“They” say that Scots and those of Scots ancestry are cheap. “They” might be right since we’re part of that group who spends both sides of every penny.
Bookwise, this means that unless a book is on my “MUST HAVE IT RIGHT NOW” list, I’m going to wait for the trade paperback, or even the mass market paperback, edition of books I’m waiting for. Oddly, these days the paperback version might be more expensive than the hardcover.
I do the same thing with movies because trying to set up closed captioning at a theater is a who needs it, so I seldom see any film before it reaches TV with closed captioning. I guess this is just part of getting old. By the time I read a book or see a film, the discussion has moved on to something newer. Sigh.
So, while waiting for the cheapest edition of the newer books, I’m constant grabbing books off my shelves and reading them again. (I think that if I read it two or three times, that cuts the cost by 1/2 or 1/3 and gets me into less trouble with my wife for sneaking books into the house.)
Yes, there’s Kindle, but that’s not my thing. I read stuff off the screen all day, so that’s the last thing I want while reading for 30 minutes before going to sleep.
Right now, I’m re-reading another Jeff Shaara novel, Gone for Soldiers, about the U.S. invasion of Mexico in 1846 while we fought over just where the southern border of Texas was going to be. Many of the soldiers who became well known during the Civil War fought in this war.
Sometimes historians call the Korean War the forgotten war. One might say the same thing about the Mexican War. It falls into one of those gaps in our history lessons in school. I’ve always found history interesting, so this is an enjoyable book to read while waiting for the John Hart novel I ordered from B&N.
What about you? Do you hold out for the cheaper editions of new novels or do you say, “what the hell?” and buy them as soon as the hardcover edition is released?
In times of war, the rich usually do get richer and the poor are still poor, yet free. Somewhat. This well-researched telling of the well known and not so well known who put their money into biting the very hand that was feeding them. In order to have control over what they grew and who they sold to this young country and its leaders were far from perfect and often put their own interests above the country.
I love reading history, especially carefully written books that are intended for a general audience and don’t sound like PhD dissertations. So, I’m pleased to find one of my favorite book bloggers writing about a history book–and tempting me to take a look at it.
While this blogger’s reviews are usually short and sweet (or, as needed, caustic) I wish this review had had a little more depth, possibly showing a list of chapter titles and/or an example a founding father or two who got rich.
We can often give readers an idea of a novel with a review that sounds like a positive or negative elevator pitch. But I think nonfiction requires a bit more, in part because if your blog isn’t dedicated to history, most readers won’t be familiar with the authors and may need a little more pizazz to grok both the review and the book under consideration.
In our kitchen, we keep a colorful scenic calendar, sometimes featuring wildlife and sometimes featuring scenes from national parks and other inspiring landscapes. In my den, I always have a calendar of historic black and white photographs. It comes with my membership in the Montana Historical Society (MHS). These old photographs tell many stories and I never tire of looking at them throughout the year. As more and more archives are digitized, pictures such as those in the calendar are often available for research online. Here’s the cover of my MHS calendar for 2019:
Hmm, we seem to have a problem here. When I worked as a volunteer at a railway museum, our library included a lot of photographs of wrecked locomotives. One of our members had once worked on steam locomotives for the railroads. When I asked him what happened to the locomotives in the pictures, he said they hauled them into the shop, fixed them, and put them back on the line. Today, I suppose the insurance company would come out and mark the equipment as totaled.
These old pictures are better than rare treasure for history enthusiasts; fans of (for example) trains, old cars, historic buildings; teachers who are working on lesson plans for K-12 classes that focus on state history, authors, and others. The national park services has an archive of old photographs.
You can find other photographs online at the Library of Congress and in the archives of many states under such names as Florida Memory and Georgia Encyclopedia. (Some of these sites include teacher lesson plans.) This access has improved from the old days when one had to travel to a museum on the far side of the country to see roughly classified boxes of papers and photographs in a storage area. Likewise, the historical societies in many states also support the digitization of old newspapers, many of which are appearing in databases sophisticated enough to allow for searches on words in the news stories and photograph cutlines.
