Friday, December 19, 2025

Let's Write about Canadian mystery writer Louise Penny and the Derby Line Haskell Free Library book signing

US-Canada border library hosts author Louise Penny
Her book tour stop at the Haskell Free Library was full of symbolism.  (I wrote about the US-Canadian border library in a substacks article and published on my Facebook page at this link here.)

This "Let's Write" blog was published by New Hampshire Public Radio (NHPR) and Vermont Public by Myla van Lynde.

For the first time in 20 years, bestselling mystery writer Louise Penny did not tour the U.S. after releasing a novel — except for one stop: the Haskell Free Library and Opera House, which famously sits on the border between Vermont and Quebec.

Ms. Penny spoke onstage to a crowd of around 400 people in the Haskell Opera House. The event was completely sold out, as is the event she is hosting on Sunday. She was promoting "The Black Wolf", number 20 in the Chief Inspector Armand Gamache mysteries, about the Sûreté du Québec and his team, that uncovered and stopped a domestic terrorist attack in Montréal, arresting the person behind it. A man they called the Black Wolf.

Penny is Canadian, and canceled her planned appearances in the U.S. this fall in response to President Donald Trump’s tariff threats and other actions.

“I don’t think there is a country that has been invaded, or peoples that have been rounded up, or individuals who have been targeted, who haven’t thought… when was that moment we could’ve stood up and said something?” Penny said Saturday. “This is my moment, and I could, and if I didn’t, then shame on me.”

Penny’s books have sold more than 18 million copies worldwide.

The Black Wolf, released Tuesday, is the 20th book in her Chief Inspector Gamache novels. The series is set in the fictional border town of Three Pines, Quebec.

Penny said one of the questions her book asks is, “What happens when certain elements decide Canada should be the 51st state of the United States?”

When she wrote the book, she said she wondered if she’d gone too far. Now, she wonders if she went far enough.

Ticket-holders line up at the Derby Line side of the Haskell Free Library and Opera House for a sold-out evening with Louise Penny.

“This book was written a year before any of this happened — before Trump was elected, before the whole 51st state debacle, before this whole attack on the library,” she said.

For 121 years, Canadians were able to enter the library through the door in Derby Line, Vermont without having to go through customs. A recent U.S. Customs and Border Protection directive requires that Canadian citizens enter through Canadian soil.

The Haskell has been raising funds to update the back entrance to be wheelchair accessible, and to build a new sidewalk and parking lot.

A portion of the proceeds from this weekend's ticket sales will be donated to help offset the costs of updating the library's Canadian-only entrance. That donation will also be matched by Penny.

Outside at the Derby Line entrance, people began lining up to see Penny an hour before the doors opened.

Cathy Byrne and Robert Casale drove across the U.S. from their home city of Anacortes, Washington, to attend this event.

The two are big fans of Louise Penny, and were drawn to the symbolism of seeing her speak at the Haskell.

“I think it’s really great to support the unity between Canada and the U.S.,” Byrne said.

Ellen and Richard Levesque live in Putney. Richard is also a Canadian citizen. They both support Penny’s decision to cancel her U.S. tour.

“We’re trying to make friends with some Canadians,” Ellen said on the way into the building.

Penny said she finds hope in believing in the decency of most people, regardless of their political beliefs.

“Goodness exists. I think we need to remember that,” she said. “And that is a choice, that’s an act of will, that is a revolutionary act: to choose decency.”

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Tuesday, December 09, 2025

Let's write about Christmas card history

Louis Prang, Father of the American Christmas Card, Santa Claus of American Art- published in the New England Historical Society news by Leslie Landrigan.

Also an immigrant success story

Louis Prang put Christmas cards into millions of American mailboxes and fine art into millions of American homes.

He arrived in Boston at the age of 26, a German revolutionary with a dream of democracy and equality. Over the course of his long career he evolved into an astute businessman and the leading color printer of his age.

From his factory in Boston he dominated the Christmas card industry in the decades following the Civil War. He also brought beautiful art to the masses, lucrative work to women artists and art education to children. Kids today still use the paints and crayons he developed more than a century ago.

Just before Louis Prang died in 1909, a contemporary paid a slightly overwrought tribute to him.
“The Santa Claus of American art showered his greeting card favors alike upon the just and the unjust, the rich and the poor, the humble and the proud. Where have they not gone, those loose leaves from the world’s book of beauty! Everywhere! 

