“Had a map been drawn . . . of Mr. Smith’s movements through the streets of New-York. . . a tangled hydra indeed would have been revealed,” begins the second chapter of Francis Spufford’s book Golden Hill (53). As my fellow Junto reviewers have discussed, Spufford’s exhilarating read follows Mr. Smith through the escapades and perils of mid-eighteenth-century New York as he attempts to convince those he encounters of his “credit worthiness.” As he meanders through the tangled web of city streets, Smith’s journey from the island’s southern tip to its northern outposts is filled with adventures and twists at every turn. The reader soon learns that many of the men and women he encounters have secrets to hide. There is much to like about Golden Hill. For this urban historian, one of the most enjoyable aspects is the book’s sense of place. Continue reading
This guest post is the third entry in our week-long roundtable on Francis Spufford’s novel, Golden Hill. Its author is Hannah Farber, an assistant professor at Columbia University. Her scholarship has appeared in the New England Quarterly, Early American Studies and the Journal of the Early Republic; she is at work on a monograph on marine insurance, tentatively titled Underwriters of the United States.
What a pleasure it is to wander around mid-eighteenth-century New York City with Francis Spufford, admiring the city’s homes with their “stepped Dutchwork eaves” (17) and their “blue-gray pediment[s] of Connecticut pine” (11). What a pleasure, too, to join him in pawing through the humbler artifacts of daily life in the colonial city. Pap (1). Milk punch (42). A bog-wig (2). Every page of Golden Hill overflows with weird stuff like this, and it’s just great. Continue reading
Francis Spufford’s historical novel Golden Hill introduces us to mid-eighteenth century New York City through the eyes of a London visitor named Richard Smith. For Smith, it’s a strange place. In the book’s first scene, as Tom discussed yesterday, he exchanges some of his own currency for local money. But he is baffled to receive an irregular stack of paper from around the continent divided into various denominations.
I immediately empathized. Only a few days before I began the novel, I had been trying to untangle what I had initially thought would be a fairly straightforward problem for an article manuscript involving colonial wage rates and commodity prices. But I had quickly found myself waist-deep in conversion charts, glossaries, and historical data about the foreign, colonial, and metropolitan currencies that circulated in eighteenth-century Anglo-America. Old tenor, new tenor, pounds, shillings, pence, halfjoes, Spanish dollars—it was a world of currency only slightly less confusing than blockchain. Continue reading
This week at The Junto, we’ll be featuring a roundtable on Francis Spufford’s 2016 novel, Golden Hill (London: Faber & Faber, 2016). Set in colonial New York city, and written in self-conscious homage to eighteenth-century literary style, Golden Hill has plenty of resonance for anyone interested in the period. Following my post today, we’ll hear from Junto members Jordan Taylor and Katy Lasdow, as well as Hannah Farber, and a Q&A with Spufford himself. We will warn you if a post contains plot spoilers!
Many novels are about struggles to know the truth, and to live in a world of ambiguity, secrets, and false pretences. In Golden Hill, those themes are given eighteenth-century specificities. They appear in all sorts of symbolic guises, but none more frequently and clearly stated than the murky, miscellaneous substance of eighteenth-century money. If Golden Hill is a novel about what it means to take something—or somebody—at face value, that metaphor is made literal when the protagonist Richard Smith walks into a merchant’s office in the book’s opening pages and presents “a paper worth a thousand pounds.” Continue reading
This is the fourth post in our weeklong roundtable, “Inspiration in Research.” Previous contributors to the roundtable include Whitney Robles, Rachel Herrmann, and Lindsay O’Neill with Ken Owen’s final post of the roundtable coming tomorrow.
I am very happy to be able to participate in this fascinating roundtable on the inspiration behind research projects and to share my what I suspect are fairly common experiences among our readership. My dissertation, completed back in May, is now a manuscript entitled, Past and Prologue: The Politics of Memory in the American Revolution, that is under contract to Yale University Press. Past and Prologue explores the role of “history culture” and changing historical memories of the colonial and British pasts in the coming of the American Revolution and early efforts to forge a shared national identity in the revolutionary era. It traces that role in shaping the transition from British subject to American citizen through three developments: the deconstruction of colonists’ relationship to the British past before independence; the creation of a newly shared colonial past for the first time during the imperial crisis and the revision of that colonial past after the war; and, the cultural construction of a “deep national past” or American antiquity in the decades following the war. Rather than having “liberated Americans from the past,” I argue, the Revolution actually made the past matter more than ever before. Continue reading
Today, Lindsay O’Neill, Assistant Professor of History at the University of Southern California, joins our weeklong discussion about sources and inspiration. Her first book, The Opened Letter: Networking in the Early Modern British World, was published by the University of Pennsylvania Press in 2015. Today she shares the sources that inspired (or haunted) her book-in-progress, titled “Barbarous Country: The Delogaon Princes and the British Empire, 1715-1725.”