It bothers me when I hear that many state school systems no longer teach state history lessons. I know it’s often hard to squeeze in local history when courses must include all of world history or all of U.S. history into an hour a day for one or two semesters. Historic old pictures, when available in a print format, give school systems the opportunity of placing a few of them in frames (with captions) in hallways and classrooms. They might just attract student attention. My wife once curated and mounted an exhibit of old photographs in a high school where we used to live. Opening day attracted a lot of attention, including a news story in several papers.
I’ve been happy to see many of these old pictures showing up on Facebook, sometimes from sources such as “Smithsonian Magazine” that remind people of lesser-known events and people. Many of them get a lot of LIKES and comments, including “Why wasn’t this information in my school history books?” (I often wonder why as well.)
If you know about your state’s history, I think you have a better shot at understanding why things there are as they are. You can also help combat misinformation in hastily researched news stories and online essays in which the writer clearly doesn’t know what happened in his or her state prior to last week. Growing up in Florida, I constantly saw (and still see) mistaken pronouncements about the reasons for the Seminole Wars or about the conflicts between Spain and France to control the region. You can probably cite similar examples from the state where you live.
Old photographs won’t fix the gaps in our educational systems, but they might attract some attention to the many things we don’t know about the places where we live.
Sometimes I think historical research for my novels set in Montana (“The Sun Singer” and “Sarabande”) and Florida (“Conjure Woman’s Cat,” “Eulalie and Washerwoman,” and “Lena”) took more hours than writing the novels. I didn’t mind because the old photographs and newspapers were very addictive.
What a shame that this book had to wait so many years to find a publisher. But we finally have Cudjo Lewis story. In her beautiful foreword, Alice Walker writes that “I’m not sure there was ever a harder story to read than this…” I agree. The story is unique in many ways: Cudjo, whose real name was Kossola, tells a story that includes his life in Africa and his life during the “Middle Passage” voyage to the United States after the slave trade was banned. Most histories don’t include life in Africa or on the slave ship.
His story is dear because he wanted to tell it and because Hurston was a skilled anthropologist and knew how to collect stories. The story is dear because you can feel its truth in your bones; Hurston did not intrude herself or her perspectives into the narrative. And then, too, Curjo speaks in his own English dialect and that adds great depth and reality to the tale. We hear that Hurston couldn’t publish the book when she wrote it because the publishers wanted her to get rid of the dialect. I didn’t find it to be a problem even though a fair number of Amazon reader reviews say the dialect was hard to read. No, it wasn’t.
Cudjo has some traditional tales of his own to tell. These appear an appendix so that they won’t disrupt his story about being captured by blacks, placed in a barracoon (slave house), sold to whites, and then having to endure many days at sea before ending up at a plantation where he was expected to work. The experience seems incomprehensible to him. So, too, is the fact that once he’s set free, he has no money and no land, so where is he supposed to go?
Deborah G. Plant has done a fine job editing the material and writing an afterword and a glossary that place Cudjo’s story in perspective. Readers have a choice because the editor’s comments were placed in this separate section rather than being distributed throughout the narrative as lengthy and jarring footnotes. As such, you can read the story and then look at the added material–or simply read the story as a lover of Hurston’s works and/or oral history.
Cudjo’s story is filled with great loss, great wisdom, and–strange as it may seem–more humor than anger for a man torn away from the country of his birth and forced to live and work and endure a hard existence in a country where he was never whole again.
In How to be doomed as a writer, I mentioned that author Stephen King prefers to look at story possibilities as situations rather than plots.
Over time, a writer becomes attracted to certain kinds of settings and the kinds of situations that might occur there. I’m attracted to natural wonders, especially mountains, as well as old buildings. My novels The Sun Singer and The Seeker both arise from a natural wonders setting, Glacier National Park. When I contemplated writing about the park, my first thoughts were about the kinds of things (situations) that might happen there. My Kindle short story “Moonlight and Ghosts” came to mind when I looked at an abandoned building near the house where I grew up.
Suppose you’re in a writing class and the instructor shows you the following picture obtained from the Florida Division of Historical Resources. All you’re told is that it’s an old and restored opera house in a small north Florida town.
