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Thirteen-year-old Eli likes baggy clothes, baseball caps, and one girl in particular. Her seventeen-year-old sister Anna is more traditionally feminine; she loves boys and staying out late. They are sisters, and they are also the only family each can count on. Their dad has long been out of the picture, and their mom lives at the mercy of her next drink. When their mom lands herself in enforced rehab, Anna and Eli are left to fend for themselves. With no legal guardian to keep them out of foster care, they take matters into their own hands: Anna masquerades as Aunt Lisa, and together she and Eli hoard whatever money they can find. But their plans begin to unravel as quickly as they were made, and they are always way too close to getting caught. Eli and Anna have each gotten used to telling lies as a means of survival, but as they navigate a world without their mother, they must learn how to accept help, and let other people in.
Located in the heart of Orange County, the city of Middletown was first settled c. 1760. The hamlet became a village in 1848 and a city in 1888. Long noted for its dairy farming, Middletown gained its reputation as a railroad center beginning in 1843 with the coming of the New York & Erie Rail Road. That reputation remained until 1957, when Middletown's other major railroad, the famed New York, Ontario & Western Railway, was abandoned. With more than two hundred historical images, Middletown celebrates the people, places, and event that over the years helped shape this progressive community. Picture are period street scenes, homes by noted local architect Frank Lindsey, Clemson Park with is famous Japanese garden, and highly ornate buildings that are still in use, such as the Orange County Community College and the Middletown Thrall Library. All of these centered around a thriving business district, strong industries, and up-to-date transportation.
Inspired by the immensely influential 1937 sociological study Middletown: A Case Study in Cultural Conflicts by Robert and Helen Lynd, Peter Davis's six documentary films about Muncie, Indiana, set out to examine the lives of Munsonians in the early 1980s. The disputes and conflicts accompanying the filming revealed more about American values and customs than the films themselves. While attempting to transform the data from the Middletown studies into a meaningful and interesting visual form, the filmmakers were constantly distracted by the pressures, decisions and perils of government- and corporate-funded documentary filmmaking. Dwight W. Hoover, a Muncie historian and collaborator in the Middletown film project, describes why the films were made and how they changed the lives of everyone involved.
In 1650, Middletown earned its name due to its location halfway between the mouth of the Connecticut River and the first Connecticut settlement of Windsor. The town grew from a key Native American village to become a major seaport and the wealthiest town in Connecticut by the mid-1700s. In the early 1800s, as international disputes adversely affected Middletown's seafaring trade, manufacturing prospered. Factories turned out everything from ship hardware and textiles to sleigh bells and sidearms for Union army officers. Trolleys encouraged suburban expansion while railroads and highways greatly influenced commercial development. In the late 19th and early 20th centuries, many immigrants from Europe made Middletown their home. Today Middletown is perhaps best known as the location of top-ranked Wesleyan University.
Middletown was settled in 1752, when George Fisher arrived from Philadelphia and built a home on the west bank of Swatara Creek. Named Middletown because it was midway between Lancaster and Carlisle, this oldest town in Dauphin County became incorporated as a borough in 1826. Through the years Middletown became noted for its Wincroft Stove Works, Standard Steel Car Company, Middletown-Royalton Brick Works, and Rough Wear Clothing Company. During World War II, Olmsted Air Force Base added greatly to the town's economy. In 1979, the Three Mile Island nuclear incident assured that Middletown would be known to the rest of the world.
Middletown Township has the distinction of being one of the earliest settlements in New Jersey. Although the township does not have any large photograph archives, author Randall Gabrielan has carefully gathered images from many private and public sources. Here, with over 200 vintage photographs, he presents yet another dramatic view into the realm of our suburban villages and neighborhoods.
