The Week in Early American History

TWEAH

Welcome to another The Week in Early American History! Take a break from the end-of-semester crunch to check out the unprecedented unification of the four surviving Magna Carta manuscripts or to a look at the tree root that ate Roger Williams. On to the links! Continue reading

Spring Reads

Spring_panel_from_the_Four_Seasons_leaded-glass_window_by_Louis_Comfort_TiffanyHere’s our seasonal roundup of new and forthcoming titles. Share your finds below!  Continue reading

Guest Post: Bastard out of Nevis: Lin-Manuel Miranda’s “Hamilton”

We are pleased to feature a guest post from Benjamin Carp (@bencarp), the Daniel M. Lyons Professor of American History at Brooklyn College, CUNY. Carp is the author of both Defiance of the Patriots: The Boston Tea Party and the Making of America and Rebels Rising: Cities and the American Revolution.

“I want the historians to respect this.” –Lin-Manuel Miranda, according to Ron Chernow

Alexander Hamilton, by John Trumbull (after painting by Giuseppe Ceracchi, 1801); National Portrait Gallery, Smithsonian Institution; Gift of Henry Cabot Lodge

In the lobby of the Public Theater, two statues flanked the doorway—the likenesses of Alexander Hamilton and Aaron Burr stretched out their arms and aimed their dueling pistols at one another, and it was hard not to feel as if I was standing in the middle. Lin-Manuel Miranda, the son of Puerto Rican immigrants, wrote the musical Hamilton and stars in the title role. He portrays the first Secretary of the Treasury as a “bastard, orphan, son of a whore and a Scotsman” and an immigrant striver made good; throughout his career, Hamilton is arrogant about his talents but perpetually insecure about his place. As told by Miranda, Hamilton is both self-made and self-unmade, wry and seductive and yet constantly raging against anyone who might hold him back. Continue reading

The Week in Early American History

TWEAHThe past two weeks have been busy ones in Early American History! Continue reading