Perhaps the instructor has influenced your brainstorming about this picture by showing you the building on a sunny afternoon with cars along the street. If s/he had shown you a photograph of the same structure as it sat on a moonlit night with the trees missing leaves during December, you’d come up with a different set of situations.
If you’re a fan of TV police shows, perhaps this looks like a place where a crime is committed.
If you’re drawn to opera and/or to theater, maybe you’ll think of stars, set designers, directors, little theater groups, professional “theater people” or amateurs coming together to put on a play that somebody hopes will fail.
Maybe there’s a secret about the building, some old legend or a will uncovered in a dusty attic that describes how, when the building was constructed, several hundred bars of gold were hidden beneath the box seats.
Okay, I’ve withheld some information, so with a few more facts, are your prospective story situations the same or do you change them?
The Opera House, which consists of a large second-floor theater and first floor shops, was built in 1880.
Traveling productions, including vaudeville groups, put on shows at this theater for a number of years. But then, when the railroads re-routed their lines and there was no easy way for out-of-town visitors to get to town, the theater fell into disuse.
Ghost hunters claim the owner died of a broken heart and still haunts the now-restored building. Purportedly, the former owner has been “seen” by the ghost hunters and a glowing orb of light.
The building is now used as a venue for weddings, local-area stage productions, and other functions where a seating capacity of 600 is desired.
If your instructor asked you to write a short story about this building, would you see it as just a building where anything might happen, a setting for a theater-oriented tale filled with clashing egos and temperamental stars, or would you try to link the local legends and the history of the building into your story? The only catch is, the instructor will expect you to convey–one way or another–a sense of the building. So, it can’t be a generic structure.
Well, unless you know the building already and/or are a historic preservation specialist, you’rre at a disadvantage when you try to describe it. If I were the instructor, I’d have several information sheets prepared as handouts.
Those who wanted to use the building as a place setting would get a general description of the interior and some architectural information about the architectural style of the building, it’s size, etc.
Those who wanted to use the location for a theater-oriented story, would receive information about the stage, the seating, the lighting, and the dressing rooms.
Those who didn’t know yet what was going to happen but wanted real background, would be told about the building’s history and the ghostly legends.
What do you see here?
In a classroom exercise, you’re “research”–if you think any is needed–is limited by what you see in the photograph and what the instructor will tell you either in a lecture, a question and answer session, or via handouts. Since I am attracted by legends, especially paranormal stories, I’m going to see this as a place where something ghostly will happen.
How you tend to view real locations, whether they’re lakes, mountains, buildings, or city streets, will influence what “your muse” draws you to consider. Your inclinations may suggest that the instructor should have had several more handouts about the building. One might be how the building is used today. Another might be the kinds of businesses on the first floor and on adjacent streets.
As writers, we look at locations as places where something might happen or where something did happen. Whether you like tying in real history and legends or whether you see locations in terms of what’s happening there in the present day, once you’re attracted to a setting for who knows what reason, story situations may come to mind as you Google (or go to) the setting.
When I first saw pictures of this building, my first thought was, “Good, here’s a cool old building in the Florida Panhandle where I’ve been placing many of my recent stories.”
As I learned about the building–its history, its ghosts, its restoration–ideas began to float around for prospective stories. As this process unfolds, we may never write a story…unless we’re in a classroom and have no choice. If a story comes out of it, the setting was the catalyst and the result was a marriage of the real and the writer’s imagination.
Fire Lookouts of Glacier National Park (Images of America), by David R. Butler, Arcadia Publishing (June 9, 2014), 128pp, photographs.
I’m happy to see the release of David R. Butler’s new book about Glacier National Park’s fire lookouts. Several years ago, in Heavens Peak Fire Lookout Assessment Open For Comments, I mentioned the developing plans to refurbish the historic fire lookout on Heaven’s Peak. David told me that most of that work was completed in 2012 and that his book includes before and after pictures. This is good news.
