books tagged “american” (American.)

When Christy Huddleston leaves a life of privilege and ease to teach in the impoverished Smokey Mountains, her faith is severely tested by her pupils, the love of two men, and the curious customs of the mountain people in her community. Yet she grows to love these people and the simple, fulfilling lifestyle to be found in the heart of God's country. First released in 1967, Christy is based on the life of author Catherine Marshall's mother and was the inspiration for the recent television series of the same name. Beautifully told, this is a charming, timeless tale of love and faith that will appeal to romance readers of all ages. --Maudeen Wachsmith [via]

Although nobody would describe the unflinching stories of Richard Yates as beach reading, a sunny day and a soothing breeze may provide the best possible antidote to the author's trademark gloom. But even if you open the book in the dead of winter, don't expect to put it down, for Yates will draw you in despite yourself. Like the English novelist Anita Brookner--or, more to the point, like his protégé Raymond Carver--he is attracted to small lives. And like a diviner, he seeks out and locates precisely those moments when this smallness is sensed by his characters.

The protagonist of "The Canal," for example, spent most of World War II behind a desk, serving on the European front only during the final months of the conflict. At a postwar cocktail party, however, Miller and his wife encounter a former military officer, and the two begin to exchange stories. It turns out that the officer was decorated for valor in the very same battle that occasioned a major dressing-down for Miller. "I'll put it this way," he was told by his exasperated superior. "You give me more goddamn trouble than all the rest of the men in this squad put together. You're more goddamn trouble than you're worth. You got an answer for that?" Obviously he didn't--and still doesn't.

In an introduction to the 27 stories collected here, Richard Russo celebrates Yates's influence as a teacher at the Iowa Writer's Workshop. Any reader of Raymond Carver, to take just one conspicuous example, will recognize the atmosphere of lonely despair, coupled with small ambitions, that he absorbed from his mentor. It's a fascinating study in literary ancestry, and offers yet another reason to pick up this essential and long-overdue volume. --Regina Marler [via]

Out of the womb in 1871, Max Tivoli looked to all the world like a tiny 70-year-old man. But inside the aged body was an infant. Victim of a rare disease, Max grows physically younger as his mind matures. In Andrew Sean Greer's finely crafted novel, The Confessions of Max Tivoli, Max narrates his life story from the vantage point of his late fifties, though his body is that of a 12-year-old boy. He has known since a young age that he is destined to die at 70, and he wears a golden "1941" as a constant reminder of the year he will finally perish in an infant form. His mother, a Carolina belle concerned over her son's troubling appearance, curses Max with "The Rule": "Be what they think you are." Max fails to keep this Rule only a handful of times in his life, but it is the burden of living by it that wounds him and slowly alienates him from the people he loves.

Over Max's narration of the preceding decades of his life, he offers outsider's snapshots of San Francisco and all of America across the late 19th and early 20th centuries. Throughout, Greer uses the literary device of reverse aging to interrogate the evolution of social conventions, the finitude of a human life, and the decay of memory. Max wants love. But his curse destines him to deception. He loses his wife, Alice, changes his name, and remains hidden from his own son to keep his true identity secret. Only his lifelong friend, Hughie, stands by Max and can see the person inside the anachronistic body. Like the best science fiction and myth, the novel uses its central conceit to reveal human prejudice and explode all assumptions of normalcy to profound effect.

Love is a destructive force in The Confessions of Max Tivoli. But Greer recognizes that in the failure of love is also hope. He artfully captures Max's fragile world with a delicacy that never crosses into sentimentality but also avoids the monumental scale of tragedy. As Max says near the end of the novel, "It is a brave and stupid thing, a beautiful thing to waste ones life for love." A journey with Max, while brave and beautiful, is hardly a waste. --Patrick O'Kelley [via]

Anais Nin's Delta of Venus is a stunning collection of sexual encounters from the queen of literary erotica. From Mathilde's lust-filled Peruvian opium den to the Hungarian baron driven insane by his insatiable desire, the passions and obsessions of this dazzling cast of characters are vivid and unforgettable. Delta of Venus is a deep and sensual world that evokes the very essence of sexuality. [via]

