A queen makes another kind of debut in the sixth installment of Whitehall, an episodic royal tale full of true history and sensual intrigue, new from Serial Box Publishing. When it comes to the theater, sometimes the audience holds more drama than the stage. Jenny the servant girl gets a taste for life’s pleasures, while Catherine seeks to find her footing in a court still ruled by the tempestuous Barbara. This episode is brought to you by Mary Robinette Kowal, who asks that you please be seated and turn your attention to the stage.
Winner of the Pulitzer Prize for Biography Louisa May Alcott is known universally. Yet during Louisa's youth, the famous Alcott was her father, Bronson—an eminent teacher and a friend of Emerson and Thoreau. He desired perfection, for the world and from his family. Louisa challenged him with her mercurial moods and yearnings for money and fame. The other prize she deeply coveted—her father's understanding—seemed hardest to win. This story of Bronson and Louisa's tense yet loving relationship adds dimensions to Louisa's life, her work, and the relationships of fathers and daughters.
This is a definitive account of Fruitlands, one of history's most unsuccessful, but most significant, utopian experiments. It was established in Massachusetts in 1843 by Bronson Alcott (whose ten year old daughter Louisa May, future author of Little Women, was among the members) and an Englishman called Charles Lane, under the watchful gaze of Emerson, Thoreau, and other New England intellectuals. Alcott and Lane developed their own version of the doctrine known as Transcendentalism, hoping to transform society and redeem the environment through a strict regime of veganism and celibacy. But physical suffering and emotional conflict, particularly between Lane and Alcott's wife, Abigail, made the community unsustainable. Drawing on the letters and diaries of those involved, the author explores the relationship between the complex philosophical beliefs held by Alcott, Lane, and their fellow idealists and their day to day lives. The result is a vivid and often very funny narrative of their travails, demonstrating the dilemmas and conflicts inherent to any utopian experiment and shedding light on a fascinating period of American history.
This collection is the first academic study of the captivating life and career of expatriate artist, writer, and activist, May Alcott Nieriker. Nieriker is known as the sister of Louisa May Alcott and model for "Amy March" in Alcott’s Little Women. As this book reveals, she was much more than "Amy"—she had a more significant impact on the Concord community than her sister and later became part of the creative expat community in Europe. There, she imbued her painting with the abolitionist activism she was exposed to in childhood and pursued an ideal of artistic genius that opposed her sister’s vision of self-sacrifice. Embarking on a career that took her across London, Paris, and Rome, Nieriker won the acclaim of John Ruskin and forged a network of expatriate female painters who changed the face of nineteenth-century art, creating opportunities for women that lasted well into the twentieth century. A "Renaissance woman," Nieriker was a travel writer, teacher, and curator. She is recovered here as a transdisciplinary subject who stands between disciplines, networks, and ideologies—stiving to recognize the dignity of others. Contributors include foundational Alcott scholar Daniel Shealy and Pulitzer Prize winner John Matteson, as well as Curators, Jan Turnquist (Orchard House) and Amanda Burdan (Brandywine River Museum of Art). In this book, readers will become acquainted with a dynamic feminist thinker who transforms our understanding of the place of women artists in the wider cultural and intellectual life of nineteenth-century Britain, France, and the United States.
