disaster in the history of Iowa.
How do I know all this? Everyone in Spencer knows it. The fire is our legacy. It defines us. The only thing we don’t know is the name of the boy who started the fire. Somebody knows it, of course, but a decision was made to keep the identity secret. The message: we’re a town. We’re in this together. Let’s not point a finger. Let’s fix the problem. Around here, we call that progressive. If you ask anyone in Spencer about the town, they’ll tell you, “It’s progressive.” That’s our mantra. If you ask what
progressive
means, we’ll say, “We have parks. We volunteer. We always look to improve.” If you dig deeper, we’ll think for a minute and finally say, “Well, there was a fire. . . .”
It’s not the fire that defines us; it’s what the town did afterward. Two days after the fire, a commission was meeting to make the new downtown as modern and accident- proof as possible, even as stores reopened out of houses and outbuildings. Nobody quit. Nobody said, “Let’s just put it back the way it was.” Our community leaders had traveled to the large cities of the Midwest, like Chicago and Minneapolis. They had seen the cohesive planning and sleek style of places like Kansas City. Within a month, a master plan was created for a modern Art Deco downtown in the style of the most prosperous cities of the day. Each destroyed building was individually owned, but each was also part of a town. The owners bought into the plan. They understood that they lived, worked, and survived together.
If you visit downtown Spencer today, you might not think Art Deco. Most of the architects were from Des Moines and Sioux City, and they built in a style called Prairie Deco. The buildings are low to the ground. They are mostly brick. A few have Mission-style turrets, like the Alamo. Prairie Deco is a practical style. It’s quiet but elegant. It’s not flashy. It doesn’t show off. It suits us. We like to be modern in Spencer, but we don’t like to draw attention to ourselves.
When you come downtown, maybe for a pastry at Carroll’s Bakery or shopping at The Hen House, you probably won’t notice the low storefronts and long, clean lines. Instead, you’ll park along Grand Avenue, stroll under the large flat overhangs and in front of the glass windows. You’ll notice the metal streetlights and brick inlay on the sidewalks, the way the stores seem to flow one after the other, and you’ll think to yourself, “I like it here. This is a downtown that works.”
Our downtown is the legacy of the fire of 1931, but it is also the legacy of the farm crisis of the 1980s. When times are tough, you either pull together or fall apart. That’s true of families, towns, even people. In the late 1980s, Spencer once again pulled together. And once again, the transformation occurred from the inside out when the merchants on Grand Avenue, many in stores run by their grandparents in 1931, decided they could make the city better. They hired a business manager for the entire downtown retail corridor; they made infrastructure improvements; they spent heavily on advertising even when there seemed to be no money left in the community to spend.
Slowly the wheels of progress began to turn. A local couple bought and began to restore The Hotel, the largest and most historic building in town. The run-down building had been an eyesore, a drain on our collective energy and goodwill. Now it became a source of pride, a promise of better days to come. Along the commercial section of Grand Avenue, the shopkeepers paid for new windows, better sidewalks, and summer evening entertainment. They clearly believed the best days of Spencer were ahead, and when people came downtown, heard the music, and walked the new sidewalks, they believed it, too. And if that wasn’t enough, at the south end of downtown, just around the corner on Third Street, was a clean, welcoming, newly remodeled library.
At least, that was my plan. As
How do I know all this? Everyone in Spencer knows it. The fire is our legacy. It defines us. The only thing we don’t know is the name of the boy who started the fire. Somebody knows it, of course, but a decision was made to keep the identity secret. The message: we’re a town. We’re in this together. Let’s not point a finger. Let’s fix the problem. Around here, we call that progressive. If you ask anyone in Spencer about the town, they’ll tell you, “It’s progressive.” That’s our mantra. If you ask what
progressive
means, we’ll say, “We have parks. We volunteer. We always look to improve.” If you dig deeper, we’ll think for a minute and finally say, “Well, there was a fire. . . .”
It’s not the fire that defines us; it’s what the town did afterward. Two days after the fire, a commission was meeting to make the new downtown as modern and accident- proof as possible, even as stores reopened out of houses and outbuildings. Nobody quit. Nobody said, “Let’s just put it back the way it was.” Our community leaders had traveled to the large cities of the Midwest, like Chicago and Minneapolis. They had seen the cohesive planning and sleek style of places like Kansas City. Within a month, a master plan was created for a modern Art Deco downtown in the style of the most prosperous cities of the day. Each destroyed building was individually owned, but each was also part of a town. The owners bought into the plan. They understood that they lived, worked, and survived together.
If you visit downtown Spencer today, you might not think Art Deco. Most of the architects were from Des Moines and Sioux City, and they built in a style called Prairie Deco. The buildings are low to the ground. They are mostly brick. A few have Mission-style turrets, like the Alamo. Prairie Deco is a practical style. It’s quiet but elegant. It’s not flashy. It doesn’t show off. It suits us. We like to be modern in Spencer, but we don’t like to draw attention to ourselves.
When you come downtown, maybe for a pastry at Carroll’s Bakery or shopping at The Hen House, you probably won’t notice the low storefronts and long, clean lines. Instead, you’ll park along Grand Avenue, stroll under the large flat overhangs and in front of the glass windows. You’ll notice the metal streetlights and brick inlay on the sidewalks, the way the stores seem to flow one after the other, and you’ll think to yourself, “I like it here. This is a downtown that works.”
Our downtown is the legacy of the fire of 1931, but it is also the legacy of the farm crisis of the 1980s. When times are tough, you either pull together or fall apart. That’s true of families, towns, even people. In the late 1980s, Spencer once again pulled together. And once again, the transformation occurred from the inside out when the merchants on Grand Avenue, many in stores run by their grandparents in 1931, decided they could make the city better. They hired a business manager for the entire downtown retail corridor; they made infrastructure improvements; they spent heavily on advertising even when there seemed to be no money left in the community to spend.
Slowly the wheels of progress began to turn. A local couple bought and began to restore The Hotel, the largest and most historic building in town. The run-down building had been an eyesore, a drain on our collective energy and goodwill. Now it became a source of pride, a promise of better days to come. Along the commercial section of Grand Avenue, the shopkeepers paid for new windows, better sidewalks, and summer evening entertainment. They clearly believed the best days of Spencer were ahead, and when people came downtown, heard the music, and walked the new sidewalks, they believed it, too. And if that wasn’t enough, at the south end of downtown, just around the corner on Third Street, was a clean, welcoming, newly remodeled library.
At least, that was my plan. As
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