You know the authors' names. You recognize the title. You've probably used this book yourself. This is The Elements of Style , the classic style manual, now in a fourth edition. A new Foreword by Roger Angell reminds readers that the advice of Strunk & White is as valuable today as when it was first offered.This book's unique tone, wit and charm have conveyed the principles of English style to millions of readers. Use the fourth edition of "the little book" to make a big impact with writing. [via]

Ender's Shadow is being dubbed as a parallel novel to Orson Scott Card's Hugo and Nebula Award-winning Ender's Game. By "parallel," Card means that Shadow begins and ends at roughly the same time as Game, and it chronicles many of the same events. In fact, the two books tell an almost identical story of brilliant children being trained in the orbiting Battle School to lead humanity's fleets in the final war against alien invaders known as the Buggers. The most brilliant of these young recruits is Ender Wiggin, an unparalleled commander and tactician who can surely defeat the Buggers if only he can overcome his own inner turmoil.

Second among the children is Bean, who becomes Ender's lieutenant despite the fact that he is the smallest and youngest of the Battle School students. Bean is the central character of Shadow, and we pick up his story when he is just a 2-year-old starving on the streets of a future Rotterdam that has become a hell on earth. Bean is unnaturally intelligent for his age, which is the only thing that allows him to escape--though not unscathed--the streets and eventually end up in Battle School. Despite his brilliance, however, Bean is doomed to live his life as an also-ran to the more famous and in many ways more brilliant Ender. Nonetheless, Bean learns things that Ender cannot or will not understand, and it falls to this once pathetic street urchin to carry the weight of a terrible burden that Ender must not be allowed to know.

Although it may seem like Shadow is merely an attempt by Card to cash in on the success of his justly famous Ender's Game, that suspicion will dissipate once you turn the first few pages of this engrossing novel. It's clear that Bean has a story worth telling, and that Card (who started the project with a cowriter but later decided he wanted it all to himself) is driven to tell it. And though much of Ender's Game hinges on a surprise ending that Card fans are likely well acquainted with, Shadow manages to capitalize on that same surprise and even turn the table on readers. In the end, it seems a shame that Shadow, like Bean himself, will forever be eclipsed by the myth of Ender, because this is a novel that can easily stand on its own. Luckily for readers, Card has left plenty of room for a sequel, so we may well be seeing more of Bean in the near future. --Craig E. Engler [via]

Steamy, seductive poetry! [via]

On the occasion of the paperback release of Demonology, Back Bay Books takes pleasure in making all four of Rick Moody's acclaimed earlier works of fiction available in handsome new paperback editions. [via]

This compelling thriller is both a touching love story and a masterful portrayal of the struggle for geopolitical control of postwar Germany. Network correspondent Jake Geismar, who covered Berlin before the war, has returned to the devastated city, ostensibly to cover the Potsdam Conference but actually to find the woman he loves. Miraculously, Lena Brandt, Jake's wartime mistress, has survived. However, her mathematician husband is missing, and both the American and Russian intelligence services are hunting him. When the bullet-ridden body of an American soldier washes up on the shores of Potsdam in front of Jake's eyes just as Truman, Churchill, and Stalin convene the first postwar conference, Jake is plunged into a maelstrom of intrigue, corruption, and betrayal.

A brilliantly evoked portrait of a unique moment in history (the end of one war and the beginning of another), The Good German amply fulfills the promise shown by Joseph Kanon in his two earlier novels, Los Alamos and The Prodigal Spy. --Jane Adams [via]

"A Tale of Passion," as its subtitle declares, The Good Soldier relates the complex social and sexual relationships between two couples, one English, one American, and the growing awareness by the American narrator John Dowell of the intrigues and passions behind their orderly Edwardian facade. It is the attitude of Dowell, his puzzlement, uncertainty, and the seemingly haphazard manner of his narration that make the book so powerful and mysterious. Despite its catalogue of death, insanity, and despair, the novel has many comic moments, and has inspired the work of several distinguished writers, including Graham Greene. This is the only annotated edition available. [via]

First published in 1915, Ford Madox Ford's The Good Soldier begins, famously and ominously, "This is the saddest story I have ever heard." The book then proceeds to confute this pronouncement at every turn, exposing a world less sad than pathetic, and more shot through with hypocrisy and deceit than its incredulous narrator, John Dowell, cares to imagine. Somewhat forgotten as a classic, The Good Soldier has been called everything from the consummate novelist's novel to one of the greatest English works of the century. And although its narrative hook--the philandering of an otherwise noble man--no longer shocks, its unerring cadences and doleful inevitabilities proclaim an enduring appeal.