Into the homes of the poor, into the miner’s cabin, the invalid’s chamber, the nursery, the schoolroom, the drawing room. Millions of lives have been brightened by the fair and pleasant things that have been sown broadcast over the country by Mr. Prang.”

Louis Prang was born March 12, 1824, in Prussian Silesia, the son of Jonas Louis Prang, a Huguenot textile manufacturer, and Rosina Silverman, a German Calvinist. He apprenticed to his father and learned engraving, printing and calico dyeing. In the 1840s he traveled around Europe working as a printer and in textiles.

By 1848 he had gotten involved in the Revolutions of 1848 in the German States — making him a Forty-Eighter. The revolutionaries aimed to unify the German states. They also wanted to create a more democratic government and guarantee human rights.

The revolution failed and the Prussian government banned Prang. He fled to Switzerland.

In Paris, he met and fell in love with Rosa Gerber, a beautiful Swiss woman bound for Ohio. He followed her to the United States and married her there. They had one daughter.

Prang was a true German romantic who loved nature, art, flowers, strong emotion and his wife. He gave his first color print, Four Roses, to Rosa. He would later sign some of his Christmas cards with a rose.

Fighting the Know-Nothings (FYI this group eventually morphed into the Ku Klux Klan)

In 1851, he went to work for the engraver Frank Leslie in Boston. Five years later, Rosa persuaded him to go out on his own. He went into business with a partner to create lithographs of buildings and towns in Massachusetts.

Prang and his partner soon parted, He then laid the foundation for his success with lithographed labels for cooking extracts and printed trade cards.

As a German in Boston during the rise of the Know-Nothing Party, Louis Prang spoke out against the ‘two-year amendment.’ The Massachusetts Legislature in 1860 passed the amendment, which deprived naturalized citizens of the right to hold office or to vote until two years after they became citizens.

Prang and other German leaders held a rally in Turner Hall, urging listeners only to support a political party that “does not measure civil rights by place of birth, or human rights by color of skin.”

Civil War and After- Twenty-four hours after Louis Prang heard about the attack on Fort Sumter, he engraved, printed and distributed maps of Charleston Harbor to Boston newsstands. Through the Civil War he produced war maps, selling them with red and blue pencils so people could mark the location of opposing armies.

After the war he went to Europe with his wife and daughter to study chromolithography, a method for making multicolor prints. At the time, American printing was pretty much a black-and-white affair.

When Prang returned to Boston he began to make color reproductions of famous works of art. No one else in America had the chops to do it. Prang’s chromolithography required as many as 40 stones. In contrast, Currier & Ives used one stone, and underpaid factory girls slapped on color with brushes.

Prang’s first two color reproductions, of landscapes, fell flat. But then he printed two paintings, Chickens and Ducklings by Arthur Fitzwilliam Tait. They were a hit, and soon Prang was building a factory on Elliott Street in Roxbury, Massachusetts. 
By 1868 he had 40 presses and state-of-the-art litho-stone equipment.

Prang’s biographer, Larry Freeman, explained the appeal of color in the previously black-and-white world of print. “People in the late Eighteenth and early Nineteenth Centuries were starved for color print replicas of what their eyes revealed directly in nature,” wrote Freeman.

Prang also did something else no one else in America could do. He embossed the print to resemble brush strokes and printed it on linen cloth. Then he put it in a gilt frame, so it could add panache to middle-class parlors.

The Christmas Card: Christmas cards were then popular in England, where Christmas had been celebrated with far more enthusiasm than in Puritanical New England. Sir Henry Cole is credited with inventing the first ever Christmas card in 1843. Cole, the story goes, didn’t have time for the English tradition of writing notes to friends and family over the holidays. So he asked his friend, the artist John Calcott Horsley, to design a card. He had about a thousand of the cards printed and hand-colored. Cole didn’t use them all, and sold the extras for a shilling apiece. It caused a sensation in Victorian society because it showed a child drinking wine.

Prang probably picked up the idea to make Christmas cards while traveling in Europe.

The American Christmas Card: In 1875, Louis Prang printed his first Christmas cards and exported them to London. They were a success. The next year, he sold them throughout the Northeast. It took but two more years for him to corner the greeting card market in the United States. By 1881, he printed more than 5 million Christmas cards a year. His Prang Lithographic Factory in Roxbury became a tourist attraction, and he often conducted tours himself.

