Summary

Portrait of Samuel Peter Orth Samuel Peter Orth Our Foreigners: A Chronicle of Americans in the Making

With the free land gone and the cities crowded to overflowing, the door of immigration, though guarded, nevertheless remains open and the pressure of the old-world peoples continues. Where can they go? They are filling in the vacant spots of the older States, the abandoned farms, stagnant half-empty villages, undrained swamps, uninviting rocky hillsides. This infiltration of foreigners possessing themselves of rejected and abandoned land, which has only recently begun, shows that the peasant's instinct for the soil will reassert itself when the means are available and the way opens.
Source: Gutenberg

Portrait of Samuel Peter Orth Samuel Peter Orth Our Foreigners: A Chronicle of Americans in the Making

Not only in England, but on the continent, the negro's melodies, his dialect, and his banjo, have always been identified with America. Even Americans do not at once think of the negro as a foreigner, so accustomed have they become to his presence, to his quaint mythology, his soft accent, and his genial and accommodating nature. He was to be found in every colony before the Revolution; he was an integral part of American economic life long before the great Irish and German immigrations, and, while in the mass he is confined to the South, he is found today in every State in the Union.
Source: Gutenberg

Portrait of Samuel Peter Orth Samuel Peter Orth Our Foreigners: A Chronicle of Americans in the Making

Their countries are mere eddies left by the mighty currents of European conquest and reconquest, backward lands untouched by machine industry and avoided by capital, whose only living links with the moving world are the birds of passage, the immigrants who flit between the mines and cities of America and these isolated European villages. Held together by national costume, song, dance, festival, traditions, and language, these people live in the pale glory of a heroic past.
Source: Gutenberg

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