Transients created what was arguably the first counterculture in the modern United States, known as ‘hobohemia’. This Introduction argues that hobohemia was a literary subculture, the fruits of which included fiction, poetry, autobiography, sociology, journalism, and popular music, including works produced by women and African-Americans. The material examined by this book, much of which has been forgotten or neglected, demonstrates that hobos were not the all-American, white, straight, male hyper-individualists that they have been seen as by much twentieth-century popular history. As well as laying out the argument and structure of the book, the Introduction argues that Hobohemia was a subculture that privileged storytelling, and that the popular genre of hobo memoir emphasises drift as a key aspect of the transient experience.

Chapter Seven focuses on African-American representations of transiency. Black transients suffered from the same problems of poverty and hunger as whites but they had to contend with the added problems of racial discrimination and state-sanctioned violence. They were also, to varying degrees, barred from hobohemian subculture. Black transients were entirely excluded, for example, from the publishing market for book-length hobo memoirs. This chapter seeks out representations of transiency in black vernacular music, particularly, though not exclusively, the blues. I argue that examining the lyrical content of black vernacular music changes the cultural representation of the hobo because blues is more sexually explicit, contains more examples of female empowerment, and places a stronger emphasis on the road as a place of violence than do white written accounts. The romanticisation of the road that is common in white hobo memoirs is largely absent from black vernacular music, in which concerns about needing to leave town, often to escape an awkward romantic situation but sometimes to escape from the violence of the railroad police, loom large.

Chapter Six focuses on T-Bone Slim (real name Matti Valentinepoika Huhta), a second-generation Finnish-American hobo who became the IWW’s most popular and influential writer. In hisnewspaper columns and songs, Slim represented the hobo not only as a worker, as Anderson had, but also as the revolutionary vanguard of a post-capitalist society. He parodies mainstream and conservative ideas about work, hobos, and the working class more generally. He challenges the common stereotype of hobos and tramps as being unintelligent through wit and verbal dexterity that assumes intelligence in his transient audience. He uses puns, neologisms and dynamic wordplay to involve his readers in the process of making meaning. In doing so, he creates a mode of literary genius that is communal rather than individualistic, and which in turn allows him to challenge mainstream understandings of literary success. The chapter shows how Slim brings his body and the bodies of his working-class readers into his writing by representing hunger as a defining class experience.