The author Edward Everett Hale considered Prang’s printing shop the most interesting place in Boston.

“Whenever I have a very grand friend visiting me, I always take him there to see how Christmas cards are made,” Hale wrote.

Prang signed the cards ‘L. Prang and Co.’ at the bottom, or hid his mark on a shoe or a leaf. Or he just printed a rose. Young ladies recorded in their diaries how many “Prangs” they received over the holidays.

Collectors today still seek out Prang’s beautiful Christmas cards.They are considered to be graphic masterpieces. Prang printed them on high-quality paper and lavishly decorated them with as many as 30 colors applied to a single print. Some were embossed, varnished and embellished with fringe, tassels and sprinkles.

Women’s Work: Prang looked to women for help in finding new designs for his prints and keeping in touch with popular taste.

Women didn’t have many ways to make money outside of the home then. Decent occupations for women were limited to low-paying domestic service, teaching, millwork or sewing.

In 1870, Prang advertised his first art contest in the women’s rights journal Revolution. He asked the Ladies’ Art Association to announce the contest to its members, select and judge the artwork and award the prizes. Then he offered to buy the winning artwork at the artist’s price.

He also bought paintings from women artists such as Rosina Emmet and Fidelia Bridges. By 1881, L. Prang & Company employed more than 100 women artists and designers, including Maude Humphrey Bogart, mother of the actor.

Ten years after Louis Prang’s first art contest for women, he held another for Christmas card designs. The winners would have their designs published and share $3,000. Nearly 800 people entered the first contest in 1880, mostly women.

This was no ordinary contest. Prang exhibited the entries in the prestigious Doll & Richards art gallery in Boston and the American Art Gallery in New York. He then selected as judges architect Richard Morris Hunt, artist Samuel Colman and Edward C. Moore, Tiffany’s head silver designer.

Prang held three more contests for Christmas card designs, each one more elaborate than the next. The final exhibit traveled to the Museum of Fine Arts in Boston and the Institute of Art in Chicago.

European printers caught on to Prang’s approach. By 1890, they could lower their printing costs and drive Prang out of the American Christmas card business with cheap imitations. But Prang refused to lower his quality.

Art Education: During the late 18th century, cultured young ladies were expected to be able to draw and paint in order to enter the marriage market. Some reform-minded school officials in Boston thought poor children should also have the chance to draw and paint. So Prang in 1875 took up the cause of art education.

He started to produce classroom art materials as a public service. In 1878 he hired Mary Dana Hicks, a widowed New York art educator, to help with art education products. Rosa died in 1898, and he married Hicks two years later.

Prang cornered the school art supply and instruction business. The company published art textbooks and drawing books, taught art teachers and ultimately developed the “Prang Method of Instruction.” The Boston school system used Prang’s methods for many years.

In 1897, Prang closed his lithographic factory in Roxbury and moved to Springfield, Mass., which had a large German population. The Louis Prang Company merged with the Taber Art Co. of New Bedford. He continued to produce high-quality work and made child-safe art materials.

In 1909, the American Crayon Company bought the rights to his art material, which eventually became Dixon Ticonderoga. Louis Prang died on Sept. 14, 1909.

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Friday, December 05, 2025

Let's write about how vampires are connected to the history of tuberculosis! Really! A physician reviews two books

The Plague That Won’t Die two book reviews published in The New York Review of Books by Pria Anand

As my recent diagnosis shows, tuberculosis is not a relic of medical history. It remains the leading infectious cause of death worldwide—and America is hardly immune.
by Vidya Krishnan
By the time Mercy Lena Brown was born, in 1872, her New England farming community was becoming a ghost town. Young farmers were leaving the barren, rocky soil for jobs in the city, and the people who remained were suffering an outbreak of consumption, which seemed to move through households with no clear pattern, causing one out of every four deaths in the area.

Of the nine members of the Brown family, Lena’s mother was the first to die of consumption, in 1883. Seven months later Lena’s sister Mary Olive, a twenty-year-old dressmaker, died too, becoming so pale and emaciated in the final days of her illness that she knew in advance to choose the hymn she wanted sung at her funeral.

