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Excerpt from A Little Girl in Old Boston DO suppose she is a Papist! The French generally are, said Aunt Priscilla, drawing her brows in a delicate sort of frown, and Sipping her tea with a spoon that had the London crown mark, and had been buried early in revolutionary times. Why, there were all the Huguenots who emigrated from France for the sake of worshiping God in their own way rather than that of the Pope. We Puritans did not take all the free-will, declared Betty Spiritedly. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
New York Times bestseller! An unforgettable novel about a young Jewish woman growing up in Boston in the early twentieth century, told “with humor and optimism…through the eyes of an irresistible heroine” (People)—from the acclaimed author of The Red Tent. Anita Diamant’s “vivid, affectionate portrait of American womanhood” (Los Angeles Times), follows the life of one woman, Addie Baum, through a period of dramatic change. Addie is The Boston Girl, the spirited daughter of an immigrant Jewish family, born in 1900 to parents who were unprepared for America and its effect on their three daughters. Growing up in the North End of Boston, then a teeming multicultural neighborhood, Addie’s intelligence and curiosity take her to a world her parents can’t imagine—a world of short skirts, movies, celebrity culture, and new opportunities for women. Addie wants to finish high school and dreams of going to college. She wants a career and to find true love. From the one-room tenement apartment she shared with her parents and two sisters, to the library group for girls she joins at a neighborhood settlement house, to her first, disastrous love affair, to finding the love of her life, eighty-five-year-old Addie recounts her adventures with humor and compassion for the naïve girl she once was. Written with the same attention to historical detail and emotional resonance that made Diamant’s previous novels bestsellers, The Boston Girl is a moving portrait of one woman’s complicated life in twentieth century America, and a fascinating look at a generation of women finding their places in a changing world. “Diamant brings to life a piece of feminism’s forgotten history” (Good Housekeeping) in this “inspirational…page-turning portrait of immigrant life in the early twentieth century” (Booklist).
In 1970 the Museum of Fine Arts commissioned a two-volume Centennial history by its trustee, Walter Muir Whitehill. That was a time of turmoil as then director Perry T. Rathbone was forced to resign resulting from the questionable acquisition of a portrait by Raphael later returned to Italy.Instability followed with the quick succession of acting director, Cornelius Vermeule, the ill-fated Merrill Rueppel, then Asiatic curator, Jan Fontein promoted from acting to full time director. Museum of Fine Arts Boston, 1870 to 2020: An Oral History is only the second publication chronicling 150 years of a great museum with aspects of its collection second to none. The book summarizes events of the first century with a vivid update of what has occurred since then.The fascinating story of a world-class museum is updated in the words of each of its directors from Perry T. Rathbone to Matthew Teitelbaum. There are also interviews with curators, trustees, art historians, administrators, and arts journalists.The founders were individuals of class and privilege who gave generously. The tone of Brahmin elitism changed by the 1950s as the museum expanded and become more costly to maintain. There was a search for new money and expansion of the board to include Jews and people of color. By the 1960s the museum drew broad criticism for its elitism and indifference to modern/ contemporary art and Boston's contemporary artists, including the Jewish Boston Expressionists. Charges of racism have accelerated in the past few years as they have for all cultural institutions. The MFA has been charged with a transition from the "Our Museum" of its founders to a "Museum for all the people of Boston" under current director Matthew Teitelbaum.As an observer and writer, Charles Giuliano is a consummate insider. In 1963 upon graduation from Brandeis University he worked for two and a half years as a conservation intern for the Egyptian Department. He later became one of Boston's most influential art critics covering the museum for a range of publications. This book is the culmination of that coverage since the 1960s.
