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A Son of Liberty and America's Forgotten Military Disaster
At the height of the American Revolution in 1779, Massachusetts launched the Penobscot Expedition, a massive military and naval undertaking designed to force the British from the strategically important coast of Maine. What should have been an easy victory for the larger American force quickly descended into a quagmire of arguing, disobedience, and failed strategy. In the end, not only did the British retain their stronghold, but the entire flotilla of American vessels was lost in what became the worst American naval disaster prior to Pearl Harbor.
In the inevitable finger-pointing that followed the debacle, the already-famous Lieutenant Colonel Paul Revere, commissioned as the expedition’s artillery commander, was shockingly charged by fellow officers with neglect of duty, disobeying orders, and cowardice. Though he was not formally condemned by the court of inquiry, rumors still swirled around Boston concerning his role in the disaster, and so the fiery Revere spent the next several years of his life actively pursuing a court-martial, in an effort to resuscitate the one thing he valued above all—his reputation.
The single event defining Revere to this day is his ride from Charlestown to Lexington on the night of April 18, 1775, made famous by Longfellow’s poem of 1860. Greenburg’s is the first book to give a full account of Revere’s conduct before, during, and after the disastrous Penobscot Expedition, and of his questionable reputation at the time, which only Longfellow’s poem eighty years later could rehabilitate. Thanks to extensive research and a riveting narrative that brings the battles and courtroom drama to life, The Court-Martial of Paul Revere strips away the myths that surround the Sons of Liberty and reveals the humanity beneath. It is a must-read for anyone who yearns to understand the early days of our country.
A Fiction Writer's Guide to Sex, Violence, Dead Narrators, and Other Challenges
Although fiction writers must concern themselves with “big picture” issues such as plot, theme, and character development, much of the day-to-day work of writing involves finding answers to seemingly minor questions: How should I describe the exterior of a house? How can I construct the voice of a historical narrator with authenticity? How should I depict a physically atypical character? Few books on the market address the problems and opportunities present in these and other questions, yet they are the ones that most writers grapple with on a daily basis.
Danger on the Page: A Fiction Writer’s Guide to Sex, Violence, Dead Narrators, and Other Challenges identifies and explores some of the more common and intractable situational challenges of fiction writing, with chapters grouped into the general subject areas such as scenes, characters, points of view, and settings. Shawver delves into the pitfalls and opportunities of writing about sex, violence, sports, and love; he examines writing from the perspective of a different race, gender, or species; he interrogates conventional beliefs about the use of brand names, the description of architecture, and the portrayal of nature. Throughout, he gives dozens of examples from both literary and commercial fiction so readers can borrow (or reject) other writers’ techniques and explore the myriad challenges of fiction writing on their own.
A lively and witty approach to a diverse range of specific writing issues, Shawver’s book will appeal especially to intermediate-level writers seeking to bring their craft to the next level.
Tropical Storm Irene, Vermont's Flash Floods, and How One Small State Saved Itself
On August 28, 2011, after pounding the Caribbean and the U.S. Eastern seaboard for more than a week, Hurricane Irene finally made landfall in New Jersey. As the storm headed into New England, it was quickly downgraded to a tropical storm. And by Sunday afternoon, national news outlets were giving postmortems on the damage. Except for some flooding in low-lying areas, New York City--Irene's biggest target--had escaped its worst-case scenario. Story over.
But the story wasn't over. As Irene's eye drifted north, its bands of heavy rains twisted westward over Vermont's Green Mountains. The mountains forced these bands upward, wringing the rain out of them like water from a sponge. Streams and rivers were transformed into torrents of brown water and debris, gouging mountainsides, reshaping valleys, washing out roads, pulling apart bridges, and carrying away homes, livestock, and automobiles. For weeks, mountain towns were isolated, with no way in or out, and thousands of people were left homeless. In the immediate aftermath of the disaster, it fell on the shoulders of ordinary Vermonters to help victims and rebuild the state.
Deluge is the complete story of the floods, the rescue, and the recovery, as seen through the eyes of the people who lived through them: Wilmington's Lisa Sullivan, whose bookstore was flooded, and town clerk Susie Haughwout, who saved the town records; Tracy Payne, who lost her home in Jamaica--everything in it, and the land on which it sat; Geo Honigford in South Royalton, who lost his crops, but put his own mess on hold to help others in the town; the men who put U.S. Route 4 back together at breakneck speed; and the entire village of Pittsfield, completely isolated after the storm, and its inspirational story of real community.