Lena’s brother, Edwin, a store clerk, fell ill next. Desperate, he went west to Colorado Springs, following the prevailing medical wisdom of the time that dry air and sunshine could arrest the illness. They didn’t. He returned home after eighteen months, weaker than ever, and by then Lena, who had been well when he left, was gone too, her own consumption the “galloping” variety. Edwin’s dreams became even more fevered. “She haunts me!” he called out in his sleep.

After Lena’s death, in 1892, an article in The Providence Journal reported that neighbors “besieged” her father, George, insisting that Edwin’s symptoms were a sign of something otherworldly: some spirit must be sucking the life from his thinning body. Because he fell sick after his mother’s and Mary Olive’s deaths, and because he quickly worsened after Lena’s, the three Brown women were the chief suspects. The only way to save his life, the neighbors told his father, was a morbid practice that had caught on in New England in reaction to the gothic horrors of consumption: exhume the bodies of his mother and sisters before Edwin entirely wasted away.

Four local men dug up the remains of the three Brown women. By then Lena’s mother and sister had been dead for nine years, and only their skeletons remained. Lena had died in the winter, and her body had been left in a crypt until the spring thaw softened the frozen earth enough for burial. Her doctor was enlisted to perform an autopsy; her body was still largely undecomposed. From beneath Lena’s rib cage he removed her liver, the twin pink slabs of her lungs, and her heart. This he slit open with a scalpel to find that it was filled with dark clots of rotting blood.


To the neighbors, who had watched many of their own loved ones waste away of consumption, the heart seemed like proof: Lena had been feeding on the living, sapping their blood and leaving them wan and feeble. They burned her liver and heart to ash, which they mixed with water and administered to Edwin as an exorcism and cure. He died two months later. In the end, only George and one of his seven children survived the disease. Lena’s lungs, the doctor later told a local newspaper, had been filled with “diffuse tuberculous germs.”

Lena’s death and exhumation—and a cultural history of this tradition of disinterment, common throughout eighteenth- and nineteenth-century New England—are recounted in careful detail in the Rhode Island folklorist Michael Bell’s Food for the Dead (2011). Drawing on decades of census data, death records, newspaper clippings, and oral histories, Bell argues that this model of disease—consumption caused by a vampiric spirit—had an internal logic no different from the explanations of doctors and scientists at the time. The myth could explain why the disease clustered in certain houses, cursing entire families. And it accounted for the visceral horror of the affliction, the way it consumed each of the body’s vital organs in turn.

A decade before Lena’s death the German physician and microbiologist Robert Koch, informed by the nascent germ theory of disease, had discovered the bacterium—Mycobacterium tuberculosis—that causes consumption. But the first antibiotics were not discovered for another half-century, and the medical establishment, loath to attribute consumption to a pathogen that could not yet be treated, was slow to accept Koch’s explanation. Instead doctors clung to the older theory that consumption was caused by damp lungs, prescribing therapies—like Edwin’s sojourn in the West—intended to desiccate their patients’ failing bodies: “What cures and hope for recovery were medical practitioners offering their consumptive patients?” asks Bell.

If you judge by sheer number and kinds of treatments, they offered a great deal. But if you measure the effectiveness of these treatments, then, unfortunately, they were still groping in the dark.

Among these treatments were leeches and opium, warm sea air and cold baths, milk from the breasts of a pregnant woman, and dried seaweed placed beneath one’s pillow.


Therapies have changed, but tuberculosis remains the leading infectious cause of death worldwide. 

Nearly a century and a half after Koch’s first attempts to devise an inoculation, we still have no effective vaccines. Globally, one in four people carries tuberculosis, though most are neither contagious nor symptomatic. In the United States, where the prevalence is closer to three in one hundred, the disease thrives primarily in the conditions created by social injustice: overcrowded prisons, for instance, or temporary shelters. Yet programs to curb the spread of TB are among those hit hardest by both the Trump administration’s closure of USAID and its assault on the National Institutes of Health, attacks that are projected to lead to millions of avoidable TB deaths over the coming decade.

Tuberculosis can seem inscrutable, a protean disease that can settle in virtually any organ in the body. In the lungs it causes the bloody cough and gasping breath that ravaged the Brown family; in the lymphatic system it causes swollen masses that can press on the soft muscles of the vocal cords, robbing victims of their voices; in the guts it causes raw, bleeding ulcers and obstructed bowels. The disease is airborne: colonies of bacteria are exhaled from the lungs of a person with pulmonary TB in a fine mist of particles that can linger suspended in the air for hours. How long the bacteria survive in the air depends on the surrounding conditions; in spaces with poor ventilation—an enclosed car, for instance, or a windowless room—they can last hours or even days.