Ford's novel revolves around two couples: Edward Ashburnham--the title's soldier--and his capable if off-putting wife, Leonora; and long-transplanted Americans John and Florence Dowell. The foursome's ostensible amiability, on display as they pass parts of a dozen pre-World War I summers together in Germany, conceals the fissures in each marriage. John is miserably mismatched with the garrulous, cuckolding Florence; and Edward, dashing and sentimental, can't refrain from falling in love with women whose charms exceed Leonora's. Predictably, Edward and Florence conduct their affair, an indiscretion only John seems not to notice. After the deaths of the two lovers, and after Leonora explains much of the truth to John, he recounts the events of their four lives with an extended inflection of outrage. From his retrospective perch, his recollections simmer with a bitter skepticism even as he expresses amazement at how much he overlooked.

Dowell's resigned narration is flawlessly conversational--haphazard, sprawling, lusting for sympathy. He exudes self-preservation even as he alternately condemns and lionizes Edward: "If I had had the courage and the virility and possibly also the physique of Edward Ashburnham I should, I fancy, have done much what he did." Stunningly, Edward's adultery comes to seem not merely excusable, but almost sublime. "Perhaps he could not bear to see a woman and not give her the comfort of his physical attractions," John surmises. Ford's novel deserves its reputation if for no other reason than the elegance with which it divulges hidden lives. --Ben Guterson [via]

In Hard Eight, Stephanie Plum picks up a case a little nastier than anything the wisecracking bounty hunter's seen before. Evelyn Soder and her young daughter have gone on the run, leaving an angry ex-husband who's planning to collect on a child custody bond that will leave Evelyn's grandmother homeless. Stephanie's first clue that there's more to it than that comes in the form of Eddie Abruzzi, a shady local businessman who warns her to butt out of the case. Stephanie doesn't scare easily, but when Abruzzi's henchmen leave a bag of snakes on her doorknob and tarantulas in her car, she has no choice but to call Ranger, the hunky man of mystery whom she already owes too many favors. Steph knows that Ranger will soon be calling in his marker, but with her ex- fiancé Joe Morelli out of the picture, that should be OK--shouldn't it? In the meantime, she's got other fugitives to catch, aided by the usual band of misfits, plus a bumbling correspondence-school lawyer who's developed the hots for Stephanie's sister, Valerie. And Steph's in for a surprise from her mother, who proves she's not above wielding a dangerous weapon to save her daughter's life.

Author Janet Evanovich has made a bold move in using a soupçon of child jeopardy to pull this series out of the comfortable but formulaic pattern it was threatening to fall into. It's still funny, and yes, some cars are destroyed, but now there's a real edge of darkness under the humor. Fans needn't fear, though: Jersey girl Stephanie is still full of sass and Tastykakes. --Barrie Trinkle [via]

Gore Vidal, one of the master stylists of American literature and an acute observer of American life and history, turns his literary and historiographic talent to a portrait of the formidable trio of George Washington, John Adams and Thomas Jefferson. In "Inventing a Nation", Vidal transports the reader into the minds, the living rooms (and bedrooms), the convention halls and the salons of Washington, Jefferson, Adams and others. We come to know these men, their opinions of each other, their worries about money and their concerns about creating a viable democracy. [via]

In a memoir hailed for its searing candor and wit, Alice Sebold reveals how her life was utterly transformed when, as an eighteen-year-old college freshman, she was brutally raped and beaten in a park near campus. What propels this chronicle of her recovery is Sebold's indomitable spirit-as she struggles for understanding "After telling the hard facts to anyone, from lover to friend, I have changed in their eyes" ; as her dazed family and friends sometimes bungle their efforts to provide comfort and support; and as, ultimately, she triumphs, managing through grit and coincidence to help secure her attacker's arrest and conviction. In a narrative by turns disturbing, thrilling, and inspiring, Alice Sebold illuminates the experience of trauma victims even as she imparts wisdom profoundly hard-won: "You save yourself or you remain unsaved." [via]