In this masterful intellectual and cultural biography of Denman Ross (1853-1935), the American design theorist, educator, art collector, and painter who taught at Harvard for over 25 years, Marie Frank has produced a significant artistic resurrection. An important regional figure in Boston's fine arts scene (he remains one of the largest single donors to the collections of the MFA to this day), Ross was a friend and colleague of Arthur Wesley Dow, Bernard Berenson, Jay Hambidge, and others. He gained national and international renown with his design theory, which ushered in a shift from John Ruskin's romantic naturalism to the formalist aesthetic that characterizes modern art and architecture. Ross's theory attracted artists, Arts and Crafts artisans, and architects, and helped shape architectural education, scholarship, and museum practices. This biography of an important intellectual figure is also a fascinating and illuminating guide to a pivotal point in American cultural history and a reminder of the days when Boston was America's salon.
The Age of the Airship
Here is the story of airships—manmade flying machines without wings—from their earliest beginnings to the modern era of blimps. In postcards and advertisements, the sleek, silver, cigar-shaped airships, or dirigibles, were the embodiment of futuristic visions of air travel. They immediately captivated the imaginations of people worldwide, but in less than fifty years dirigible became a byword for doomed futurism, an Icarian figure of industrial hubris. Dirigible Dreams looks back on this bygone era, when the future of exploration, commercial travel, and warfare largely involved the prospect of wingless flight. In Dirigible Dreams, C. Michael Hiam celebrates the legendary figures of this promising technology in the late nineteenth and early twentieth centuries—the pioneering aviator Alberto Santos-Dumont, the doomed polar explorers S. A. Andrée and Walter Wellman, and the great Prussian inventor and promoter Count Ferdinand von Zeppelin, among other pivotal figures—and recounts fascinating stories of exploration, transatlantic journeys, and floating armadas that rained death during World War I. While there were triumphs, such as the polar flight of the Norge, most of these tales are of disaster and woe, culminating in perhaps the most famous disaster of all time, the crash of the Hindenburg.
This story of daring men and their flying machines, dreamers and adventurers who pushed modern technology to—and often beyond—its limitations, is an informative and exciting mix of history, technology, awe-inspiring exploits, and warfare that will captivate readers with its depiction of a lost golden age of air travel. Readable and authoritative, enlivened by colorful characters and nail-biting drama, Dirigible Dreams will appeal to a new generation of general readers and scholars interested in the origins of modern aviation.
A Love Story
Community farms. Mud spas. Mineral paints. Nematodes. The world is waking up to the beauty and mystery of dirt. This anthology celebrates the Earth’s generous crust, bringing together essays by award-winning scientists, authors, artists, and dirt lovers to tell dirt’s exuberant tales.
Geographically broad and topically diverse, these essays reveal life as lived by dirt fanatics—admiring the first worm of spring, taking a childhood twirl across a dusty Kansas farm, calculating how soil breathes, or baking mud pies. Essayists build a dirt house, center a marriage around dirt, sink down into marshy heaven, and learn to read dirt’s own language. Scientists usher us deep underground with the worms and mycorrhizae to explore the vast and largely ignored natural processes occurring beneath our feet. Whether taking a trek to Venezuela to touch the oldest dirt in the world or reveling in the blessings of our own native soils, these muscular essays answer the important question: How do you get down with dirt?
A literary homage to dirt and its significance in our lives, this book will interest hikers, gardeners, teachers, urbanites, farmers, environmentalists, ecologists, and others intrigued by our planet’s alluring skin.
Essayists include Vandana Shiva, Peter Heller, Janisse Ray, Bernd Heinrich, Linda Hogan, Wes Jackson, BK Loren, David Montgomery, Laura Pritchett, and Deborah Koons Garcia.
Prescriptions for Change
In the past decade, the mass media discovered disability. Spurred by the box-office appeal of superstars such as the late Christopher Reeve, Michael J. Fox, Stephen Hawking, and others, and given momentum by the success of Oscar-winning movies, popular television shows, best-selling books, and profitable websites, major media corporations have reversed their earlier course of hiding disability, bringing it instead to center stage.
Yet depictions of disability have remained largely unchanged since the 1920s. Focusing almost exclusively on the medical aspect of injury or illness, the disability profile in fact and fiction leads inevitably to an inspiring moment of "overcoming." According to Riley, this cliche plays well with a general audience, but such narratives, driven by prejudice and pity, highlight the importance of "fixing" the disability and rendering the "sufferer" as normal as possible. These stories are deeply offensive to persons with disabilities. Equally important, misguided coverage has adverse effects on crucial aspects of public policy, such as employment, social services, and health care.
Powerful and influential, the media is complicit in this distortion of disability issues that has proven to be a factor in the economic and social repression of one in five Americans. Newspapers and magazines continue to consign disability stories to the "back of the book" health or human-interest sections, using offensive language that has long been proscribed by activists. Filmmakers compound the problem by featuring angry misfits or poignant heroes of melodramas that pair love and redemption. Publishers churn out self-help titles and memoirs that milk the disability theme for pathos. As Riley points out, all branches of the media are guilty of the same crude distillation of the story to serve their own, usually fiscal, ends.