From the Publisher: The first fire lookouts in the Glacier National Park region were simply high points atop mountain peaks with unimpeded views of the surrounding terrain. Widespread fires in the 1910s and 1920s led to the construction of more permanent lookouts, first as wooden pole structures and subsequently as a variety of one- and two-story cabin designs. Cooperating lookouts in Glacier Park, the Flathead National Forest, and the Blackfeet Indian Reservation provided coverage of forests throughout Glacier National Park. Beginning in the 1950s, many of the lookouts were decommissioned and eventually destroyed. This volume tells the story of the rise and fall of the extensive fire lookout network that protected Glacier National Park during times of high fire danger, including lookouts still operating today.
From the Book: “Fire lookouts are described by many writers as magical places, and are well-known as inspirational sites for writers and poets such as Jack Kerouac, Normal Maclean, and Gary Snyder, as well as environmental writers and naturalists such as Edward Abbey and Doug Peacock. They also serve as nostalgic, historical reminders of a simpler time before the Internet, wireless communication, and the widespread use of advanced technology for spotting and monitoring fire boundaries.”
A small percentage of hikers and climbers see the nine remaining lookouts (a few of which are still in use) in Glacier, sticking to the more well-known trails, saddle trips and launch trips. For those who have never seen the lookouts, the photographs in this book open new worlds. For those who know, or who would like to more, Butler brings us another chapter in Glacier’s colorful history.
Update: Arcadia is offering the book at 20% off through Father’s Day 2014. Here’s the link.
Malcolm R. Campbell is the author of three contemporary fantasy novels (“The Seeker,” “The Sun Singer,” “Sarabande” set in Glacier National Park as well as his non-fiction “Bears; Where They Fought,” a historical look at Glacier’s Swiftcurrent Valley.
Historian Ellen Baumler (“Montana Moments: History on the Go,” April 2012) returned six months later with another book of Montana vignettes originating from her “History on the Go” radio program in Helena, Montana. Published by Montana Historical Society in October 2012), the 220-page book is available on Kindle and in paperback is aptly titled More Montana Moments.
The cover art, “Laugh Kills Lonesome,” comes from Charlie Russell. The text is supplemented with illustrations.
From the Publisher
Forget dreary dates and boring facts. More Montana Moments serves up a fresh batch of the most funny, bizarre, and interesting stories from Montana’s history. Meet the colorful cast of the famous and not-so-famous desperadoes, vigilantes, madams, and darned good men and women (and a few critters) who made the state’s history. Best of all, each vignette takes about two minutes to read. So have fun exploring Montana—and enjoy a little history as you go.
From the Montana Historical Society Bookstore
When Evelyn Cameron first rode into Miles City in the dark blue divided riding skirt she had ordered from California, oh, the scandal it caused. Ellen Baumler tells that story and more in More Montana Moments, a collection of more of the most funny, bizarre, and interesting stories from Montana’s history.
From the Book
“Artist Charles Marion Russell carefully chose the subjects of his art based on personal experience. He, more than any other western artist, painted what he knew with great longing and nostalgia for the cowboy way of life he lived and loved so well. In 1925, a year before his death, Russell painted “Laugh Kills Lonesome,” a tribute to this vanishing cowboy lifestyle…He painted himself into the picture as an old cowpoke stoppping by the warm and friendly circle fo a cup of coffee by an a hearty laugh at the end of a long day in the saddle.”
“The seventh USS Ranger (CV/CVA-61) is one of four Forrestal-class supercarriers built for the US Navy in the 1950s. Although all four ships of the class were completed with angled decks,Ranger had the distinction of being the first US carrier built from the very beginning as an angled deck ship.” – Wikipedia (See continuing updates at the end of this post.)
In matters of war, I am a pacifist.
That said, I believe our troops merit our support whether or not the war they’re fighting in is popular or not.
I also think history and historical artifacts, objects and memorabilia are important, for they help communicate the stories of other eras. It’s been a pleasure working with museums as a grant writer and as a collections manager and seeing first hand how excited people can get when shown historic equipment, documents and photographs.
I served aboard the USS Ranger (CVA-61) during the Vietnam War. The war was probably the country’s most unpopular war. When I appeared in public wearing my uniform, I was intentionally bumped into on the street, spat on, and called a baby killer. Yet our history and memories of that time must be preserved.