"Robert McCloskey's unusual and stunning pictures have long been a delight for their fun as well as their spirit of place."—The Horn Book Mrs. Mallard was sure that the pond in the Boston Public Gardens would be a perfect place for her and her eight ducklings to live. The problem was how to get them there through the busy streets of Boston. But with a little help from the Boston police, Mrs. Mallard and Jack, Kack, Lack, Nack, Ouack, Pack, and Quack arive safely at their new home. This brilliantly illustrated, amusingly observed tale of Mallards on the move has won the hearts of generations of readers. Awarded the Caldecott Medal for the most distinguished American picture book for children in 1941, it has since become a favorite of millions. This classic tale of the famous Mallard ducks of Boston is available for the first time in a full-sized paperback edition. Make Way for Ducklings has been described as "one of the merriest picture books ever" (The New York Times). Ideal for reading aloud, this book deserves a place of honor on every child's bookshelf. "This delightful picture book captures the humor and beauty of one special duckling family. ... McClosky's illustrations are brilliant and filled with humor. The details of the ducklings, along with the popular sights of Boston, come across wonderfully. The image of the entire family proudly walking in line is a classic."—The Barnes & Noble Review "The quaint story of the mallard family's search for the perfect place to hatch ducklings. ... For more than fifty years kids have been entertained by this warm and wonderful story."—Children's Literature
Connecting Cather's work to the southern literary tradition and the South of her youth A diverse and experimental writer who lived most of her life in New York City, Willa Cather is best known for her depiction of pioneer life on the Nebraska plains. Despite Cather's association with Nebraska, however, the novelist's Virginia childhood and her southern family were deeply influential in shaping her literary imagination. Joyce McDonald shows evidence, for example, of Cather's southern sensibility in the class consciousness and aesthetic values of her characters and in their sense of place and desire for historical continuity, a sensibility also evident in her narrative technique of weaving stories within stories and in her use of folklore. For McDonald, however, what most links Cather and her work to the South and to the southern literary tradition is her use of pastoral modes. Beginning with an examination of Cather's Virginia childhood and the southern influences that continued to mold her during the Nebraska years, McDonald traces the effects of those influences in Cather's novels. The patterns that emerge reveal not only Cather's strong ideological connection to the pastoral but also the political position implicit in her choice of that particular mode. Further analysis of Cather's work reveals her preoccupation with hierarchical constructs and with the use and abuse of power and her interest in order, control, and possession. The Willa Cather who emerges from the pages of The Stuff of Our Forebears is not the Cather who claimed to eschew politics but a far more political novelist than has heretofore been perceived.
How did the Greeks and Romans perceive rape? How seriously was it taken, and who were seen as its main victims? These are two central questions that Rape in Antiquity: Sexual Violence in the Greek and Roman Worlds (1997), edited by Susan Deacy and Karen F. Pierce, aimed to approach in twelve chapters. Setting out to understand if the ancients had a concept of rape and how it was understood through different angles – including legal, social, cultural and historiographical – Rape in Antiquity made an invaluable contribution to the scholarship on sexual violence in the ancient world, impacting upon the development of new approaches in the decades that followed its publication. Revisiting Rape in Antiquity: Sexualised Violence in Greek and Roman Worlds maps out the influence of Rape in Antiquity while exploring how far cultural changes since the 1990s have reshaped the scholarly landscape. This collection, comprising chapters by established scholars and early career researchers from many countries, provides a new window into sexual – and sexualized – violence. Covering a long chronology, this book journeys from Homer to Byzantium, to modern receptions, to the analysis of wartime rape, ancient Greek tragedy, classical myth, how stories involving rape are retold for children, ancient law and rhetoric, classical art, Ovid, Late Antiquity, modern literature, comic books and cinema. This book is the culmination of a rich scholarly inheritance, setting out new perspectives that will hopefully inspire researchers for decades to come.
What does the tradition of marriage mean for people who have historically been deprived of its legal status? Generally thought of as a convention of the white middle class, the marriage plot has received little attention from critics of African-American literature. In this study, Ann duCille uses texts such as Nella Larsen's Quicksand (1928) and Zora Neale Hurston's Their Eyes Were Watching God (1937) to demonstrate that the African-American novel, like its European and Anglo-American counterparts, has developed around the marriage plot--what she calls "the coupling convention." Exploring the relationship between racial ideology and literary and social conventions, duCille uses the coupling convention to trace the historical development of the African-American women's novel. She demonstrates the ways in which black women appropriated this novelistic device as a means of expressing and reclaiming their own identity. More than just a study of the marriage tradition in black women's fiction, however, The Coupling Convention takes up and takes on many different meanings of tradition. It challenges the notion of a single black literary tradition, or of a single black feminist literary canon grounded in specifically black female language and experience, as it explores the ways in which white and black, male and female, mainstream and marginalized "traditions" and canons have influenced and cross-fertilized each other. Much more than a period study, The Coupling Convention spans the period from 1853 to 1948, addressing the vital questions of gender, subjectivity, race, and the canon that inform literary study today. In this original work, duCille offers a new paradigm for reading black women's fiction.