The well-known poem about the Christmas Eve visit of St. Nicholas. [via]

This timeless verse is brought back for a whole new generation, now at a sweet new size and classic price. Enjoy old memories and make new ones as you share this favorite Christmas tradition with the whole family. [via]

Whose tiny faces are peeking out from Santa's golden sleigh? Yikes! It's two of Santa's elves who are Christmas Eve stowaways. Beloved illustrator Jan Brett's version of The Night Before Christmas lets these two mischievous elves add their rambunctious spirit to this familiar 1823 rhyming story. Here, Santa and his reindeer land on the snowy roof of a Victorian mansion in New England. While Santa delivers the toys inside, the elves and the reindeer frolic around the lawn, as a pig (earmarked for a girl named Jan) and a few alphabet blocks spill out of sacks into the snow. Santa swiftly reins in the mischief-makers and "away they all flew like the down on a thistle." Brett's richly illustrated borders are lavishly decorated with antique toys, ornaments, and sweet treats, all surrounded with twisting golden ribbons. They also give us a window on the mansion's inhabitants, including the children watching Santa's departure in awe. A sugarplum of a Christmas story, just right for a reading before "a long winter's nap." (Click to see a sample spread. Illustrations ©1998 by Jan Brett. Published by G.P. Putnam's Sons, a division of Penguin Putnam Books for Young Readers.) (Ages 3 to 6) --Marcie Bovetz [via]

Nearly nine decades after his death, Mark Twain remains an international icon. His white-maned, mustachioed image is instantly identifiable throughout the world, the very picture of probity and high spirits (which explains why he's become the poster boy for products as diverse as beer, billiard tables, sewing machines, pizza, and real estate). Perhaps more importantly, Twain's books have retained all their power to amuse and enrage. How is it possible for the creator of a 19th-century "boy's holiday book" (Twain's own description of The Adventures of Tom Sawyer) to raise so many contemporary hackles? The answer is that Twain is a contemporary writer. Not, of course, from a chronological point of view--he was born in Missouri in 1835 and died in 1910 (having insisted that "annihilation has no terrors for me"). But Twain was the first writer to elevate the American vernacular to a high art. Sidestepping the starched-shirt diction of his peers, he created an idiom that resembled (but did not precisely duplicate) the wayward, slangy, ungrammatical music of American conversation. No serious reader of Twain will want to do without the Oxford Mark Twain. This 29-volume leviathan includes not only the major works but also a treasure trove of essays and short pieces, many of them unavailable for decades. Throw in the introductions to each volume (by such heavyweights as Toni Morrison, Kurt Vonnegut, Cynthia Ozick, Gore Vidal, George Plimpton, Bobbie Ann Mason, and Walter Mosley), as well as the original illustrations, and you've got the book bargain of the millennium. [via]

No one who enjoyed Richard Powers's remarkable breakthrough novel, Galatea 2.2, will be surprised that he has returned to the richly promising realm of cyber-invention, one of our age's few remaining frontiers and a siren call to restless intellects. In Plowing the Dark, an old friend recruits a disillusioned New York artist named Adie Klarpol to work on "the Cavern." TeraSys, a Seattle-based company, is building this virtual environment at great expense in the hope that it will lower its enormous tax liability as well as, in the long run, provide the template for all such virtual playrooms. "Millions of dollars of funding," Adie's friend Steve tells her when she arrives on the job, "and nobody around this dump can draw worth squat." Suitably impressed by the Cavern's programming, and slowly absorbing its dazzling capacity to project vivid and convincing illusions, she sets herself the task of creating a faithful 3-D version of Rousseau's Dream. Her painstaking efforts in the Realization Lab are aided by a host of supporting characters, one of whom, Spider Lim, proves so sensitive that he gets a bruise from bumping into one of Adie's virtual tree branches. And when the central female figure appears among the foliage, Lim is irresistibly drawn in, marveling that

their first successful leaf, twirling in the Cavern darkness, had led to this--this pale, lentil body turning in his mind's dark. This scapular profile, these tow-line braids. Her hips fell somewhere on the Limaçon of Pascal. The squares of her breasts' abscissas and ordinates summed to an integer. This was the math of women, a field he'd given up studying, female equations whose complexities had long ago surpassed his ability to differentiate.

