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‘Each time my mother laid a finger on me... it was another step into the jaws of hell. Her abuse, more so than any other, destroyed me. It was the ultimate betrayal.’
Inspired by real, hundred-year-old love letters. My great-grandmother's name is bold across the cream envelope, now golden at the seams with age. I can't remember the last time I’ve seen graceful, purposeful handwriting with a fountain pen and not the hasty scrawl of ballpoint. Alice Hirshhorn, Astoria Hotel, Seattle Washington. “Letters to Great-grandma Alice,” I say with wonder, tracing my fingers over the faded postmark and foreign stamps. December 1915. Philippine Islands. I turn the thick envelope in my palm, slide out the tightly folded pages, and unfold the thin paper, taking care not to tear the letters that were important enough to keep for a century. My dearest Alice “Great-grandpa was in the Philippines?” I ask. “Oh no. Not your great-grandfather,” answers Grammie, her eyes twinkling with her mother’s secrets. “Elliott.” ​~~~ At thirty-three and with her future unclear, Ali Waller finds her way home again. A box of long-forgotten love letters written to her great-grandmother holds the unlikely key to Ali finding her new path. As she tracks down the letter writer and his descendants, Ali learns the magic of love, hope, and resilience. Told by three characters, and across century and an ocean, Genealogy is an enchanting story about love and loss, taking chances, and embracing the surprises that life brings. A twelve question discussion guide is included, making Genealogy a perfect choice for your book club or a buddy read.
This work follows the history of Virginia from the ascent of the Stuart king Charles I in 1625 that point until 1660--one of the most turbulent times in English history. The central colonial figure during this period of Virginia history was Sir William Berkeley, who served as royal governor, with interruptions, between 1642 and 1676. The period under study by Professor Washburn ends with the Restoration and, in an act unprecedented in American colonial history, the recall of William Berkeley by the Virginia Assembly in 1659.
He claimed to be “the plainest kind of fellow you can find. There isn’t a single thing I’ve done, or experienced,” said Grant Wood, “that’s been even the least bit exciting.” Wood was one of America’s most famous regionalist painters; to love his work was the equivalent of loving America itself. In his time, he was an “almost mythical figure,” recognized most supremely for his hard-boiled farm scene, American Gothic, a painting that has come to reflect the essence of America’s traditional values—a simple, decent, homespun tribute to our lost agrarian age. In this major new biography of America’s most acclaimed, and misunderstood, regionalist painter, Grant Wood is revealed to have been anything but plain, or simple . . . R. Tripp Evans reveals the true complexity of the man and the image Wood so carefully constructed of himself. Grant Wood called himself a farmer-painter but farming held little interest for him. He appeared to be a self-taught painter with his scenes of farmlands, farm workers, and folklore but he was classically trained, a sophisticated artist who had studied the Old Masters and Flemish art as well as impressionism. He lived a bohemian life and painted in Paris and Munich in the 1920s, fleeing what H. L. Mencken referred to as “the booboisie” of small-town America. We see Wood as an artist haunted and inspired by the images of childhood; by the complex relationship with his father (stern, pious, the “manliest of men”); with his sister and his beloved mother (Wood shared his studio and sleeping quarters with his mother until her death at seventy-seven; he was forty-four). We see Wood’s homosexuality and how his studied masculinity was a ruse that shaped his work. Here is Wood’s life and work explored more deeply and insightfully than ever before. Drawing on letters, the artist’s unfinished autobiography, his sister’s writings, and many never-before-seen documents, Evans’s book is a dimensional portrait of a deeply complicated artist who became a “National Symbol.” It is as well a portrait of the American art scene at a time when America’s Calvinistic spirit and provincialism saw Europe as decadent and artists were divided between red-blooded patriotic men and “hothouse aesthetes.” Thomas Hart Benton said of Grant Wood: “When this new America looks back for landmarks to help gauge its forward footsteps, it will find a monument standing up in the midst of the wreckage . . . This monument will be made out of Grant Wood’s works.”
F.W. Harvey was one of a generation whose lives were splintered by the First World War, and one of that group of war poets for whom the war changed everything. He joined the 5th Battalion of the Gloucestershire Regiment only days after war was declared, and was among the first Territorials to land in France. As a Lance-Corporal he was awarded the Distinguished Conduct Medal for ‘conspicuous gallantry’ and was commissioned shortly afterwards. He survived the Somme offensive but in August 1916 was captured by the Germans while reconnoitring alone behind enemy lines. He spent the rest of the war in p-o-w camps.But Harvey was more than just a tough soldier. A contemporary of Sassoon, Brooke and Thomas – and with Ivor Gurney his closest friend – he wanted nothing more when ‘at rest’ than an interval of quiet in which to set down in verse his longing for his Gloucestershire homeland, his outrage at the waste of war, his joy in comradeship, his humour and his unflinching faith. This biography contains many of the poems, including the world-famous ‘Ducks’, and is illustrated with a wealth of contemporary photographs