railfans gathered and happened to discuss TRAINS, the “Mohawk That Refused To Abdicate” entered the conversation. The article even inspired a painting. Years later new railfan friends from other parts of the country sooner or later would make reference to the Mohawk. And a professional colleague, only four years old when the Mohawk took Shelby by storm, tells me that only a year or two ago the Morgan/ Hastings issues of TRAINS passed like gold bars among the railfan set at his university. What was the specific appeal of the Mohawk story? First, the article epitomized the writing and photography of the entire Morgan/Hastings series of steam articles. Morgan and Hastings had ranged across many states and provinces to bring us the full breadth and depth of the steam age, yet they had managed to capture all the glory of steam in one photograph and several paragraphs. Second, the Mohawk herself symbolized the saga of all steam locomotives in the 1950’s-mechanically neglected, relegated to lesser assignments, an embarrassment to railroad general offices, but a machine that refused to go down without a fight. You could dirty her coat but you couldn’t take away her pride and her appeal. Sure, as some of the writing and photos portrayed, there was steam forlorn and forgotten; but as with the Mohawk, there was the grander scene of steam still not asking or giving any quarter. There was steam like Norfolk & Western J’s climbing Blue Ridge without slackening their gait, steam like Nickel Plate 2-8-4’s highballing freight at a pace that diesels were hard put to equal, let alone exceed, steam like Missabe 2-8-8-4’s rolling impossibly long ore drags, steam like Union Pacific Big Boys climbing Sherman Hill and barely working up a sweat. This is the way we wanted to remember steam. This is the way it should be remembered. Thanks to David Morgan, Phil Hastings, and Mohawk 3005, our vision of steam would end not in a cold scrapyard or in a dust-laden album of photographs, but in Ohio at Shelby on a warm day standing shoulder to shoulder with Morgan and Hastings, watching a smudge of smoke building on the horizon, and bracing ourselves anew for the onrushing thunder of The Mohawk That Refused To Abdicate. All pictures are of the actual item. If this is a railroad item, this material is obsolete and no longer in use by the railroad. Please email with questions. Publishers of Train Shed Cyclopedias and Stephans Railroad Directories. Large inventory of railroad books and magazines. Thank you for buying from us. Shipping charges Postage rates quoted are for shipments to the US only. Ebay Global shipping charges are shown. These items are shipped to Kentucky and then ebay ships them to you. Ebay collects the shipping and customs / import fees. For direct postage rates to these countries, send me an email. Shipping to Canada and other countries varies by weight. Payment options Payment must be received within 10 days. Paypal is accepted. Terms and conditions All sales are final. Returns accepted if item is not as described. Contact us first. No warranty is stated or implied. Please e-mail us with any questions before bidding. Thanks for looking at our items.

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