Our lungs are a strange paradox: they are protected by the hard carapace of our ribs but also tremendously exposed to airborne bacteria, which can slip in with a single breath. To prevent infections, the labyrinthine passages that make up each lung are lined with white blood cells. But Mycobacteria tuberculosis are impenetrable. Each cell is surrounded by a thick barricade made of fats and proteins. In the lungs they are consumed by white blood cells but not digested, surviving undisturbed as more white blood cells arrive to wall off the infection, forming scarred balls called tubercles. Here the bacteria can live for decades or even a lifetime, forming a latent infection and replicating slowly within an unwitting host, undetected until they take advantage of an aging or suppressed immune system to explode into full-blown consumption. A multitude of factors can determine whether a person living with latent TB is likely to develop the active disease, as Lena, her mother, and her siblings did, or whether they will survive into old age with an infection that remains latent, as her father probably did. Malnutrition, pollution, and illnesses like HIV and diabetes can all contribute to TB activation.

Fossils show the marks tuberculosis leaves on bones, tiny holes that resemble the work of termites, the result of the human immune system’s futile attempts to ferret out islands of bacteria lodged in the hard tissue. In hips or wrists, the disease knits joints together into an immobile mass. In spinal vertebrae, which are particularly prone to tuberculosis because they are traversed by innumerable tiny arteries that can deposit the bacteria deep into each bone, the holes cause successive vertebrae to collapse into one another until the spine contorts into a painful curve. The telltale hunched back of spinal TB is immortalized in ancient Egyptian tomb paintings, ivory carvings, and the bodies of unearthed mummies.

The earliest evidence of tuberculosis comes from the Natural Trap Cave, in northern Wyoming’s Bighorn Mountains. The cave lies along an ancient game trail that connects the mountains with lower-lying grazing lands. Shaped like an iceberg—the small opening is about the length of a compact car, while the floor, nearly a hundred feet below, is as wide as a cruise ship—the cave is nearly invisible from the snow-covered ground above it. Its unusual shape has made it particularly interesting to paleontologists: the steep fall caused the deaths of innumerable animals, and the temperature at its floor never rises above forty-two degrees Fahrenheit, preserving their remains. Among the animals that have died there since the last ice age—dire wolves and woolly mammoths, American cheetahs and an ancient species of camel that once wandered the American West—are a multitude of Pleistocene bovids, from bighorn sheep to long-horned bison, with the eroding bones and genetic traces of tuberculosis.

We once thought tuberculosis arrived in humans with the advent of agriculture, acquired from cattle as hunters and gatherers became settled farmers during the Neolithic revolution. The bovine form of the disease—caused by the closely related Mycobacterium bovis—can jump the species barrier to humans through unpasteurized milk, causing an infection that is clinically indistinguishable from one caused by the human variant.

But more recent studies suggest that Mycobacterium tuberculosis and Mycobacterium bovis evolved separately, from an even more ancient common ancestor long before the Neolithic Period. As far back as we can imagine, TB has been a human disease.


I practice neurology at a so-called safety-net hospital—a designation unique to the deeply flawed and segregated American health care system—where the many inequities that drive tuberculosis infection rates are evident. “Safety net” is a euphemism for hospitals that care for people who, because of their health insurance or lack thereof, their citizenship status, or their bank balance, are denied care everywhere else. Nearly all my patients are in some way displaced, and more than half recently arrived in the United States. My hospital includes centers for refugee health, the treatment of addiction, and the treatment of trauma.

Roughly once a year I care for someone whose tuberculosis has entered their brain, resulting in a vicious meningitis that can clot the arteries and cause strokes, dangerous swelling, and inflamed tuberculous abscesses of the brain that often look at first glance like tumors. Still, I have always felt removed from TB, as though it were a curious relic of medical history rather than a contemporary plague.

But early in my first pregnancy, when I felt it only in the wave of nausea that woke me every morning, my own blood tested positive for TB. That week doctors X-rayed my lungs to be sure I wasn’t contagious, a lead vest laid over my belly to protect the baby. My lungs were clear, my infection was latent, and my baby was unscathed—the spongy layer of placenta that funnels nutrients from pregnant bodies into a fetus also keeps many infections at bay—but if I ever require chemotherapy or another immunosuppressive medication, I will need to be treated to make sure my tuberculosis does not become active.