I do not remember precisely when the princes began to haunt me. It might have been when I called up the ominous sounding “Book of Strangers” at the Huntington Library. This turned out to simply be a list of dinner guests at the Duke of Chandos’ estate of Cannons, but what I found inside was rather extraordinary. Listed at the Duke’s table on 24 September 1721 were “Two African Princes.” Intriguing, I thought. However, this must not have been the first time I came across a reference to them, for I remember knowing who these men were. I had, or would, read about them in letters from the Duke of Chandos who hosted the dinner. I would encounter them again in the letters of Sir John Perceval. And then again in the letters of Sir Hans Sloane. I told you these two men were haunting me. Now, there was no reason for them to. At the time, I was not interested in African princes. I was interested in letters since I was working on what would become my first book: The Opened Letter: Networking in the Early Modern British World. But it turned out that the loosely linked letter writers whose correspondence I was working my way through were interested in African princes and soon so was I. Continue reading
This is the second post in a roundtable about research inspirations. You can read the first essay, a guest post by Whitney Barlow Robles, here.
My dissertation on food and war, which became my first book project on war and hunger, originated at a crossroads between panic and personal interests. I was a sophomore, taking a class on the American Revolution, and the professor was walking us through the process of writing a final paper by requiring a paragraph-long research proposal, followed later in the semester by an annotated bibliography. We were at the point in the semester where research proposals were nearly due, and I wasn’t sure what I wanted to write about. I remember discussing my growing sense of panic at swim practice with a friend, and vacillating between this sense of anxiety, and pleasant anticipation of dinnertime. I swam for the team friendships, and the fact that even bad dining hall food tasted good after a hard workout. As I speculated about our dinner choices, my friend interrupted me, observed that I was obsessed with food, and suggested that I write about it for my history paper. Continue reading
This week at the Junto we are stepping back to talk about what inspired our research projects. From dissertations to first and second book projects, we will bring together a range of scholars to discuss the method, source, book, or lecture that got them started. Today, we have a guest post from Whitney Barlow Robles. Whitney is a PhD candidate in American Studies at Harvard, and her work spans early American history, history of science, and material culture studies. Her most recent publications include an essay about a 1755 earthquake that shook Boston, published in The New England Quarterly, and a chapter about flattened scientific specimens in the book The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766-1820. Her research has recently been supported by the American Historical Association, the American Antiquarian Society, and the Smithsonian Institution.
I am a wolf in sheep’s clothing. Or rather, a nature writer dressed as a historian. My dissertation reexamines the history of natural history in eighteenth-century America and the British Atlantic world by putting animals and natural specimens at the narrative center. It asks: What might historical documents, written or dried or submerged in alcohol, tell us about the actions of historical creatures? Why did animals remain, at some level, inscrutable? How did they escape the net, crash the experiment, shapeshift, fly away, or even help naturalists preserve specimens? And what might their role in early modern science tell us about the larger social and political projects powered by natural history? Liable to change over time, animals influenced the human world through their behavior, biology, physical traits, and, in the case of beasts like raccoons, perhaps even their own desires. Without understanding how animals circumscribed the project that sought to study them and thus set the terms for what humans could learn about nature, our view remains obscured. We can look through the microscope, but only with a cloudy lens. Continue reading
This is the final installment of the How NOT TO Write Your Second Book roundtable. Catherine E. Kelly is a Professor of History at the University of Oklahoma and editor of the Journal of the Early Republic. Her books include In the New England Fashion: Reshaping Women’s Lives in the Nineteenth Century (Cornell UP) and Republic of Taste: Art, Politics, and Everyday Life in Early America (UPenn Press).
Let me begin with a cautionary tale:
I had just returned to the University of Oklahoma after an extended research trip for the project that would eventually become my second book, Republic of Taste. I was a very recent hire; I’d only been on campus for a semester before leaving to spend six months back east, including a four-month fellowship at Winterthur Museum, Garden and Library. My Chair invited me to his office to tell him how the trip had gone and what I had to show for it. Continue reading
We are pleased to have yet another excellent contribution to our “How NOT To Write Your Second Book” Roundtable. Tamara Plakins Thornton is professor of history at the State University of New York, Buffalo, and the author of Cultivating Gentlemen: The Meaning of Country Life among the Boston Elite, 1785-1860 (1989), Handwriting in America: A Cultural History (1996), and Nathaniel Bowditch and the Power of Numbers: How a Nineteenth-Century Man of Business, Science, and the Sea Changed American Life (2016).
And Now for Something Completely Different
Remember this old chestnut? “A fox knows many things, but a hedgehog one important thing.” It applies to historians too, and you’ll probably find out which one you are when you turn to your second book project. Building on your first book, making a new contribution to that historiographical conversation? Hedgehog. Or are you drawn to a topic pretty much unrelated to your earlier work? Fox. Make no mistake. Neither is smarter, more original or creative, or produces more important scholarship. But their experiences do differ. Let me share a fox’s perspective on the risks and rewards to your scholarship, intellectual development, and professional standing if you follow your nose into brand-new territory.