Joy Porter is an Irish writer who grew up in war (The Troubles). She is intrigued by how we relate to one another culturally and by what makes peace and conflict happen. She researches Indigenous, environmental, and diplomatic themes in an interdisciplinary context and co-leads the Treatied Spaces Research Group at The University of Hull. U.K. Fascinated by the mind, by what makes us love, persevere, transcend and escape the legacies of conflict, her work exposes how culture impacts the world.
No one has ever heard of this book, but it is hilarious! Written by the inimitable poet, critic, author, and wit Robert Graves, it is a rumination on the future of swearing and improper language. Graves had a wonderful ability to talk about things of the utmost gravity in a way that, while not displacing their significance, allowed us to laugh about them. His were, as someone once said, “jests too deep for laughter”. Perhaps at no time in history was such a capability more culturally appropriate and important than during the First World War. Swearing bursts onto the mainstream in this era because, as Graves puts it in Lars Porsena with typical wry insouciance, “Silence under suffering is usually impossible.”
Equal parts history and absurdity, this tongue-in-cheek treatise laments the decline of swearing and foul language in England and looks back with nostalgia at the glory days of oaths and blasphemies. Written when censorship in England was still in full sway, this was an impassionate defense of the foul-mouthed in literature and a resounding attack of hypocrisy and Puritanism.
Many of my English ancestors came to New England during the so-called Great Migration of the 1630s. I also have Native American ancestors, and as I researched both groups I couldn’t escape the feeling that something important was missing from our contemporary understanding of the period. In the novel that became Will Poole’s Island, I was in a sense driven to recreate the age, or at least to complicate our received mythologies about it. A central theme of the book is the collision of two radically opposed worldviews that had in common a preoccupation with the visionary and the unseen; this is also a theme of the five narratives described below.
Ok, this isn’t actually a historical novel, but it was a bestseller when it came out back in 1682 and in some ways it does read like fiction. The story of a Puritan settler and her three children who were captured by Narragansett Indians during King Phillip’s War, Rowlandson’s account, judged by contemporary mores, is both racist and religiously bigoted. Still, it provides a rare first-hand rendering of the Puritan experience of a central truth of 17th century America: the collision of two radically distinct societies and the personal fallout resulting from that collision. As such it’s an invaluable historical document—though one best considered alongside other, less publicized primary accounts, which tell us that many seventeenth-century English captives, especially younger ones, were reluctant to return to the English settlements because of the freedom and ease they found in Indian society.
Mary (White) Rowlandson was a colonial American woman who was captured during an attack by Native Americans during King Philip's War and held ransom for 11 weeks. After being released, she wrote A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson, also known as The Sovereignty and Goodness of God. It is a work in the literary genre of captivity narratives. It is considered to be one of America's first bestsellers, four editions appearing in 1682 when it was first published.
During my childhood in Canada, I was fascinated by the “Wild West” and the fact that my maternal grandmother, who lived with us, was born in Wisconsin in 1876, when Jesse James was still robbing trains. I became an international multimedia producer, and I always took an entertainment-based approach to my work, grounded in research. After I retired, I began to search for my roots, uncovering interesting stories of my ancestors. Besides accessing websites and books, I traveled to where they lived to gain insights, meet historians, and distant cousins. I also engaged expert genealogists to prove my lineage back to the Mayflower and Puritan settlers of New England. That allowed me to join the Mayflower Society.
I read this book because Salem was founded by another ancestor of mine, Roger Conant. He first settled in Plymouth but could not abide the Pilgrims’ fanatical creed. He was a Puritan but not a religious separatist. Most Puritans had dreams of reforming the Church of England, starting in America. Fortunately, Conant died before the Salem Witch Trials began, for he would have been shocked at these developments. (Unfortunately for him, the town stuck his statue in front of the Witch Museum.) Frances Hill’s book is a blow-by-blow account of how the hysteria of some adolescent girls captured the minds of Massachusetts’ residents, including educated people, causing the death of 20 innocent people. It is also a study of Puritan culture, as it went more and more “off the rails.”
This acclaimed history illuminates the horrifying episode of Salem with visceral clarity, from those who fanned the crisis to satisfy personal vendettas to the four-year-old "witch" chained to a dank prison wall in darkness till she went mad. Antonia Fraser called it "a grisly read and an engrossing one."
My abiding interest is in how people find meaning in their lives in a post-church, secular world, and what happens when they fail. I have concluded that life needs to be seen as an arc leading to significant end; it needs to be experienced as a coherent story. The vital role of culture here is in providing archetypal stories, usually from a long time ago, but ones constantly retold and brought up to date, which provides background shapes to identify with, armatures as it were. I've explored these challenges in a series of books: Ego and Soul, The Western Dreaming, The Existential Jesus, and soon to appear, The Saviour Syndrome.
