Agnes Surriage, it turns out, was more Pygmalion than Cinderella. Her role models were the fiercely independent "codfish widows, "? wives of the early Marblehead fishermen who managed home and family seven months a year without their husbands. In Agnes's version of My Fair Lady, she had to act as her own Henry Higgins while making the often painful transformation from "girl of all works"? at the Fountain Inn to the charming and dignified Lady Agnes, wife of Sir Charles Henry Frankland. After deconstructing the legend for twenty-five years, author F. Marshall Bauer has unearthed a story of money, lust and vindication.
Apart from a handful of exotic--and almost completely unreliable--tales surrounding his life, Richard Potter is almost unknown today. Two hundred years ago, however, he was the most popular entertainer in America--the first showman, in fact, to win truly nationwide fame. Working as a magician and ventriloquist, he personified for an entire generation what a popular performer was and made an invaluable contribution to establishing popular entertainment as a major part of American life. His story is all the more remarkable in that Richard Potter was also a black man. This was an era when few African Americans became highly successful, much less famous. As the son of a slave, Potter was fortunate to have opportunities at all. At home in Boston, he was widely recognized as black, but elsewhere in America audiences entertained themselves with romantic speculations about his "Hindu" ancestry (a perception encouraged by his act and costumes). Richard Potter’s performances were enjoyed by an enormous public, but his life off stage has always remained hidden and unknown. Now, for the first time, John A. Hodgson tells the remarkable, compelling--and ultimately heartbreaking--story of Potter’s life, a tale of professional success and celebrity counterbalanced by racial vulnerability in an increasingly hostile world. It is a story of race relations, too, and of remarkable, highly influential black gentlemanliness and respectability: as the unsung precursor of Frederick Douglass, Richard Potter demonstrated to an entire generation of Americans that a black man, no less than a white man, could exemplify the best qualities of humanity. The apparently trivial "popular entertainment" status of his work has long blinded historians to his significance and even to his presence. Now at last we can recognize him as a seminal figure in American history.
“Important and lucidly written...The American Revolution involved not simply the wisdom of a few great men but the passions, fears, and religiosity of ordinary people.” —Gordon S. Wood In this boldly innovative work, T. H. Breen spotlights a crucial missing piece in the stories we tell about the American Revolution. From New Hampshire to Georgia, it was ordinary people who became the face of resistance. Without them the Revolution would have failed. They sustained the commitment to independence when victory seemed in doubt and chose law over vengeance when their communities teetered on the brink of anarchy. The Will of the People offers a vivid account of how, across the thirteen colonies, men and women negotiated the revolutionary experience, accepting huge personal sacrifice, setting up daring experiments in self-government, and going to extraordinary lengths to preserve the rule of law. After the war they avoided the violence and extremism that have compromised so many other revolutions since. A masterful storyteller, Breen recovers the forgotten history of our nation’s true founders. “The American Revolution was made not just on the battlefields or in the minds of intellectuals, Breen argues in this elegant and persuasive work. Communities of ordinary men and women—farmers, workers, and artisans who kept the revolutionary faith until victory was achieved—were essential to the effort.” —Annette Gordon-Reed “Breen traces the many ways in which exercising authority made local committees pragmatic...acting as a brake on the kind of violent excess into which revolutions so easily devolve.” —Wall Street Journal