The treatment regimen for an active tuberculosis infection is crude: months of toxic antibiotics that have the potential to harm nearly every part of the body. One of the treatments can strip the nerves and leave patients’ feet numb and tingling, while another turns both tears and sweat orange—patients are advised not to wear white T-shirts when taking the drug. Both medications can damage the liver. The treatment can take anywhere from three to nine months depending on the drug combination, and once it has begun, a patient cannot miss a dose. The first-line drugs we use to treat TB were all developed decades ago—one more than a century ago—and many of our second-line treatments for drug-resistant TB were originally developed to combat other infections before they were repurposed for the burgeoning plague of consumption.

How the world treats—or fails to treat—tuberculosis has everything to do with where the disease takes its greatest toll. In his new book Everything Is Tuberculosis: The History and Persistence of Our Deadliest Infection, John Green writes, “TB doesn’t just flow through the meandering river of injustice; TB broadens and deepens that river.”

Green, an unlikely source for an instructive book on TB, is perhaps best known as the author of The Fault in Our Stars, among other young adult best sellers. Online he is the cohost of the Vlogbrothers, a wide-ranging YouTube channel that, since 2007, has featured spots on everything from Harry Potter to microfinance. Green’s interest in twenty-first-century TB came about by accident, he writes, on a visit to Sierra Leone as part of a philanthropic program focused on the global maternal mortality crisis. In the coastal town of Lakka, he spent time at a tuberculosis hospital and met a teenager with a drug-resistant strain whose painful experience forms the central story of the book. Everything Is Tuberculosis, Green told The New York Times, is intended to foster awareness among American readers who would otherwise remain entirely ignorant of the communities ravaged by the disease.

Green uses the disease as a way to see more clearly the many injustices that have shaped our world. In Sierra Leone, where it is epidemic, TB is a product of centuries of British colonial rule. One Sierra Leonean physician tells Green to look at a map of the railroads if he wants to understand why the country is so impoverished. By extension, Green seems to imply, there is nothing inevitable about the ravages of tuberculosis; rather, it was fertilized by the devastation that colonialism left behind: housing insecurity, malnutrition, and poverty.

At times Everything Is Tuberculosis feels thin, a litany of historical and cultural anecdotes from New Mexico’s statehood to the Stetson cowboy hat, both born of the same “travel cure” that sent Lena’s brother, Edwin, west in search of open air. (Green notes that California became known as the “land of new lungs.”) The book never does the messier work of reporting and research to explain how colonization or development might propel an epidemic—why a country’s colonial-era train system or overcrowded cities are just as implicated in the spread of TB as any feature of the bacteria itself. Among the book’s greatest strengths is its bibliography, which includes a reference to Vidya Krishnan’s heftier Phantom Plague: How Tuberculosis Shaped History.

Phantom Plague tells the story of tuberculosis in India, where roughly a quarter of the world’s tuberculosis cases are found and where Krishnan has spent more than a decade reporting on the ways that antibiotic overuse, housing policy, casteism, and patent law have collided to create an epidemic of drug resistance, including TB strains that one Mumbai doctor calls “totally drug resistant”—TDR–TB. “The global battle against tuberculosis…will be won, or more likely lost, in India,” writes Krishnan.

Krishnan calls her book a “biography of the bacteria,” but it often reads more like a history of medical science itself, the story of tuberculosis bound up with that of germ theory. Krishnan traces Koch’s intellectual lineage from Ignaz Semmelweis, the unlucky Hungarian obstetrician who was ostracized from the medical establishment for suggesting that invisible “cadaverous particles” carried on doctors’ unwashed hands might be responsible for a devastating infection killing the women under his care, to Joseph Lister, the English surgeon who first said that surgical instruments ought to be sterilized.

The book includes fascinating digressions. Spittoons were counterintuitively introduced to curb the spread of tuberculosis and other infectious diseases once germ theory was widely accepted. And Sir Arthur Conan Doyle, who supplemented his floundering medical practice with popular writing, wrote a scathing rebuke, after being turned away from one of Koch’s lectures, of his earliest attempts to devise a remedy for tuberculosis.