In Henry James’ masterpiece from 1901, Lambert Strether, aged 55, is a Boston Puritan who hasn’t lived. He travels to Paris on an ambassadorial mission.
From the moment of arrival in Paris he is beguiled and intrigued, but unclear what to do. He proceeds to meander through gilded French drawing rooms in which high aesthetic taste of both manner and décor presides. This quiet and modest outsider eventually fills out into the man who runs the show.
Strether has discovered what to know, who to choose, and when to move. Everything depends on it. The method must be learnt in the thick of lived life along the way.
Here is evidence of the existence of a god within, a wisdom of soul with a coherent vision of what matters, one that slyly directs the focus of the person walking confusedly in the world, leading them to move with discrimination.
The original American in Paris. This dark comedy, seen as one of the masterpieces of James's final period, has all the elements of great writing, brilliant plot and gorgeous setting- An Edwardian gentleman from the States arrives in seedy and sophisticated Paris to rescue his wayward future step son. But his innocent American background has not prepared him for such seduction... Beautiful hardback gift edition of this collectable classic.
This complex tale of self-discovery -- considered by the author to be his best work -- traces the path of an aging idealist, Lambert Strether. Arriving in Paris with the intention…
I am a history professor at Southern Methodist University. When some students in my university classes believed that the Enlightenment was so evil I should not be allowed to teach it, I wondered what they were taught in high school. I became more directly involved when I spoke before the State Board of Education of Texas against the ahistorical standards they stipulated for history, including that Thomas Aquinas and John Calvin were central to the Enlightenment and Moses to the founding documents of the United States. These standards distorted history to emphasize the role of religion in the American founding. I wondered: How could a state school board stipulate such ahistorical standards? Where had they come from? Who supported them and why? I wrote Hijacking History to address these questions.
A central assertion of the Christian right is that the United States was founded as a Christian nation and should be again. But this argument, as Green documents in his meticulous study of historical and legal sources, is deeply embedded in Americans’ sense of their national history as exceptional. He examines a series of claims made about critical junctures in the early history of the nation that purportedly support this view--the religious founding of the English colonies, the American Revolution as a religious cause, American government formed to be Christian. His careful examination of the evidence for and against the crucial claims of the Christian nation thesis provides a nuanced history of the religious terrain of early America by studying those who made such assertions and why. Green concludes that these claims developed during the nineteenth century rather than during the nation’s founding. More importantly, they are largely mythic but…
Among the most enduring themes in American history is the idea that the United States was founded as a Christian nation. A pervasive narrative in everything from school textbooks to political commentary, it is central to the way in which many Americans perceive the historical legacy of their nation. Yet, as Steven K. Green shows in this illuminating new book, it is little more than a myth.
In Inventing a Christian America, Green, a leading historian of religion and politics, explores the historical record that is purported to support the popular belief in America's religious founding and status as a…
I believe many writers suspect they are Strangers in a Strange Land. How ironic that I, a confirmed atheist, should use a biblical quote to describe the mindset of authors. Some discover where they belong through their writing. My book recommendations have a strong sense of place, whether it be the Old West, wartime Berlin, or modern-day Scotland. I was born into a 300-year-old N. Ireland Protestant Plantation family, yet many people saw us as interlopers: we weren’t quite Irish, and we weren’t quite British, yet we held dual passports. It was not until I left Ireland that I realized my Irish Heritage exerted a stronger pull than my British.
Like myself, Rankin didn’t start writing fiction until he left his native country. His books could only be set in a city like Edinburgh, with its blend of Puritan zeal, parsimony, and violence. His depiction of his hometown is so enthralling that it started a tourist boom, much like Oxford experienced with Colin Dexter.
I adore how he brings back Rebus after retirement as a detective and straight into conflict with former colleagues and criminals. Rankin realizes that a good detective must be closer to the dark side to be effective. I admire Rebus’s imperfections, even how he copes with his health problems. He’s no white hat, but he gets the job done—his way.
A series of seemingly random disappearances - stretching back to the millennium. A mother determined to find the truth. A retired cop desperate to get his old life back...
It's been some time since Rebus was forced to retire, and he now works as a civilian in a cold-case unit. So when a long-dead case bursts back to life, he can't resist the opportunity to get his feet under the CID desk once more. But Rebus is as stubborn and anarchic as ever, and he quickly finds himself in deep with pretty much everyone, including DI Siobhan Clarke.
