"This is a clear, incisively written narrative history of American anxiety about British domination---political, military, economic, cultural---from the War of 1812 to the mid-nineteenth century. Unfinished Revolution's predominant thoughtfulness and readable verve across a very extensive canvass should commend it to a wide range of readers as a valuable reconnaissance of what was arguably the most consequential national anxiety faced by the `young republic' during its middle period."---Lawrence Buell, Harvard University --

Buried within the collection of the Smithsonian Institution's National Museum of American History exists an astonishing group of historical relics from the pre-Revolutionary War era to the present day, many of which have never been on display. Donated to the museum by generations of souvenir collectors, these ordinary objects of extraordinary circumstance all have amazing tales to tell about their roles in American history. Souvenir Nation presents fifty of the museum's most eccentric items. Objects include a chunk broken off Plymouth Rock; a lock of Andrew Jackson's hair; a dish towel used as the flag of truce to end the Civil War; the microphones used by FDR for his Fireside Chats; and the chairs that seated Nixon and Kennedy in their 1960 television debate.

This comprehensive study shows that the stage was active in Kentucky long before the first professional troupe toured in 1815. During the period covered, 1790–1820, Lexington, Frankfort, and Louisville became the major theatrical centers in the West. Performances on Kentucky stages far outnumbered those in Pittsburgh, Cincinnati, St. Louis, Nashville, or New Orleans. Drawing upon accounts in contemporary newspapers, West T. Hill Jr. demonstrates that drama had developed west of the mountains a full quarter century prior to the date given in theatre histories. The Theatre in Early Kentucky, 1790–1820 captures the full flavor and color of the promoters, managers, professional strollers, and actors, many of whom performed dual roles as actors and managers. Working under primitive conditions, the groups often put on a melodrama, a musical comedy or farce, and several acts of singing, dancing, and recitation in the same performance. Appreciative audiences responded enthusiastically to the overworked and predictable plots of mistaken identity, revenge, and domestic difficulty. This delightful, informative book includes and appendix containing the production data available for 1790–1820. It is illustrated with reproductions of charming newspaper theatrical announcements and with portraits of leading stage figures.

With a population and budget exceeding that of many nations, a central position in the world's cultural and corporate networks, and enormous concentrations off wealth and poverty, New York City intensifies interactions among social forces that elsewhere may be hidden or safely separated. The essays in Power, Culture, and Place represent the first comprehensive program of research on this city in a quarter century. Focusing on three historical transformations—the mercantile, industrial, and postindustrial—several contributors explore economic growth and change and the social conflicts that accompanied them. Other papers suggest how popular culture, public space, and street life served as sources of order amidst conflict and disorder. Essays on politics and pluralism offer further reflections on how social tensions are harnessed in the framework of political participation. By examining the intersection of economics, culture, and politics in a shared spatial context, these multidisciplinary essays not only illuminate the City's fascinating and complex development, but also highlight the significance of a sense of "place" for social research. It has been said that cities gave birth to the social sciences, exemplifying and propagating dramatic social changes and proving ideal laboratories for the study of social patterns and their evolution. As John Mollenkopf and his colleagues argue, New York City remains the quintessential case in point.

When Fanny Trollope set sail for America in 1827 with hopes of joining a Utopian community of emancipated slaves, she took with her three of her children and a young French artist, leaving behind her son Anthony, growing debts and a husband going slowly mad from mercury poisoning. But what followed was a tragicomedy of illness, scandal and failed business ventures. Nevertheless, on her return to England Fanny turned her misfortunes into a remarkable book. A masterpiece of nineteenth-century travel-writing, Domestic Manners of the Americans is a vivid and hugely witty satirical account of a nation and was a sensation on both sides of the Atlantic.

Features three female actors who were significant in their development of new and innovative ways of performing Shakespeare.

Henkin explores the influential but little-noticed role reading played in New York City's public life between 1825 and 1865. The "ubiquitous urban texts"--from newspapers to paper money, from street signs to handbills--became both indispensable urban guides and apt symbols for a new kind of public life that emerged first in New York.

The famous "Stage Yankees," with their eccentric New England dialect comedy, entertained audiences from Boston to New Orleans, from New York to London in the years between 1825 and 1850. They provided the creative energy for the development of an American-type character in early plays of native authorship. This book examines the full range of their theatre activity, not only as actors, but also as playmakers, and re-evaluates their contribution to the growth of the American stage. Yankee theatre was not an oddity, a passing fad, or an accident of entertainment; it was an honest exploitation of the materials of American life for an audience in search of its own identification. The delineation of the American character—a full-length realistic portrait in the context of stage comedy—was its projected goal; and though not the only method for such delineation, the theatre form was the most popular and extensive way of disseminating the American image. The Yankee actors openly borrowed from what literary sources were available to them, but because of their special position as actors, who were required to give flesh-and-blood imitations of people for the believable acceptance of others viewing the same people about them, they were forced to draw extensively on their actors' imaginations and to present the American as they saw him. If the image was too often an external one, it still revealed the Yankee as a hardy individual whose independence was a primary assumption; as a bargainer, whose techniques were more clever than England's sharpest penny-pincher; as a country person, more intelligent, sharper and keener in dealings than the city-bred type; as an American freewheeler who always landed on top, not out of naive honesty but out of a simple perception of other human beings and their gullibility. Much new evidence in this study is based on London productions, where the view of English audiences and critics was sharply focused on what Americans thought about themselves and the new culture of democracy emerging around them. The shift from America, the borrower, to America, the original doer, can be clearly seen in this stager activity. Yankee theatre, then, is an epitome of the emerging American after the Second War for Independence. Emerging nationalism meant emerging national definition. Yankee theatre thus led to the first cohesive body of American plays, the first American actors seen in London, and to a new realistic interpretation of the American in the "character" plays of the 1870s and 1880s.

Stories of Freedom in Black New York recreates the experience of black New Yorkers as they moved from slavery to freedom. In the early decades of the nineteenth century, New York City's black community strove to realize what freedom meant, to find a new sense of itself, and, in the process, created a vibrant urban culture. Through exhaustive research, Shane White imaginatively recovers the raucous world of the street, the elegance of the city's African American balls, and the grubbiness of the Police Office. It allows us to observe the style of black men and women, to watch their public behavior, and to hear the cries of black hawkers, the strident music of black parades, and the sly stories of black conmen. Taking center stage in this story is the African Company, a black theater troupe that exemplified the new spirit of experimentation that accompanied slavery's demise. For a few short years in the 1820s, a group of black New Yorkers, many of them ex-slaves, challenged pervasive prejudice and performed plays, including Shakespearean productions, before mixed race audiences. Their audacity provoked feelings of excitement and hope among blacks, but often of disgust by many whites for whom the theater's existence epitomized the horrors of emancipation. Stories of Freedom in Black New York brilliantly intertwines black theater and urban life into a powerful interpretation of what the end of slavery meant for blacks, whites, and New York City itself. White's story of the emergence of free black culture offers a unique understanding of emancipation's impact on everyday life, and on the many forms freedom can take.