An accomplished, powerful presentation of the American Revolution as it was, rather than as we might wish to remember it.
The American Revolution was no festive musical.
German-born historian Hoock (British History/Univ. of Pittsburgh; Empires of the Imagination: Politics, War, and the Arts in the British World, 1750-1850, 2010, etc.) asserts that this is "the first book on the American Revolution and the Revolutionary War to adopt violence as its central analytical and narrative focus." Over time, he writes, the Revolution's pervasive violence and terror have "yielded to a strangely bloodless narrative of the war that mirrors the image of a tame and largely nonviolent Revolution." In fact, he claims in this fresh approach to a well-trod subject, "to understand the Revolution and the war—the very birth of the nation—we must write the violence, in all its forms, back into the story." This he certainly does, examining both physical and psychological violence inflicted by all participants—British, German and colonial military forces, Patriot and Loyalist partisans and civilians, Native Americans, and free and enslaved blacks—on each other throughout the conflict. The catalog of misery includes battlefield atrocities, rape and plunder of civilians, inhumane imprisonment, lynchings and expulsions, and the scorched-earth destruction of crops, plantations, and entire towns. Hoock suggests that the conflict is best understood as America's first civil war rather than as a colonial uprising. He also considers at length the struggles by civil and military leaders of both sides to determine what levels of violence would be efficacious in achieving their objectives and acceptable under contemporary ethical standards, issues of continuing relevance today. Deeply researched and buttressed by extensive useful endnotes, this is history that will appeal to both scholars and general readers. The author presents his grim narrative in language that is vivid without becoming lurid. In urging an acceptance of historical accuracy over our foundational myths, he hopes to direct us toward "an approach to global leadership…more restrained, finely calibrated, and generously spirited."
An accomplished, powerful presentation of the American Revolution as it was, rather than as we might wish to remember it.Pub Date: May 9, 2017
ISBN: 978-0-8041-3728-7
Page Count: 576
Publisher: Crown
Review Posted Online: Feb. 20, 2017
Kirkus Reviews Issue: March 1, 2017
Bernstein and Woodward, the two Washington Post journalists who broke the Big Story, tell how they did it by old fashioned seat-of-the-pants reporting — in other words, lots of intuition and a thick stack of phone numbers. They've saved a few scoops for the occasion, the biggest being the name of their early inside source, the "sacrificial lamb" H**h Sl**n. But Washingtonians who talked will be most surprised by the admission that their rumored contacts in the FBI and elsewhere never existed; many who were telephoned for "confirmation" were revealing more than they realized. The real drama, and there's plenty of it, lies in the private-eye tactics employed by Bernstein and Woodward (they refer to themselves in the third person, strictly on a last name basis). The centerpiece of their own covert operation was an unnamed high government source they call Deep Throat, with whom Woodward arranged secret meetings by positioning the potted palm on his balcony and through codes scribbled in his morning newspaper. Woodward's wee hours meetings with Deep Throat in an underground parking garage are sheer cinema: we can just see Robert Redford (it has to be Robert Redford) watching warily for muggers and stubbing out endless cigarettes while Deep Throat spills the inside dope about the plumbers. Then too, they amass enough seamy detail to fascinate even the most avid Watergate wallower — what a drunken and abusive Mitchell threatened to do to Post publisher Katherine Graham's tit, and more on the Segretti connection — including the activities of a USC campus political group known as the Ratfuckers whose former members served as a recruiting pool for the Nixon White House. As the scandal goes public and out of their hands Bernstein and Woodward seem as stunned as the rest of us at where their search for the "head ratfucker" has led. You have to agree with what their City Editor Barry Sussman realized way back in the beginning — "We've never had a story like this. Just never."
Pub Date: June 18, 1974
ISBN: 0671894412
Page Count: 372
Publisher: Simon & Schuster
Review Posted Online: Oct. 10, 2011
Kirkus Reviews Issue: June 1, 1974
SEEN & HEARD
An eclectic assortment of women make for an entertaining read.
An exuberant celebration of more than 100 women who shaped the myths and realities of New York City.
In her debut book, journalist Scelfo, who has written for the New York Times and Newsweek, aims to counter histories of New York that focus only on “male political leaders and male activists and male cultural tastemakers.” As the author discovered and shows, the contributions of women have been deeply significant, and she has chosen a copious roster of personalities, gathered under three dozen rubrics, such as “The Caretakers” (pioneering physicians Dr. Elizabeth Blackwell and Dr. Sara Josephine Baker, who enacted revolutionary hygienic measures in early-20th-century tenements); “The Loudmouths” (Joan Rivers and Better Midler); and “Wall Street” (brokerage firm founder Victoria Woodhull and miserly investor Hetty Green). With a plethora of women to choose from, Scelfo aimed for representation from musical theater, law enforcement, education, social justice movements, and various professions and organizations. Some of the women are familiar (Jacqueline Kennedy Onassis for her preservation work; Brooke Astor for her philanthropy), some iconic (Emma Lazarus, in a category of her own as “The Beacon”), and some little-known (artist Hildreth Meière, whose art deco designs can be seen on the south facade of Radio City Music Hall). One odd category is “The Crooks,” which includes several forgettable women who contributed to the city’s “cons and crimes.” The author’s brief, breezy bios reveal quirky facts about each woman, a form better suited to “The In-Crowd” (restaurateur Elaine Kaufman, hardly a crowd), entertainers (Betty Comden, Ethel Waters), and “The Wisecrackers” (Nora Ephron, Tina Fey) than to Susan Sontag, Edith Wharton, and Joan Didion. Nevertheless, the book is lively and fun, with something, no doubt, to pique anyone’s interest. Heald’s blithe illustrations add to the lighthearted mood.
An eclectic assortment of women make for an entertaining read.Pub Date: Oct. 25, 2016
ISBN: 978-1-58005-653-3
Page Count: 304
Publisher: Seal Press
Review Posted Online: Aug. 20, 2016
Kirkus Reviews Issue: Sept. 1, 2016
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