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Easton is located in the Lehigh Valley, which was known long ago as the "Entrance to the Grand Valley." It is the seat of Northampton County, which contains part of Bethlehem and many nearby boroughs and townships. Its location at the confluence of two rivers and various creeks made it a prized position for commerce and early settlement. An early Native American camping site for council, war, and hunting and fishing parties, it later became a major hub of government, industry, and culture. Historic Easton traces the evolution of a small frontier village to a large industrial center, spanning the years from the earliest settlements to the 1940s. At the dawn of its creation, Easton played a major role in the Walking Purchase of 1737. Later, Easton was the location of talks to end the French and Indian and the Revolutionary Wars. Notable figures, such as Benjamin Franklin, Teedyuscung, William Parsons, John Sullivan, and George Taylor, met to discuss the politics of these wars. By the early nineteenth century, Easton had become one of the first industrial centers in the region. By the time the city was incorporated in 1887, nearly eleven thousand people called Easton home.
When Donald Justice wrote in "On a Picture by Burchfield" that "art keeps long hours," he might have been describing his own life. Although he early on struggled to find a balance between his life and art, the latter became a way of experiencing his life more deeply. He found meaning in human experience by applying traditional religious language to his artistic vocation. Central to his work was the translation of the language of devotion to a learned American vernacular. Art not only provided him with a wealth of intrinsically worthwhile experiences but also granted rich and nuanced ways of experiencing, understanding, and being in the world. For Donald Justice--recipient of some of poetry's highest laurels, including the Pulitzer Prize, the Bollingen Prize, and the Lannan Literary Award for Poetry--art was a way of life. Because Jerry Harp was Justice's student, his personal knowledge of his subject--combined with his deep understanding of Justice's oeuvre--works to remarkable advantage in For Us, What Music? Harp reads with keen intelligence, placing each poem within the precise historical moment it was written and locating it in the context of the literary tradition within which Justice worked. Throughout the text runs the narrative of Justice's life, tying together the poems and informing Harp's interpretation of them. For Us, What Music? grants readers a remarkable understanding of one of America's greatest poets.
Paul Revere's midnight ride looms as an almost mythical event in American history--yet it has been largely ignored by scholars and left to patriotic writers and debunkers. Now one of the foremost American historians offers the first serious look at the events of the night of April 18, 1775--what led up to it, what really happened, and what followed--uncovering a truth far more remarkable than the myths of tradition. In Paul Revere's Ride, David Hackett Fischer fashions an exciting narrative that offers deep insight into the outbreak of revolution and the emergence of the American republic. Beginning in the years before the eruption of war, Fischer illuminates the figure of Paul Revere, a man far more complex than the simple artisan and messenger of tradition. Revere ranged widely through the complex world of Boston's revolutionary movement--from organizing local mechanics to mingling with the likes of John Hancock and Samuel Adams. When the fateful night arrived, more than sixty men and women joined him on his task of alarm--an operation Revere himself helped to organize and set in motion. Fischer recreates Revere's capture that night, showing how it had an important impact on the events that followed. He had an uncanny gift for being at the center of events, and the author follows him to Lexington Green--setting the stage for a fresh interpretation of the battle that began the war. Drawing on intensive new research, Fischer reveals a clash very different from both patriotic and iconoclastic myths. The local militia were elaborately organized and intelligently led, in a manner that had deep roots in New England. On the morning of April 19, they fought in fixed positions and close formation, twice breaking the British regulars. In the afternoon, the American officers switched tactics, forging a ring of fire around the retreating enemy which they maintained for several hours--an extraordinary feat of combat leadership. In the days that followed, Paul Revere led a new battle-- for public opinion--which proved even more decisive than the fighting itself. ] When the alarm-riders of April 18 took to the streets, they did not cry, "the British are coming," for most of them still believed they were British. Within a day, many began to think differently. For George Washington, Thomas Jefferson, John Adams, and Thomas Paine, the news of Lexington was their revolutionary Rubicon. Paul Revere's Ride returns Paul Revere to center stage in these critical events, capturing both the drama and the underlying developments in a triumphant return to narrative history at its finest.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
