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They began their existence as everyday objects, but in the hands of award-winning historian Laurel Thatcher Ulrich, fourteen domestic items from preindustrial America–ranging from a linen tablecloth to an unfinished sock–relinquish their stories and offer profound insights into our history. In an age when even meals are rarely made from scratch, homespun easily acquires the glow of nostalgia. The objects Ulrich investigates unravel those simplified illusions, revealing important clues to the culture and people who made them. Ulrich uses an Indian basket to explore the uneasy coexistence of native and colonial Americans. A piece of silk embroidery reveals racial and class distinctions, and two old spinning wheels illuminate the connections between colonial cloth-making and war. Pulling these divergent threads together, Ulrich demonstrates how early Americans made, used, sold, and saved textiles in order to assert their identities, shape relationships, and create history.
They began their existence as everyday objects, but in the hands of award-winning historian Laurel Thatcher Ulrich, fourteen domestic items from preindustrial America–ranging from a linen tablecloth to an unfinished sock–relinquish their stories and offer profound insights into our history. In an age when even meals are rarely made from scratch, homespun easily acquires the glow of nostalgia. The objects Ulrich investigates unravel those simplified illusions, revealing important clues to the culture and people who made them. Ulrich uses an Indian basket to explore the uneasy coexistence of native and colonial Americans. A piece of silk embroidery reveals racial and class distinctions, and two old spinning wheels illuminate the connections between colonial cloth-making and war. Pulling these divergent threads together, Ulrich demonstrates how early Americans made, used, sold, and saved textiles in order to assert their identities, shape relationships, and create history.
Using objects that Americans have saved through the centuries and stories they have passed along, as well as histories teased from documents, Laurel Thatcher Ulrich chronicles the production of cloth--and of history--in early America. Under the singular and brilliant lens that Ulrich brings to this study, ordinary household goods--Indian baskets, spinning wheels, a chimneypiece, a cupboard, a niddy-noddy, bed coverings, silk embroidery, a pocketbook, a linen tablecloth, a coverlet and a rose blanket, and an unfinished stocking--provide the key to a transformed understanding of cultural encounter, frontier war, Revolutionary politics, international commerce, and early industrialization in America. We discover how ideas about cloth and clothing affected relations between English settlers and their Algonkian neighbors. We see how an English production system based on a clear division of labor--men doing the weaving and women the spinning--broke down in the colonial setting, becoming first marginalized, then feminized, then politicized, and how the new system both prepared the way for and was sustained by machine-powered spinning. Pulling these divergent threads together into a rich and revealing tapestry of --the age of homespun, --Ulrich demonstrates how ordinary objects reveal larger economic and social structures, and, in particular, how early Americans and their descendants made, used, sold, and saved textiles in order to assert identities, shape relationships, and create history.
Coretta Scott King 2021 Honoree A winner of the ILA 2021 Children’s and Young Adults’ Book Awards in the fiction category. NCSS 2021 Notable Social Studies Book Maine Lupine Award Winner A CBC Recommended Book • A School Library Journal Best Book of the Year A New York Public Library Best Picture Book of 2020 Kirkus Starred Review PW Starred Review School Library Journal Starred Review Told by a succession of exuberant young narrators, Magnificent Homespun Brown is a story -- a song, a poem, a celebration -- about feeling at home in one’s own beloved skin. With vivid illustrations by Kaylani Juanita, Samara Cole Doyon sings a carol for the plenitude that surrounds us and the self each of us is meant to inhabit.
From admired historian—and coiner of one of feminism's most popular slogans—Laurel Thatcher Ulrich comes an exploration of what it means for women to make history. In 1976, in an obscure scholarly article, Ulrich wrote, "Well behaved women seldom make history." Today these words appear on t-shirts, mugs, bumper stickers, greeting cards, and all sorts of Web sites and blogs. Ulrich explains how that happened and what it means by looking back at women of the past who challenged the way history was written. She ranges from the fifteenth-century writer Christine de Pizan, who wrote The Book of the City of Ladies, to the twentieth century’s Virginia Woolf, author of A Room of One's Own. Ulrich updates their attempts to reimagine female possibilities and looks at the women who didn't try to make history but did. And she concludes by showing how the 1970s activists who created "second-wave feminism" also created a renaissance in the study of history.
