A Coal Miner's Family at Mooseheart describes the lives of Homer Rhodes' widow and children at Mooseheart, IL, from 1919-1939. An orphan's home-school, which still operates, Mooseheart is arguably one of the most unusual child care programs of the 20th Century. This story begins with my family's arrival at Mooseheart and my rough introduction to the boys' codes of behavior. I report on how a Demerit system was replaced by a Merit system that worked well for 1,300 students living in this community which absolutely prohibited corporal punishment. Also I explain our daily routines. Further sections illustrate how the Founder's idealistic vision worked for our family and the students we knew: 1) how Blanche and her family adopt Earl and Carolyn Guinn, who lost both parents, 2) how students play and compete as the Mooseheart Spirit emerges, 3) how they can work to earn and spend their own money, 4) how they must learn a skilled trade, 5) how they may get a high school diploma --if they can pass the courses, 6) how they worship in the faith of their parents, 7) how they dance and romance, 8) how they dream, strive, become lonesome, suffer growing pains, 9) how they become ambitious, develop enough courage to leave Mooseheart to scatter and settle; 10) And finally, how they return to their very special utopia and wonder whether they can ever repay the Moose. Since this is a family memoir, I attach sections about our life before Mooseheart. I record what we know about our parents, Blanche Porter and, Homer Rhodes, and about Carrie Thomas, our mother's birth mother. I attach also a section about Spruce Knob, WV, and the Elk Lick Coal Company when Homer Rhodes was Superintendent of the mine there from 1919 until he died in 1925.
Some of the most famous plays in the English language were performed on the stage of the Rose theater, which stood on the Bankside in Elizabethan London. Henslowe's Rose is the first full-length study of this important theater. Rhodes gives as full an account as the evidence of contemporary pictures and documents permits of those Rose, the method of its construction, its general plan, its repertory of plays, and its staging. From the action of these plays he deduces the form of the stage itself and the nature of its facilities. The total of five openings in the walls at stage-level is of particular significance, since the most widely held conception of the Shakespearean stage has been based primarily on the De Witt sketch of the Swan theater, showing a two-opening façade. The contemporary pictorial evidence used by Rhodes is reproduced in this volume for the convenience of the reader. In addition many sketches and plans illustrate Rhodes's findings, which are summed up in a photograph of a model built to specifications derived from such sources as Henslowe's diary, contemporary pictures of the outside of the Rose, and the Vitruvian theater plan.
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