Edgar Allan Poe's Gothic tales have established themselves as classics of horror fiction, and as the inventor of the modern mystery, Poe created many of the conventions which still dominate the genre of detective fiction. Attentive to the historical and political dimensions of these very American tales, this new selection of twenty-four tales places the most popular--"The Fall of the House of Usher," "The Masque of the Red Death," "The Murders in the Rue Morgue," and "The Purloined Letter"--alongside less well-known travel narratives, metaphysical essays, and political satires.

About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more. [via]

Bounty hunter Stephanie Plum's got a lot on her mind. How does cigarette smuggler Eddie DeChooch, a fugitive so geriatric that even the hot-to-trot Grandma Mazur won't go out with him a third time, keep giving her the slip? How did a woman who died of a heart attack end up in DeChooch's garden shed with five bullet holes in her chest? Who stole a rump roast from Dougie and Mooner, the two lovable potheads who have decided to be crime fighters in Spandex bodysuits? Can Stephanie's perfect sister Valerie make it as a lesbian single mother without driving her family crazy? And--oh yeah--what should Stephanie do about that damn wedding dress on hold at Tina's Bridal Shoppe, waiting for her to decide whether vice cop Joe Morelli's really the one for her?

I did look good in the gown. I looked like Scarlett O' Hara getting ready for a big wedding at Tara. I moved around a little to simulate dancing.

"Jump up and down so we can see how it'll look when you do the bunny hop," Grandma said.

"It's pretty but I don't want a gown," I said.

"I can order one in her size at no obligation," Tina said.

"No obligation," Grandma said. "You can't beat that."

"As long as there's no obligation," my mother said.

I needed chocolate. A lot of chocolate. "Oh gee," I said, "look at the time. I need to go."

To complicate matters further, Stephanie's made a reluctant deal with the devil: if she can't bring in DeChooch by herself, her sexy but dangerous cohort Ranger is willing to help--for a price that a girl who's not-exactly-engaged is uncertain whether she should pay. But when Dougie and Mooner disappear, Grandma is kidnapped, and a crazy widow starts taking pot shots, no one who hides her .38 in a cookie jar is going to turn down a little friendly assistance.

In Seven Up, Janet Evanovich serves up her usual bubbly fare: a totaled car, raucous viewings at Stiva's Funeral Parlor, buffoonish bad guys, and down-and-dirty mud wrestling, all stirred up with some snappy Jersey repartee and a few tart, new twists that will keep her fans impatient. Heaven can't wait for number eight. --Barrie Trinkle [via]

In The Sketch-Book (1820-21), Irving explores the uneasy relationship of an American writer to English literary traditions. In two sketches, he experiments with tales transplanted from Europe, thereby creating the first classic American short stories, Rip Van Winkle, and The Legend of Sleepy Hollow. Based on Irving's final revision of his most popular work, this new edition includes comprehensive explanatory notes of The Sketch-Book's sources for the modern reader. [via]

"Radiant as [To the Lighthouse] is in its beauty, there could never be a mistake about it: here is a novel to the last degree severe and uncompromising. I think that beyond being about the very nature of reality, it is itself a vision of reality."-Eudora Welty, from the Introduction   The serene and maternal Mrs. Ramsay, the tragic yet absurd Mr. Ramsay, and their children and assorted guests are on holiday on the Isle of Skye. From the seemingly trivial postponement of a visit to a nearby lighthouse, Woolf constructs a remarkable, moving examination of the complex tensions and allegiances of family life and the conflict between men and women. [via]

Nearly nine decades after his death, Mark Twain remains an international icon. His white-maned, mustachioed image is instantly identifiable throughout the world, the very picture of probity and high spirits (which explains why he's become the poster boy for products as diverse as beer, billiard tables, sewing machines, pizza, and real estate). Perhaps more importantly, Twain's books have retained all their power to amuse and enrage. How is it possible for the creator of a 19th-century "boy's holiday book" (Twain's own description of The Adventures of Tom Sawyer) to raise so many contemporary hackles? The answer is that Twain is a contemporary writer. Not, of course, from a chronological point of view--he was born in Missouri in 1835 and died in 1910 (having insisted that "annihilation has no terrors for me"). But Twain was the first writer to elevate the American vernacular to a high art. Sidestepping the starched-shirt diction of his peers, he created an idiom that resembled (but did not precisely duplicate) the wayward, slangy, ungrammatical music of American conversation. No serious reader of Twain will want to do without the Oxford Mark Twain. This 29-volume leviathan includes not only the major works but also a treasure trove of essays and short pieces, many of them unavailable for decades. Throw in the introductions to each volume (by such heavyweights as Toni Morrison, Kurt Vonnegut, Cynthia Ozick, Gore Vidal, George Plimpton, Bobbie Ann Mason, and Walter Mosley), as well as the original illustrations, and you've got the book bargain of the millennium. [via]

