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Known as the place where glassblowers produced masterpieces for international markets in the 1800s and where some of New England's oldest homes still stand, Sandwich is a vibrant community rich in history. Founded in 1637, this gateway town to Cape Cod is actually a time capsule of the last four centuries, from prehistory, when it was the territory of the Native American Wampanoags, to the tourist destination and bedroom community of Boston and Providence it is today. In Sandwich: Cape Cod's Oldest Town, the reader will be taken on a historical journey to enchanting places, such as the Sandwich Glass Museum, featuring masterpieces from the Boston & Sandwich Glass Company of the mid-1800s, and Heritage Plantation's seventy-six acres of landscaped gardens and antique displays, including a working 1912 carousel. Visit the Green Briar Nature Center, which produces jam made by the sun; a museum featuring native son Thornton W. Burgess's "Briar Patch" children's stories; the venerable, classic saltbox-type Hoxie House, where life in those earliest years is re-created; and the Wing and Nye homesteads, which in summer represent several centuries of Sandwich culture and history.
A compilation of stories and photos by present and former residents, students and historians from Cape Cod's oldest town: Sandwich. MA
Stauffer Miller's latest book, Sandwich Soldiers, Sailors, Sons: A Cape Cod Town in the Civil War, tells the story of the Cape Cod, Massachusetts community of Sandwich before, during and after the Civil War. Sandwich was unique among Cape Cod's Civil War-era communities in that its economy was industrial rather than maritime. Boston businessman Deming Jarves established a glassmaking factory there in 1825. Irish immigrants soon arrived to work in Jarves's factory. They were Cape Cod's first Irish and also first Catholics. When the Civil War broke out in 1861, Sandwich's population stood at 4,500, a sizeable increase from what it was before the factory's arrival. A substantial portion of that increase was Irish factory workers and their families. English settlers colonized Sandwich in 1637, well before the arrival of the factory and the Irish. A descendant of those settlers was Charles Chipman, born in 1829. He received some schooling at a Sandwich academy and in 1850 enlisted in the army. After serving several years he obtained his discharge, returned home, married, formed a militia company and when the war began received a captain's commission. Because he was a well-known and trusted local man, and had some military experience, he soon recruited a company of volunteers. About half of his recruits were Irish factory workers. Many of the others, though not Irish, were also drawn from the factory. Chipman's glassmaking volunteers went off to the war in May 1861, just a month after its beginning. It would be another fourteen months before another company of Cape Codders marched to the war. This was in part because men of military age in the other communities were at sea when the war began, rather than at home working in a factory. Thus, it was a combination of two factors, an on-hand pool of men from which to recruit and the right sort of man to do the recruiting, that allowed Sandwich to send men to the war so early. The book follows the fortunes of Chipman and his men through their many campaigns. It also follows the course of the community's other soldiers as well as its men who entered the Union navy. Several letter collections provide insights into the Sandwich home front. Miller's first two books discussed all the Cape Cod communities and their army, navy and civilian contributions to the war effort. Sandwich Soldiers etc narrows the focus to the Cape community that sent the first, and the most, fighting men to the Union cause. That tighter focus allows for discussion of not just the soldiers and sailors themselves but their families too. Thus, readers will find Sandwich Soldiers etc both an engaging and highly personal story of Cape Cod and the Civil War.
"This book presents transcriptions of the manuscript town records of Sandwich on Cape Cod, in Massachusetts, during th time of Plymouth Colony, 1620-1692. Like many town records from New England, the entries in the original manuscript are not all in chronological order. Using blank books, clerks organized their writings initially with an attempt at clarity, but rarely could such intentions be maintained...To bring coherence to the material, I have provided a calendar. In this book, it precedes the transcriptions. The chronological presentation of summaries of each document, including the names of anyone mentioned, makes it possible to understand the unfolding of documented activities and processes through time. The calendar gives a summary of information about the town's development" -- Preface.
Malice and mayhem simmer beneath the surface of one of America's favorite vacation areas. “Youthful alienation and despair dominate the 13 stories in Akashic’s noir volume devoted to Cape Cod. [It] will satisfy those with a hankering for a taste of the dark side.” —Publishers Weekly “David L. Ulin has put together a malicious collection of short stories that will stay with you long after you return home safe.” —The Cult: The Official Chuck Palahniuk Website Akashic Books continues its groundbreaking series of original noir anthologies, launched in 2004 with Brooklyn Noir. Each story is set in a distinct neighborhood or location within the city of the book. Brand-new stories by: William Hastings, Elyssa East, Dana Cameron, Paul Tremblay, Adam Mansbach, Seth Greenland, Lizzie Skurnick, David L. Ulin, Kaylie Jones, Fred G. Leebron, Ben Greenman, Dave Zeltserman, and Jedediah Berry. From the introduction by David L. Ulin: “Here, we see the inverse of the Cape Cod stereotype, with its sailboats and its presidents. Here, we see the flip side of the Kennedys, of all those preppies in docksiders eating steamers, of the whale watchers and bicycles and kites. Here, we see the Cape beneath the surface, the Cape after the summer people have gone home. It doesn’t make the other Cape any less real, but it does suggest a symbiosis, in which our sense of the place can’t help but become more complicated, less about vacation living than something more nuanced and profound . . . "For me, Cape Cod is a repository of memory: forty summers in the same house will do that to you. But it is also a landscape of hidden tensions, which rise up when we least anticipate. In part, this has to do with social aspiration, which is one of the things that brought my family, like many others, to the Cape. In part, it has to do with social division, which has been a factor since at least the end of the nineteenth century, when then summer trade began. There are lines here, lines that get crossed and lines that never get crossed, the kinds of lines that form the web of noir. Call it what you want—summer and smoke is how I think of it—but that’s the Cape Cod at the center of this book.“