The single event that we know as 9/11 is over, but the shock waves continue to radiate outward, generated by orange alerts, terrorism lockdowns, and the shrinking of personal liberties we once took for granted. The stories in this book, of real people faced with extraordinary trauma and gradually transcending it, are the best antidote to our fears. Middletown, America is a book of hope. All Americans were hit with some degree of trauma on September 11, 2001, but no place was hit harder than Middletown, New Jersey. Gail Sheehy spent the better part of two years walking the journey from grief toward renewal with fifty members of the community that lost more people in the World Trade Center than any other outside New York City. Her subjects are the women, men, and children who remained after the devastation and who are putting their lives back to-gether. Sheehy tells the story of four widowed moms from New Jersey who started out scarcely knowing the difference between the House and the Senate, yet turned their sorrow and anger into action and became formidable witnesses to the failures of the country’s leadership to connect the dots before September 11. Sheehy follows the four moms as they fight White House attempts to thwart the independent commission investigating 9/11 and expose efforts at a cover-up. What would become of the young wives carrying children their husbands would never see, wives who had watched their dreams literally go up in smoke in that amphitheater of death across the river? Amazingly, each finds her own door to the light. Here, too, is the story of the widow and widower who met in the waiting room of a mental-health agency and brought each other back from the brink of despair across a bridge of love. Sheehy also reveals how bereft mothers who will never have another son or daughter found reasons to recommit to life. And she follows in the footsteps of the robbed children, documenting the incredible resilience of four-year-olds, the anger of teenagers, the courage of sisters and brothers. Sheehy follows survivors who escaped the burning towers only to find themselves trapped inside a tower of inner torment, from which it took love, family, and faith to free themselves. She is taken into the confi-dence of the night crew at Ground Zero, police officers who worked in that pit for eight months straight and then faced the “returning home” phenomenon. She recounts the confessions of religious leaders who struggled to explain the inexplicable to their flocks. Mental-health professionals confide in her, as do corporate chiefs, educators, friends and neigh-bors, town officials, and volunteers who rose to the occasion and committed themselves to healing their wounded community. As a journalist who conducted more than nine hundred interviews, Gail Sheehy is an impeccable researcher. As a writer with a novelistic gift, she weaves the individual stories into a compelling narrative. Middletown, America illuminates every stage of a tumultuous passage—from shock, passivity, and panic attacks, to rising anger and deep grieving, and on to the secret romances and startling relapses, the realignment of faith, the return of a capacity to love and be loved, and, finally, the commitment to constructing new lives.
Published in 1929, Robert Lynd and Helen Merrell Lynd's Middletown: A Study in Modern American Culture was destined to become a sociological point of reference for the quality of life in an "average" American town in the 1920s. Their Middletown in Transition, a 1937 restudy of the same community—now known to be Muncie, Indiana—provided a second point of reference on community values in the midst of the great American depression. Achieving the status of cultural benchmarks, these two books have generated an enormous secondary literature on Muncie/Middletown, including a two-volume restudy by Theodore Caplow, published in the 1980s, and a series of six documentary films. Back to Middletown differs from the numerous other investigations and analyses of one of the most famous community studies in the history of sociology. The author, an Italian sociologist, examines the complete Middletown saga through the distinctive lens of an outsider, tracing the character and evolution of "middle America" from the Lynds' time down to the present. She has been resourceful and meticulous in her discovery of previously unknown sources—data, documents, and correspondence—that shed new light on the formation and elaboration of the Lynds' Middletown project and on the changing evaluation of the project by generations of scholars. In the process, the book addresses, from a fresh perspective, major issues that have confronted sociology and social anthropology: relative levels of analysis, the relationship of empirical observation to theory building and conceptual frameworks of interpretation, and controversies focusing on the structure of power in America. In addition to its value and import as a theoretical work, the book takes up questions that reflect the contemporary contradictions and dissonances in the American social fabric. As the author demonstrates, the story of Middletown is a continuing narrative, whose end is yet to be written, encapsulating the pain of social and economic alienation, political war, religious messianism, and personal demoralization.