LAPD Homicide detective Bosch is back from an involuntary administrative leave just in time for the bodies to start turning up. When he finds hints of an mob hit but can't interest the organized crime unit in the murder, Bosch has to take the investigation into his own hands in a this hard-boiled tale full of sharp turns. Fans of Michael Connelly's excellent, The Poet, will go wild for this even better addition to the Harry Bosch series. [via]

While on a trip to East London in 1883, Jane Addams witnessed a distressing scene late one night: masses of poor people were bidding on rotten vegetables that were unsalable anywhere else.

Their pale faces were dominated by that most unlovely of human expressions, the cunning and shrewdness of the bargain-hunter who starves if he cannot make a successful trade, and yet the final impression was not of ragged, tawdry clothing nor of pinched and sallow faces, but of myriads of hands, empty, pathetic, nerveless, and workworn, showing white in the uncertain light of the street, and clutching forward for food which was already unfit to eat.

This scene haunted Addams for the next two years as she traveled through Europe, and she hoped to find a way to ease such suffering. Five years later, she visited Toynbee Hall, a London settlement house, and resolved to replicate the experiment in the U.S. On September 18, 1889, Jane Addams and her friend Ellen Starr moved into the second floor of a rundown mansion in Chicago's West Side. From the outset, they imagined Hull-House as a "center for a higher civic and social life" in the industrial districts of the city. Addams, Starr, and several like-minded individuals lived and worked among the poor, establishing (among other things) art classes, discussion groups, cooperatives, a kindergarten, a coffee house, a lending library, and a gymnasium. In a time when many well-to-do Americans were beginning to feel threatened by immigrants, Hull-House embraced them, showed them the true meaning of democracy, and served as a center for philanthropic efforts throughout Chicago.

Hull-House also provided an outlet for the energies of the first generation of female college graduates, who were educated for work yet prevented from doing it. In some respects, however, Addams's impressive work, often hailed by historians as "revolutionary," was nothing of the sort. She embraced the sexual stereotypes of her day, and, though she was clearly an independent woman, soothed public fears by acting primarily in the traditional roles of nurturer and caregiver. Hull-House was a rousing success, and it inspired others to follow in Addams's footsteps.

Though Twenty Years at Hull-House is meant to be an autobiography, it is Hull-House itself that stands in the spotlight. Addams devotes the first third of the book to her upbringing and influences, but the remainder focuses on the organization she built--and the benefits accruing to those who work with the poor as well as to the poor themselves. At times Addams's prose is difficult to follow, but her ideals and her actions are truly inspiring. A classic work of history--and a model for today's would-be philanthropists. --Sunny Delaney [via]

Relates the adventures of Ben Brown, his performing poodle Sancho, and the two young girls who feed and care for them after the boy and dog run away from the circus. [via]

One of the earliest major American novels, Wieland (1798) is a thrilling tale of suspense and intrigue set in rural Pennsylvania in the 1760s. Based on an actual case of a New York farmer who murdered his family, the novel employs Gothic devices and sensational elements such as spontaneous combustion, ventriloquism, and religious fanaticism. Also included is Memoirs of Carwin the Biloquist, the unfinished sequel to Wieland, in which Brown considers power and manipulation while tracing Carwin's career as a disciple of the utopist Ludloe. [via]

The first paperback edition to include full annotations of these twenty Hawthorne tales written between the 1830s and 50s, this volume contains the classic pieces "Young Goodman Brown," "The Maypole of Merry Mount," "The Birthmark," "The Celestial Railroad," and "Earth's Holocaust," as well as tales, such as "My Kinsman, Major Molineux," which represent Hawthorne's interest in the spiritual history of New England. [via]