So, in matters of history, especially those that focus on museums and other educational experiences, I am an activist. In Charleston, I have seen the displays on the USS Yorktown and I have seen the reactions of tourists and school groups as they toured the flight deck, the hangar deck, the mess decks, bridge and ready rooms of the old ship.
When the USS Ranger Foundation was formed in Oregon with the hope of following the examples of those who saved the USS Yorktown in Charleston and the USS Midway in San Diego as museums, I was happy to join up even though I don’t have the financial means to donate money nor the proximity to the ship and selected museum site to volunteer.
First, the educational opportunities here are immense. It’s one thing to read about military history. It’s quite another to walk through a fort, battlefield or restored ship. Aircraft carriers have evolved since the Vietnam War—I can hardly even recognize the modern navy uniform. As I write this, there have been tests of flying drones off of carriers rather than expensive manned aircraft. As a museum, Ranger could have been a piece of history on the Columbia River at the donated site in Fairview for many years to come.
Second, museums and other cultural tourism sites bring dollars and jobs into communities. Many studies have been done showing that a tourist destination such as the USS Ranger can bring in a higher percentage of every tourist dollar than other attractions.
Apparently this is not to be
I salute the long hours and dedicated efforts of the volunteers and directors of the USS Ranger Foundation. But I think I missed a memo.
The application process for the acquisition of a decommissioned navy ship is difficult, expensive and lengthy. Unfortunately, the Foundation’s application was rejected by the Navy last October. (See Foundation to Fight NAVSEA Decision to Scrap Ranger) At that time, the Foundation was looking for ways to have that decision reversed.
Over the Christmas holidays, the Foundation said that constraints were keeping them from having more time to develop their application. Here’s where I missed the memo, I think.
I never heard what those constraints were, what (if anything) was missing or incomplete in the Foundation’s original application, or whether or not the support of influential people in and out of government could influence the Navy to provide more time, reconsider, or otherwise work with the Foundation to save the ship rather than scrapping the ship.
Now, the Foundation is looking for another ship. That’s probably a reasonable backup approach. Nonetheless, I think we need to know:
Why the application was rejected.
What, if anything, could be done to make the application acceptable.
Who, if anyone, could be enlisted to garner political and public attention to urge the Navy to delay the scrapping schedule and,
Who, if anyone, could raise additional funds and increased public support within the State of Oregon to save the ship and bring it to the Portland area.
We don’t know any of these things. Perhaps, in knowing them, we would see that placing a historic aircraft carrier in a Columbia River museum site had too many insurmountable obstacles in it to ever succeed even if the navy waited five more years or ten more years.
I have worked with museums and I have seen the impossible done before. Those in the know said “It will never happen.” But it did happen, with money left over and with the partnering help of those who had been thought, by those afraid to ask, to be the least likely to assist a museum.
So it is, that I do not like seeing this project fade away without a ramped up, viral PR campaign and without the help of high-level thought leaders and influencers who might be able to make a USS Ranger museum a reality. A successful aircraft carrier museum helps everyone, including the Navy. A scrapped ship frees up space at a pier and brings in a few dollars, but otherwise helps no one.
Worse yet, our history is lost in the bureaucratic shuffle. Rather than fading away, I would have preferred seeing this project end, if it had to end, with nothing less than a noisy, failure-is-not-an-option, Hail Mary, damn-the-torpedoes effort.
As always, I wish the Foundation fair winds and following seas.
Malcolm R. Campbell, Journalist
USS Ranger Public Affairs Office and Naval Station Great Lakes 1968 – 1970
Update – January 9, 2014
Those of you who live in the Bremmerton area may have a better means of finding out whether the ship has been scrapped already than I do. However, I have checked with the Navy about the rationale for disposing of the ship (in addition to the costs of maintaining mothballed ships).
From the Navy’s perspective, the USS Ranger Foundation’s progress throughout the entire application process was slow and it finally appeared that little or no progress was being made on some fairly large obstacles:
En route to the ship’s proposed mooring site, the BNSF bridge at river mile 80.9 had not been solved. Basically, the ship couldn’t clear the bridge without a major effort on the railroad’s part.
The foundation’s cost estimates for the project were incomplete. They gave an overall figure to the Navy about projected costs, but only documented a fraction of those costs.
