I feel like I’m writing more than a few pieces lately that start with “I love [X], BUT . . .” and apparently today is no different. I’ll just come out and say it: I love Harry Potter, but I have trouble with J. K. Rowling’s treatment of history. Harry Potter was immensely important to my young adulthood. I read the books as a teenager, went to more than one midnight movie release, bought and consumed Bertie Bott’s Every Flavour Bean, and dressed as a character from the books for Halloween. I tend to re-read the novels once a year, when I’m looking for ways to improve my ability to tell a story. I wasn’t a historian when I first started reading the books, so I didn’t look too critically at Rowling’s characterizations of history and historians. Now that I am a historian, I’ve come to the conclusion that although Rowling’s portrayal of our discipline is wrong, her depiction of the wizarding world’s past—and how people interpret and at times attempt to change and revise it—is much more in keeping with the task that muggle historians daily confront. Continue reading
In a certain village of vast early America, whose name I do not recall, a book fell open. Then another. And another. By 1860, many generations’ worth of American readers had imbibed the two-volume work of Spain’s early modern master, Miguel de Cervantes Saavedra: Don Quixote, or, El Ingenioso Hidalgo Don Quijote de La Mancha (1605). Cervantes’ metafiction of a mad knight-errant, often hailed as the first Western novel, bustled and blistered with originality. Continue reading
This week, several Juntoists have offered useful guides for archival work in Spain, France, and England. Today, we are offering something slightly different—a guide to researching in North America! After all, not all early Americanists are American, and planning transatlantic trips can be daunting. Continue reading
Once or twice upon a chapter, as you work to tell history as story, take comfort in knowing that even American sage Henry Adams sometimes had a not-great writing day. By 1878, the 40-year-old Harvard professor of medieval history was a polished scholar. Hailing from a family that wrote for the archive, he navigated easily the uncatalogued byways of an early Library of Congress. He swept up obscure state records and gathered local maps for his 9-volume History of the United States. As editor of the North American Review, Henry instructed freelancers to write “in bald style.” He sliced his private letters down to acid cultural commentary that, to the modern reader, feels meta-enough to border on code. Continue reading
Today’s guest post comes from Bryan Rindfleisch, Assistant Professor of History at Marquette University. Bryan received his Ph.D. from the University of Oklahoma, in 2014, where he specialized in early American, Native American, and Atlantic world history. His book manuscript focuses on the intersections of colonial, Native, imperial, and Atlantic histories, peoples, and places in eighteenth-century North America.
It’s inevitable. At some point, a friendly conversation about my research—with family and friends, colleagues, students, or even a random stranger at the local coffee shop—will take an unfortunate turn. All it takes is that one question: “Who is George Galphin?” Continue reading
This post was written by Christopher Minty and Nora Slonimsky, who, many moons ago, woke up early on a Sunday morning to purchase tickets to the opening-night preview performance of Hamilton: An American Musical, which took place on July 13, 2015, at the Richard Rodgers Theater in New York City. This post was originally posted on July 19, 2015. It was removed as a courtesy to the show’s creative and promotional teams. It has been reposted with significant alterations and additions.
Hip-hop is on Broadway, not just in a popular YouTube video. On Monday, July 13, 2015, Lin-Manuel Miranda’s hit off-Broadway musical, HAMILTON, made its debut on the big stage. On August 6, 2015, rebranded as Hamilton: An American Musical, a much-applauded, diverse cast returned to perform in the official opening of a much larger, hopefully long-running production at the Richard Rodgers Theater.