Tom Paine’s America explores the vibrant, transatlantic traffic in people, ideas, and texts that profoundly shaped American political debate in the 1790s. In 1789, when the Federal Constitution was ratified, "democracy" was a controversial term that very few Americans used to describe their new political system. That changed when the French Revolution—and the wave of democratic radicalism that it touched off around the Atlantic World—inspired a growing number of Americans to imagine and advocate for a wide range of political and social reforms that they proudly called "democratic." One of the figureheads of this new international movement was Tom Paine, the author of Common Sense. Although Paine spent the 1790s in Europe, his increasingly radical political writings from that decade were wildly popular in America. A cohort of democratic printers, newspaper editors, and booksellers stoked the fires of American politics by importing a flood of information and ideas from revolutionary Europe. Inspired by what they were learning from their contemporaries around the world, the evolving democratic opposition in America pushed their fellow citizens to consider a wide range of radical ideas regarding racial equality, economic justice, cosmopolitan conceptions of citizenship, and the construction of more literally democratic polities. In Europe such ideas quickly fell victim to a counter-Revolutionary backlash that defined Painite democracy as dangerous Jacobinism, and the story was much the same in America’s late 1790s. The Democratic Party that won the national election of 1800 was, ironically, the beneficiary of this backlash; for they were able to position themselves as the advocates of a more moderate, safe vision of democracy that differentiated itself from the supposedly aristocratic Federalists to their right and the dangerously democratic Painite Jacobins to their left.
Tom Paine’s America explores the vibrant, transatlantic traffic in people, ideas, and texts that profoundly shaped American political debate in the 1790s. In 1789, when the Federal Constitution was ratified, "democracy" was a controversial term that very few Americans used to describe their new political system. That changed when the French Revolution—and the wave of democratic radicalism that it touched off around the Atlantic World—inspired a growing number of Americans to imagine and advocate for a wide range of political and social reforms that they proudly called "democratic." One of the figureheads of this new international movement was Tom Paine, the author of Common Sense. Although Paine spent the 1790s in Europe, his increasingly radical political writings from that decade were wildly popular in America. A cohort of democratic printers, newspaper editors, and booksellers stoked the fires of American politics by importing a flood of information and ideas from revolutionary Europe. Inspired by what they were learning from their contemporaries around the world, the evolving democratic opposition in America pushed their fellow citizens to consider a wide range of radical ideas regarding racial equality, economic justice, cosmopolitan conceptions of citizenship, and the construction of more literally democratic polities. In Europe such ideas quickly fell victim to a counter-Revolutionary backlash that defined Painite democracy as dangerous Jacobinism, and the story was much the same in America’s late 1790s. The Democratic Party that won the national election of 1800 was, ironically, the beneficiary of this backlash; for they were able to position themselves as the advocates of a more moderate, safe vision of democracy that differentiated itself from the supposedly aristocratic Federalists to their right and the dangerously democratic Painite Jacobins to their left.
An eye-opening rethinking of nineteenth-century American history that reveals the interdependence of the Northern industrial economy and Southern slave labor. The industrializing North and the agricultural South—that’s how we have been taught to think about the United States in the early nineteenth century. But in doing so, we overlook the economic ties that held the nation together before the Civil War. We miss slavery’s long reach into small New England communities, just as we fail to see the role of Northern manufacturing in shaping the terrain of human bondage in the South. Using plantation goods—the shirts, hats, hoes, shovels, shoes, axes, and whips made in the North for use in the South—historian Seth Rockman locates the biggest stories in American history in the everyday objects that stitched together the lives and livelihoods of Americans—white and Black, male and female, enslaved and free—across an expanding nation. By following the stories of material objects, such as shoes made by Massachusetts farm women that found their way to the feet of a Mississippi slave, Rockman reveals a national economy organized by slavery—a slavery that outsourced the production of its supplies to the North, and a North that outsourced its slavery to the South. Melding business and labor history through powerful storytelling, Plantation Goods brings northern industrialists, southern slaveholders, enslaved field hands, and paid factory laborers into the same picture. In one part of the country, entrepreneurs envisioned fortunes to be made from “planter’s hoes” and rural women spent their days weaving “negro cloth” and assembling “slave brogans.” In another, enslaved people actively consumed textiles and tools imported from the North to contest their bondage. In between, merchants, marketers, storekeepers, and debt collectors laid claim to the profits of a thriving interregional trade. Examining producers and consumers linked in economic and moral relationships across great geographic and political distances, Plantation Goods explores how people in the nineteenth century thought about complicity with slavery while showing how slavery structured life nationwide and established a modern world of entrepreneurship and exploitation. Rockman brings together lines of American history that have for too long been told separately, as slavery and capitalism converge in something as deceptively ordinary as a humble pair of shoes.
Canadian cartoonist Gregory Gallant, pen name Seth, emerged as a cartoonist in the fertile period of the 1980s, when the alternative comics market boomed. Though he was influenced by mainstream comics in his teen years and did his earliest comics work on Mister X, a mainstream-style melodrama, Seth remains one of the least mainstream-inflected figures of the alternative comics' movement. His primary influences are underground comix, newspaper strips, and classic cartooning. These interviews, including one career-spanning, definitive interview between the volume editors and the artist published here for the first time, delve into Seth's output from its earliest days to the present. Conversations offer insight into his influences, ideologies of comics and art, thematic preoccupations, and major works, from numerous perspectives--given Seth's complex and multifaceted artistic endeavours. Seth's first graphic novel, It's a Good Life, If You Don't Weaken, announced his fascination with the past and with earlier cartooning styles. Subsequent works expand on those preoccupations and themes. Clyde Fans, for example, balances present-day action against narratives set in the past. The visual style looks polished and contemplative, the narrative deliberately paced; plot seems less important than mood or characterization, as Seth deals with the inescapable grind of time and what it devours, themes which recur to varying degrees in George Sprott, Wimbledon Green, and The Great Northern Brotherhood of Canadian Cartoonists.
Yearbook' is a collection of true stories that I desperately hope are just funny at worst, and life-changingly amazing at best. (I understand that it's likely the former, which is a fancy 'book' way of saying 'the first one'). I talk about my grandparents, doing stand-up comedy as a teenager, bar mitzvahs and Jewish summer camp, and tell way more stories about doing drugs than my mother would like. I also talk about some of my adventures in Los Angeles, and surely say things about other famous people that will create a wildly awkward conversation for me at a party one day.
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