The USS Ranger was placed on a donation hold in 2004. Even though the foundation had expressed an interest in the ship in 2003, the application wasn’t filed until 2009. With the ship available for an eight-year period and with major obstacles not being resolved, it seemed unlikely that the foundation would ever present a complete and viable application. Unfortunately, the Navy’s assessment about this is probably correct.
February 12, 2015: USS Ranger departure pushed back – “Mothballed Bremerton aircraft carrier USS Ranger won’t be leaving Feb. 15 for a Texas scrap yard. That was the first tentative date announced by the Navy, but rigging and towing preparations are lagging, said Ray Porter, Puget Sound Naval Shipyard inactive fleet site director.”
Minie Smith’s The Missoula Mercantile traces the history of an 1866 Missoula, Montana trading post that ultimately became—according to a story about the book in The Missoulian–“the largest department store between Minneapolis and Seattle.” The 192-page book, which includes 82 historic pictures–was released by The History Press in August.
According to The Missoulian, “Allied Stores Corp. bought the Merc in 1960 but retained the name until the Bon Marche bought Allied in 1978. Federated Department Stores took over in 1989, and the name changed over the years from the Bon to Bon-Macy’s and, in 2005, to Macy’s. Macy’s closed the doors in early 2010.” Smith’s history follows the store up until 1960.
Publisher’s Description: From its log cabin beginnings at a dusty crossroads in Montana Territory, the Missoula Mercantile grew to become the largest department store between Minneapolis and Seattle. Under the guidance of A.B. Hammond and C.H. McLeod and their policy of community involvement and customer satisfaction, the Merc became a household word in Montana, synonymous with square dealing. Join historian Minie Smith as she traces the story of a western institution, remembering everything from the Missoula Mercantile’s hardware department, with its creaky wooden floors and drawers of nuts and bolts, to its ladies’ apparel department, which offered a taste of the big city with silks, satins and velveteens. From horseshoes to hosieries, the Merc had what customers needed and knew what they wanted.
Today’s look-alike stores are pretty much the same from town to town, but the old stores were a part of local history, giving one the impression that if the old walls could talk, one would know everything about a place that could ever be known. Fortunately, the store’s old building is being preserved and The Missoula Mercantile is telling its story.
Book Signing: Smith will be signing copies of The Missoula Mercantile this Saturday Morning at 10:30 at Fact and Fiction Downtown in Missoula and at the University of Montana Bookstore at 2 p.m. on Friday, September 21.
The quilts featured in this richly illustrated, carefully researched book chronicle 150 years of Montana history. They tell stories about struggles for women’s suffrage, the Great depression, two world wars and Montana’s statehood. You’ll see detailed information about individual quilts and those who made them.
Published by the Montana Historical Society Press last year, Border to Border is available in both hard cover and paperback.
Excerpt from the Book
This lovely Goose in the Pond quilt was possibly the oldest one found by the Montana Historic Quilt Project, and it offered a bit of a mystery to the documenters. The owners knew the quilt had traveled to Montana with Maxine Otis’s parents, who came to homestead near Hobson in 1916; ther details about the quilt were sparse. Initially this quilt was thought to be made between 1830 and 1850, but these dates conflicted with family tradition that the quilt had been made in 1812. Upon closer inspection, the documenters discovered that the fabric was older than they originally thought, some of it dating to the late 1700s. A second look at the quilt also revealed a date and name buried in the quilting: 1811, Robert McInnis. Soon, additional hints about the quilt popped out of the fabric. An ink inscription appeared stamped in a corner block with the name Sarah H. Jones and the town Erie, Pennsylvania. Robert McInnis’s name was also inked into the quilt elsewhere, although by now the “c” and “I” in his name had started to fade. Whatever the bond Robert McInnis and Sarah Jones shared, the quilt was clearly a treasured possession. As reliable permanent ink was not available until the 1830s, the ink inscription was probably added after the quilt was made to leave a lasting record of those connected to it.
For more information about Montana quilts, see also the Montana Historic Quilt Project index. According to the site, “The Quilt Index” is a growing research and reference tool designed to provide unprecedented access to information and images about quilts held in private and public hands.”