Riley's lively inside investigation illuminates the extent of the problem while pinpointing how writers, editors, directors, producers, filmmakers, advertisers and the executives who give their marching orders go wrong, or occasionally get it right. Through a close analysis of the technical means of representation, in conjunction with the commentary of leading voices in the disability community, Riley guides future coverage to a more fair and accurate way of putting the disability story on screen or paper. He argues that with the "discovery" by Madison Avenue that the disabled community is a major consumer niche, the economic rationale for more sophisticated coverage is at hand. It is time, says Riley, to cut through the accumulated stereotypes and find an adequate vocabulary that will finally represent the disability community in all its vibrant and fascinating diversity.
Decoding the Jargon, Slang, and Bluster of American Political Speech
To the amusement of the pundits and the regret of the electorate, our modern political jargon has become even more brazenly two-faced and obfuscatory than ever. Where once we had Muckrakers, now we have Bed-Wetters. Where Blue Dogs once slept peaceably in the sun, Attack Dogs now roam the land. During election season—a near constant these days—the coded rhetoric of candidates and their spin doctors, and the deliberately meaningless but toxic semiotics of the wing nuts and backbenchers, reach near-Orwellian levels of self-satisfaction, vitriol, and deceit. The average NPR or talk radio listener, MSNBC or Fox News viewer, or blameless New York Times or Wall Street Journal reader is likely to be perplexed, nonplussed, and lulled into a state of apathetic resignation and civic somnolence by the rapid-fire incomprehensibility of political pronouncement and commentary—which is, frankly, putting us exactly where the pundits want us.
Dog Whistles, Walk-Backs, and Washington Handshakes is a tonic and a corrective. It is a reference and field guide to the language of politics by two veteran observers that not only defines terms and phrases but also explains their history and etymology, describes who uses them against whom, and why, and reveals the most telling, infamous, amusing, and shocking examples of their recent use. It is a handbook of lexicography for the Wonkette and This Town generation, a sleeker, more modern Safire’s Political Dictionary, and a concise, pointed, bipartisan guide to the lies, obfuscations, and helical constructions of modern American political language, as practiced by real-life versions of the characters on House of Cards.
“His life had come to this: save a few deer from the jaws of dogs. He was a small man sent to perform a small task.”
Howard Elman is a man whose internal landscape is as disordered as his front yard, where native New Hampshire birches and maples mingle with a bullet-riddled washer, abandoned bathroom fixtures, and several junk cars. Howard, anti-hero of this first novel in Ernest Hebert’s highly acclaimed Darby Chronicles, is a man who is tough and tender.
Howard’s battle against encroaching change symbolizes the class conflict between indigenous Granite Staters scratching out a living and citified immigrants with “college degrees and big bank accounts.” Like the winter-weakened deer threatened by the dogs of March—the normally docile house pets whose instincts arouse them to chase and kill for sport—Howard, too, is sorely beset.
The seven novels of Hebert’s Darby Chronicles cover 35 years in the life of a small New England town as seen through the eyes of three families—the Elmans, the Salmons, and the Jordans—each representing a distinct social class. It all starts with The Dogs of March, cited for excellence in 1980 by the Hemingway Foundation (now the Pen Faulkner Award for Fiction).
A delightful account of Edward Hopper’s sojourns in Vermont with his wife, Jo, illustrated by the watercolors and drawings that he made there Edward and Jo Hopper first discovered Vermont in 1927, making day trips from the Whitney Studio Club’s summer retreat for New York artists in Charlestown, New Hampshire. In 1935 and 1936 the Hoppers again traveled to Vermont, this time from their summer home in Cape Cod, in Edward’s continuing search for new places to paint. During these quests they identified the White River and what Edward considered to be Vermont’s “finest” river valley, and they returned there for longer visits in 1937 and 1938, boarding at Robert and Irene Slater’s Wagon Wheels farm in South Royalton. These “vacations” were a change from the usual tempo of their lives, a break from the studio-bound easels, canvas, and oils, and an opportunity to paint something different, to be in a new place and paint en plein air. Over the course of his Vermont sojourns, Edward Hopper produced some two dozen paintings, watercolors that are among the most distinctive of his regional works, strongly characterized by place. In this accessible volume, Bonnie Tocher Clause tells the story of the Hoppers’ visits to Vermont, their stays on the Slater farm, and their introduction to farm life. She locates the sites shown in Hopper’s Vermont paintings, identifies two watercolors not previously recognized as Vermont scenes, and traces the development of Hopper’s singular interpretations of the Vermont landscape. In Edward Hopper in Vermont, Clause details the provenance of the Vermont paintings through the years, tracking the history of sales leading to the works’ ultimate homes with private collectors and museums. Showcasing all the Vermont paintings in color, this volume will delight both fans of Hopper’s work and those who are fascinated by the story of the creation, collection, and business of producing great art.