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.
I love books that entertain and uplift when characters learn and overcome. As a teenager, things happened that threw me into a painful tailspin, ending in a wilderness program for troubled kids. It taught me that I can do hard things and face challenges in life. I’ve lost loved ones, have a special needs child, divorced, been broke, earned my black belt, returned to school as a single mom for a degree, and co-founded a nonprofit to support literacy for kids. None of that was easy, but it increased my compassion and hope. Stories can be powerful reminders of human resilience, and that battle scars make someone more beautiful than before.
I understood this story on a deep, metaphoric level.
Judith is a traumatized teen who disappeared for years and is unable to speak and explain why–which is often the plight of those who have suffered. Silence is a barrier to understanding and healing.
This book reads like poetry and transports you back in time. Life must have been difficult for early Puritan settlers–especially for anyone who was “different” or “afflicted.” The frustration and injustice! The mystery/thriller aspect had me on the edge of my seat! I really wanted things to get better for the main character, who remained graceful in the face of trauma and sadness. This story confirmed my hope that the truth is always eventually revealed and that it does set you free. It was a satisfying read!
Speak meets The Scarlet Letter in this literary masterpiece, the recipient of five starred reviews and nominated for the 2014 Edgar Award
Four years ago, Judith and her best friend disappeared from their small town of Roswell Station. Two years ago, only Judith returned, permanently mutilated, reviled and ignored by those who were once her friends and family. Unable to speak, Judith lives like a ghost in her own home, silently pouring out her thoughts to the boy who's owned her heart as long as she can remember--even if he doesn't know it--her childhood friend, Lucas. But when Roswell Station…
When I was little, I would draw for hours, captivated by the female experience. Art, film, and literature focused on women’s lives have always felt the most compelling to me. Whether it’s gazing at a woman painted centuries ago, watching a film about a woman navigating her time, or reading a book that delves into her inner world, I’m drawn to their stories. Their complexities and imperfections are often what I love most. This lifelong fascination has shaped my career. Whether illustrating fashion, designing book covers, or authoring my own books, the emotions and experiences of female characters inspire me, fuel my creativity, and remind me of the power and importance of their stories.
Hester Prynne embodies the archetype of a subjugated heroine trapped in an oppressive society, yet her story is deeply inspiring. Her resilience and quiet defiance against the hypocrisy of her community make her an incredibly compelling character.
What resonates with me most is her profound love as a mother. No matter the shame or suffering imposed upon her, the bond with her child strengthens her and affirms her unwavering sense of self-worth. Hester knows who she is and refuses to let the world define her. Her daughter, Pearl, is her anchor, her light, her “sunshine,” and the center of her world. As a mother, I deeply relate to this. My family is my greatest joy, my raison d’être. Hester’s story reminds me of how fortunate I am and how a mother’s love can transcend even the darkest circumstances.
An "A" for "adultery" marks Hester Prynne as an outcast from the society of colonial Boston. Although forced by the puritanical town fathers to wear a bright red badge of shame, Hester steadfastly resists their efforts to discover the identity of her baby's father. The return of her long-absent spouse brings new pressure on the young mother, as the aggrieved husband undertakes a long-term plot to reveal Hester's partner in adultery and force him to share her disgrace. Masterful in its symbolism and compelling in its character studies, Nathaniel Hawthorne's tale of punishment and reconciliation examines the concepts of sin,…
Like many Americans, I consider myself uncertain about religion, though that may be less true now that I have come to know the life of Dorothy Day, the radical Catholic activist. She has that effect. Along with the writers below, Dorothy Day has brought me back to thinking of faith in terms that I could find meaningful, to a sense of religion that is about something other than a set of rules and doctrines based on narrow readings of the Bible and the rigidity of men (yes, always men) in positions of power. I grew up a deeply religious child, became a confirmed atheist for decades, but now, in part because of this book, find myself in a different if still uncertain place.
Turner asks a great question. How did the United States go from being the deeply religious society of the Puritans and the Founders to a culture of widespread unbelief, especially among the well-educated? His astute analysis of 19th-century America explains why and how agnosticism and atheism gradually became socially acceptable alternatives to faith. As Turner sees it, attempts to “explain” God and fit the Divine into a more rationalistic, scientific, and anti-mystical framework, and the deadening hand of dogma, helped pave the way for a culture resistant to the very idea of God.
Until the 19th century, atheism and agnosticism were viewed as bizarre aberrations. But atheism emerged as a viable alternative to other ideologies. How and why it became possible is the subject of this cultural revolution.
