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The Masks of Orthodoxy.
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It was in 1972, while spending a summer with my wife in Falmouth (on Cape Cod), that I first discovered the 18th-century slate gravestones of New England. Anyone who visits these cemeteries will find it difficult not to be impressed by these monuments–which are among the oldest and most distinguished works of art produced by the craftsmen of the early American colonies. My fascination with them spiraled into many such trips in subsequent years, when I photographed much of this work, learned how to identify the stonecutters responsible for them, and determined the extent and locations of their production.
This book is densely illustrated (I’d guess that about three-quarters of the 430 8”x10” pages of the main text are filled with images). This was what first led me to travel to New England to see these stones for myself, which I did six years later.
This combination of rich art and Puritan values should challenge anyone’s assumptions about early American sensibilities.
In Puritan New England, with its abiding concern for things not of this world and its distrust of forms and ceremonies, one art flourished: the symbolic art of mortuary monument stonecarvers. This carefully researched, beautifully illustrated work was the first to consider this art in depth as a meaningful aesthetic-spiritual expression. It is reissued for today's readers, with a new preface outlining changes in the field since the book appeared in 1966.
It was in 1972, while spending a summer with my wife in Falmouth (on Cape Cod), that I first discovered the 18th-century slate gravestones of New England. Anyone who visits these cemeteries will find it difficult not to be impressed by these monuments–which are among the oldest and most distinguished works of art produced by the craftsmen of the early American colonies. My fascination with them spiraled into many such trips in subsequent years, when I photographed much of this work, learned how to identify the stonecutters responsible for them, and determined the extent and locations of their production.
The Tashjians’ book challenged the idea that Puritans rejected visual art. Their study is important in documenting a new aesthetic, where the skull (death’s head) gives way to the winged faces of angels (cherubs), which were more gentle and sentimental in style rather than dark and threatening. Specific stonecutters discussed in this book include John Bull, William Codner, Zerrubbabel Collins, William Young, Henry Christian Geyer, Joseph Lamson and his shop, William Mumford, John Stevens and family, and Jonathan and Moses Worster. These are names well-known to anyone versed in this art form.
I was taken by the fact that new motifs in gravestone design could spread through the stonecutter community with such personalized innovations and styles. Further, in chapter 8: "The Icons of Essex," County provided a contrast with another style of cutting faces in stone. This book significantly broadened my view of stonecutting styles in New England. It also…
It was in 1972, while spending a summer with my wife in Falmouth (on Cape Cod), that I first discovered the 18th-century slate gravestones of New England. Anyone who visits these cemeteries will find it difficult not to be impressed by these monuments–which are among the oldest and most distinguished works of art produced by the craftsmen of the early American colonies. My fascination with them spiraled into many such trips in subsequent years, when I photographed much of this work, learned how to identify the stonecutters responsible for them, and determined the extent and locations of their production.
This initial volume provides detailed accounts (with photographs) of classical, early Boston carvers, as well as the Emmes family of carvers, John Gaud (1693-1750) (who worked in both Boston and Connecticut), Ebenezer Howard (1734-?), and James Wilder (1741-1794) of Lancaster. It is a perfect start for anyone wanting to explore the subject in actual field trips–focusing on its earliest masters. There is also a second volume, which includes a cumulative index for both volumes. Five of the six chapters of Volume II focus on major stonecutters in Groton, Salem, Essex County, and Boston.
I wish Chase and Gabel’s first volume had appeared before my first visit to the area so that I would have been better prepared to examine the work of the early Boston carvers, the Park family carvers, James Ford, and Levy Maxey–all of whom I discovered later. These two books together provide probably the closest thing to…
Gravestone Chronicles I includes insightful essays and new scholarship on eighteenth-century New England gravestone carvers and their art. (An every-name, every-place index to both books is included in Volume II.) The authors "There is a wealth of knowledge waiting to be discovered in New England's burying a chronicle of history, art, religious beliefs, military campaigns, family genealogy sometimes tragedy or scandal even humor."
It was in 1972, while spending a summer with my wife in Falmouth (on Cape Cod), that I first discovered the 18th-century slate gravestones of New England. Anyone who visits these cemeteries will find it difficult not to be impressed by these monuments–which are among the oldest and most distinguished works of art produced by the craftsmen of the early American colonies. My fascination with them spiraled into many such trips in subsequent years, when I photographed much of this work, learned how to identify the stonecutters responsible for them, and determined the extent and locations of their production.
