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THE FREEDOMS WE LOST

CONSENT AND RESISTANCE IN REVOLUTIONARY AMERICA

A well-conceived challenge to the claim to historic legitimacy of today’s Tea Party demonstrators.

While conservative demonstrators hearken back to the Boston Tea Party, Smith (Men and Women: A History of Costume, Gender, and Power, 1990, etc.), the curator of political history at the Smithsonian’s National Museum of American History, suggests that our revolutionary forebears had quite a different view of freedom.

The author explores how Americans, from the late 1760s to the 1780s, understood the freedoms they believed to have rightfully possessed as colonial British subjects. “When they renounced subjecthood to George III,” she writes, “many Americans understood themselves to remain subject to and members within a larger society.” The broad coalition that called itself Patriots was organized around a notion of the common good rather than the right to individual freedoms. They recognized themselves as “neighbors and brethren” and formed “a coalition that joined colonists across lines of region, belief, interest, and social class.” Despite the colonial restriction of the franchise, the accepted power of the common people to execute the laws established a realm of freedom. This encompassed the role of juries and spectators in determining the outcome of judicial decisions, refusal to collect unfair taxes and the right to demonstrate and protest. Smith establishes a crucial distinction between the modern conservative view—that government is best when it governs least—and the pre-Revolutionary belief that government should be held accountable for “its obligations to execute laws that protected lesser people from the excessive ambitions of the great or would-be-great.” During the Revolutionary War, scarcity and the establishment of a paper currency caused a severe inflation and price gouging, which was countered by “a mobilization on an unprecedented scale.” Committees frequently met at county courthouses to establish fair prices and provide supplies to the needy. While our notions of individual freedom have broadened and deepened since then, writes Smith, “Americans have lost…awareness of the breadth of the Revolutionaries’ eighteenth-century project, which asserted public power to counteract the coercions of the market."

A well-conceived challenge to the claim to historic legitimacy of today’s Tea Party demonstrators.

Pub Date: Jan. 1, 2011

ISBN: 978-1-59448-180-8

Page Count: 288

Publisher: The New Press

Review Posted Online: Aug. 19, 2010

Kirkus Reviews Issue: Sept. 15, 2010

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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