From the author of A Midwife's Tale, winner of the Pulitzer Prize and the Bancroft Prize for History, and The Age of Homespun--a revelatory, nuanced, and deeply intimate look at the world of early Mormon women whose seemingly ordinary lives belied an astonishingly revolutionary spirit, drive, and determination. A stunning and sure-to-be controversial book that pieces together, through more than two dozen nineteenth-century diaries, letters, albums, minute-books, and quilts left by first-generation Latter-day Saints, or Mormons, the never-before-told story of the earliest days of the women of Mormon "plural marriage," whose right to vote in the state of Utah was given to them by a Mormon-dominated legislature as an outgrowth of polygamy in 1870, fifty years ahead of the vote nationally ratified by Congress, and who became political actors in spite of, or because of, their marital arrangements. Laurel Thatcher Ulrich, writing of this small group of Mormon women who've previously been seen as mere names and dates, has brilliantly reconstructed these textured, complex lives to give us a fulsome portrait of who these women were and of their "sex radicalism"--the idea that a woman should choose when and with whom to bear children.
Simple rhyming text presents the everyday life of a young girl, living on a Pennsylvania farm in the early eighteenth century, who is quickly outgrowing all of her dresses.
PULITZER PRIZE WINNER • Drawing on the diaries of one woman in eighteenth-century Maine, "A truly talented historian unravels the fascinating life of a community that is so foreign, and yet so similar to our own" (The New York Times Book Review). Between 1785 and 1812 a midwife and healer named Martha Ballard kept a diary that recorded her arduous work (in 27 years she attended 816 births) as well as her domestic life in Hallowell, Maine. On the basis of that diary, Laurel Thatcher Ulrich gives us an intimate and densely imagined portrait, not only of the industrious and reticent Martha Ballard but of her society. At once lively and impeccably scholarly, A Midwife's Tale is a triumph of history on a human scale.
In a world obsessed with the virtual, tangible things are once again making history. Tangible Things invites readers to look closely at the things around them, ordinary things like the food on their plate and extraordinary things like the transit of planets across the sky. It argues that almost any material thing, when examined closely, can be a link between present and past. The authors of this book pulled an astonishing array of materials out of storage--from a pencil manufactured by Henry David Thoreau to a bracelet made from iridescent beetles--in a wide range of Harvard University collections to mount an innovative exhibition alongside a new general education course. The exhibition challenged the rigid distinctions between history, anthropology, science, and the arts. It showed that object-centered inquiry inevitably leads to a questioning of categories within and beyond history. Tangible Things is both an introduction to the range and scope of Harvard's remarkable collections and an invitation to reassess collections of all sorts, including those that reside in the bottom drawers or attics of people's houses. It interrogates the nineteenth-century categories that still divide art museums from science museums and historical collections from anthropological displays and that assume history is made only from written documents. Although it builds on a larger discussion among specialists, it makes its arguments through case studies, hoping to simultaneously entertain and inspire. The twenty case studies take us from the Galapagos Islands to India and from a third-century Egyptian papyrus fragment to a board game based on the twentieth-century comic strip "Dagwood and Blondie." A companion website catalogs the more than two hundred objects in the original exhibition and suggests ways in which the principles outlined in the book might change the way people understand the tangible things that surround them.
In Clothing Gandhi's Nation, Lisa Trivedi explores the making of one of modern India's most enduring political symbols, khadi: a homespun, home-woven cloth. The image of Mohandas K. Gandhi clothed simply in a loincloth and plying a spinning wheel is familiar around the world, as is the sight of Gandhi, Jawaharlal Nehru, and other political leaders dressed in "Gandhi caps" and khadi shirts. Less widely understood is how these images associate the wearers with the swadeshi movement -- which advocated the exclusive consumption of indigenous goods to establish India's autonomy from Great Britain -- or how khadi was used to create a visual expression of national identity after Independence. Trivedi brings together social history and the study of visual culture to account for khadi as both symbol and commodity. Written in a clear narrative style, the book provides a cultural history of important and distinctive aspects of modern Indian history.