Harriette Merrifield Forbes pioneered the field of American gravestone studies. Her admirable study has separate chapters on several artisans, including the 17th and 18th-century stonecutters of Boston, the Lamsons of Charlestown, the Fosters of Dorchester, the stonecutters of Groton and Harvard, and the “Thistle-Carver” of Tatnuck. It also has chapters on the gravestones of Rhode Island and Connecticut.
Forbes initiated real interest in this area of research. I found it astounding that she could have accomplished so much in the 1920s—before the introduction of modern battery-powered flash systems (which I relied on so often in highlighting shallow carvings and lettering)—and almost singlehandedly lit the fire of inquiry in so many of us who followed her model. She was also attentive to the human side of this craft, with many interesting observations on the stonecutters’ intentions and skills.
Riverside Press Limited Edition of "Seven hundred and eighty copies of this First Edtion, of which seven hundred and fifty are for sale." Frontispiece is of the 1703 gravestone of John Cleverly, Quincy. This volume deals with the history and symbolism of early gravestones and contains black & white photos throughout. Several stone artists have been researched and included in the text. An historic and fascinating volume.
People either love or hate surprises, but in a book, done well, they’re always welcome—whether we race to the last page to find them or they hip-check us along the way. I started my career writing comedy romance—comfort reads but with few surprises. Now in my novels, I make sure to give readers plenty they don’t expect, whether it’s a character who isn’t what s/he seems, a contradictory situation gradually made clear, or a jaw-dropping twist. Pulling off a successful surprise is one of my favorite parts of writing—therefore my love of books that take me somewhere I didn't expect.
This book has everything, Mystical Irish lace, touches of magic, a lovely romance, chilling family dysfunction, and a fabulous extra character in the guise of Witchtown, USA—Salem, Massachusetts. Towner Whitney comes back to Salem for the funeral of a beloved relative and ends up having to cope with demons from her past in a gorgeous, evocative seaside setting. The ending was a complete surprise to me, one of those Whaaaat? moments that are so rare and so thrilling, and which I keep trying to get to in my own books!
Would knowing the future be a gift or a burden? Or even a curse...?
The Whitney women of Salem, Massachusetts are renowned for reading the future in the patterns of lace. But the future doesn't always bring good news - as Towner Whitney knows all too well. When she was just fifteen her gift sent her whole world crashing to pieces. She predicted - and then witnessed - something so horrific that she vowed never to read lace again, and fled her home and family for good. Salem is a place…
I was born and raised in New England, growing up along the seacoast of New Hampshire. I went to college in Massachusetts and graduated with a degree in gender and sexuality. I live in Tucson, Arizona with my sweet yellow lab and even sweeter boyfriend. I’m a hybrid author. My debut novel, Monsoon Season, was traditionally published along with A Long Thaw, which I later rereleased on my own. Finding Charlie was chosen for publication by KindleScout in 2015. My fourth book, Blood & Water launched in 2017. I write the kind of fiction I like to read: character-driven, relationship-focused, and emotionally complex.
Jennifer Haigh's novel is a family saga that reads like a post-mortem. With alternating narration, each of the five family members gives their perspective on what led to the family's demise and current state. The novel's title, The Condition, seems to refer specifically to one child in the family who has been diagnosed with a rare medical condition called Turner's Syndrome. But throughout the book, it becomes clear that each family member has developed their own "condition" or way of existing that is just as much a part of their identity.
In the summer of 1976, during their annual retreat on Cape Cod, the McKotch family came apart. Now, twenty years after daughter Gwen was diagnosed with Turner's syndrome—a rare genetic condition that keeps her trapped forever in the body of a child—eminent scientist Frank McKotch is divorced from his pedigreed wife, Paulette. Eldest son Billy, a successful cardiologist, lives a life built on secrets and compromise. His brother Scott awakened from a pot-addled adolescence to a soul-killing job and a regrettable marriage. And Gwen—bright and accomplished but hermetic and emotionally aloof—spurns all social interaction until, well into her thirties, she…
I love mysteries, especially series with a female sleuth. I discovered Miss Marple when I was a midwifery student and was instantly hooked. Over the years, I have sought out mysteries with women Sherlocks and am always thrilled to find a series. I was so enchanted that I wanted to add to the genre and now write the Modern Midwife Mysteries featuring Maeve O’Reilly Kensington, a modern nurse midwife. Try any of the books I’ve recommended. You’re in for a treat!
I love a New England mystery, especially one that includes recipes.
Katherine Hall Page fills the bill with her twenty-six delightful Faith Fairchild mysteries. Faith is a high-end New York City caterer who falls in love and marries a minister from a New England village. Will she be bored? Can love conquer all?
It turns out that this sleepy New England town has murders aplenty, but luckily, Faith is on the scene. I have tried her recipes, and they are wonderful!
The Body in the Belfry, the first volume in Katherine Hall Page's cozy mystery series featuring amateur sleuth Faith Fairchild
During her years spent in New York City, Faith Fairchild was convinced she had seen pretty much everything. But the transplanted caterer/minister's wife was unprepared for the surprises awaiting her in the sleepy Massachusetts village of Aleford. And she is especially taken aback by the dead body of a pretty young thing she discovers stashed in the church's belfry. The victim, Cindy Shepherd, was well-known locally for her acid tongue and her jilted beaux, which created a lot of bad…
After living in, while restoring, an old farmhouse built in the late 17th century or very early in the 18th, it was impossible for me not to want to know the history of the house and the people who lived there. Combine that with the stories my grandmother told me about our ancestor, the suspected witch Mary Bliss Parsons of Northampton, and I felt destined to know her story. That led to many years of research and writing. At the moment I am writing another 17th century New England historical fiction. I love this period of history and so few write about it.
Well, the title was amusing. The rest of the book was fascinating, alarming, and totally surprising for an author who was researching the lives of Puritans in early New England. The public records, Puritan laws, along with Thompson’s analysis opened up a world of new information and removed every myth I’d heard about these staunchly religious people.
"Thompson analyzes the court records of 17th century Middlesex County, searching for such sexually related crimes as fornication, breach of promise, sexual deviancy, and adultery. His findings help shatter the traditional historical caricature of New England Puritans as patriarchal, dour wife-beaters and child-abusers, a myth eloquently created by Perry Miller and most recently reinforced by Lawrence Stone. In the court records Thompson discovers Puritans who exhibited 'tolerance, mutual regard, affection, and prudent common sense' within the context of a popular Puritan piety. A well-written social history that places Puritanism in a human rather than an intellectual framework, Sex in Middlesex…
I write historical fiction set in New England and based on the lives of real people. My New England roots go back to the 1630s when my English ancestors first came to the region so I’m steeped in its traditions and literature. I love doing the research for my books, especially when my characters lead me in new directions. I spent ten years digging into the conflict between the Puritans and the indigenous Natives and in the process discovered a largely forgotten story that has long-lasting implications for our day.
When Caleb’s Crossing came out I couldn’t wait to read it. Not only was it written by one of my favorite authors, it was inspired by a true story and set in the same place and time period as the novel I was working on. Brooks’ depiction of the love between a Puritan minister’s daughter and the son of a Wampanoag leader is fraught with tension as two very different cultures collide. The novel brings to life the forces driving the conflict through the characters of Bethia and Caleb as they struggle to navigate a perilous time and the looming prospect of war.
A bestselling tale of passion and belief, magic and adventure from the author of The Secret Chord and of March, winner of the Pulitzer Prize.
Bethia Mayfield is a restless and curious young woman growing up in Martha's vineyard in the 1660s amid a small band of pioneering English Puritans. At age twelve, she meets Caleb, the young son of a chieftain, and the two forge a secret bond that draws each into the alien world of the other. Bethia's father is a Calvinist minister who seeks to convert the native Wampanoag, and Caleb becomes a prize in the contest…
When I was a kid I would cut out graph paper to design my ideal house. When I was in college, I walked into a class called American Material Life and had my eureka moment: “This is how I want to learn about people in the past!” I realized. I’ve been doing that ever since, first as a museum curator and now as a history professor. Houses, furnishings, and the way people interact with the built environment can reveal the complexity, diversity, and beauty of human lives.
Kingston Heath’s captivating book Patina of Place investigates human relationships with working-class living spaces so powerfully. Sometimes I think parts of my book would have been better as a film for capturing what it feels like to move through a neighborhood and into a house. But Heath has managed to do it on static printed paper by combining historic photographs, first-hand accounts, childhood memories, and—most importantly, his gorgeous drawings!—to convey everyday experiences in New England’s three-decker housing units. What sets this book apart are Heath’s textured stories of women rearranging their furniture to make room for another family member; a child’s-eye view of his grandmother’s upholstered sofa; and one couple’s reflections on demographic change around their apartment of 50 years.
In the late nineteenth and early twentieth centuries, the booming textile industry turned many New England towns into industrialized urban centers. This rapid urbanization transformed the built environment of communities such as New Bedford, Massachusetts, as new housing styles emerged to accommodate the largely immigrant workforce. In particular, the wood-frame "three-decker" became the region's multifamily housing design of choice and is widely acknowledged as a unique architectural form that is characteristic of New England. In The Patina of Place, Heath offers the first book-length analysis of the three-decker and its cultural significance, revealing New Bedford's evolving regional identity within New…