But Phantom Plague is strongest when it shifts to our own time, examining policies that, Krishnan argues, have driven the long-lasting crisis:

One bad decision at a time, the global TB epidemic has been socially constructed by us—humans who are reliably small-minded, casteist, and racist every time we face a pathogen that is highly unpredictable, mutating, and thriving.

One chapter examines housing policy in Mumbai, particularly the construction of “vertical slums,” airless high-rises designed to crowd the impoverished as close together as possible, well away from the city’s fabulous wealth but still within “serving distance.” “No city in the world had segregated the rich from the poor, the lower caste from the upper castes, as efficiently as Mumbai,” Krishnan writes. The buildings are perfect breeding grounds for tuberculosis. As one young woman living with drug-resistant TB tells Krishnan, you can get it “just by breathing” in certain parts of the city.

Despite more than a century of scientific advancement and the development of countless antibiotics, when it comes to TB twenty-first-century medicine is not unlike the New England townspeople digging up graves in search of a ravenous spirit. Krishnan blames the epidemic of drug resistance on doctors who dose antibiotics incorrectly or prescribe drug regimens without testing their patients to find out what their disease is likely to respond to. Among her most agonizing examples are the stories of two young women who were treated for months with a toxic drug that had no effect on their tuberculosis but rendered them profoundly deaf.

Worse still are the pharmaceutical companies that have produced remedies for the drug-resistant strains but have made them inaccessible where they are most needed, offering meager donations of medications in lieu of a sustainable pricing model, and arguing that people in India and other TB-endemic areas lack the health literacy to take them correctly. (Krishnan makes analogies to the early rationing of antiretroviral therapy for those with HIV, which was withheld from much of the world for racist reasons, including the presumption that people living with HIV in Africa couldn’t tell time and would not remember to take a twice-daily pill.) “Inherent in that argument,” one American scientist tells Krishnan, “is the fact that infectious diseases that affect poor people could someday affect rich people—or white people…. We, the rich and the white, want to save these medications for us, for later.”

While Green hopes to close the sympathy gap by bringing the stories of tuberculosis to readers oceans away, Krishnan is more direct. Her book, she writes, “has one intended audience: readers who have the good fortune to have remained ignorant of TB but can ill afford to be so any longer.” To imagine that Black and brown people, incarcerated people, and poor and unhoused people are somehow uniquely vulnerable is to be ignorant of TB’s long history, forever linked with our own. “No one is safe,” she writes, “until everyone is.”

Iwas born in the United States, but I spent my first four years in the urban India that Krishnan writes about, and stories of tuberculosis are enshrined in my family mythology. One great-aunt nearly lost her hands to a childhood TB infection that ravaged her joints, yet she learned to write despite her pained, frozen fingers. In what was then British-occupied India, where nearly all Indian women married young and bore children without ever learning to read, she studied economics and became the principal of a college. In the US my latent disease makes me an anomaly, but it also makes me feel part of a larger, ancient lineage. 

Yet, even though I am a doctor, even though I am not contagious, I have kept my condition a secret until now, afraid of some nebulous stigma.

The autumn I was diagnosed, I left work early on a Thursday afternoon and drove an hour south from my hospital in Boston to visit the Rhode Island grave of Mercy Lena Brown
*. More than a century after her burial, Lena’s grave has become something of a pilgrimage site. When I visited, the headstone was piled with offerings—some acorns and pennies, a freshly cut pumpkin, a bouquet of zinnias. The stone itself has been stolen so many times that it is bolted to the ground with an iron strap. Nearby is the crypt from which Lena’s body was exhumed. The cemetery is tidy, but the crypt, shaded by an overgrown swamp oak, is wild, its wooden door hanging loose from its hinges, and its stone walls blooming with starbursts of lichen.

Over the years, souvenir hunters have chipped away at Lena’s gravestone, stealing bits of marble as eerie mementos, but her epitaph remains: “Mercy L., daughter of George T. and Mary E. Brown, died January 17, 1892, aged 19 years.”

Neither a vampire nor a martyr, just a girl who suffered before she died, one of an uncountable number.

Pria Anand is a neurologist and the author of The Mind Electric: A Neurologist on the Strangeness and Wonder of Our Brains. She teaches at Boston University and practices at Boston Medical Center. (December 2025)

*Mercy Lena Brown's grave is in the Chestnut Hill Baptist Church Cemetery in Exeter, Rhode Island, marked by a headstone secured with metal to prevent theft, where visitors leave offerings for the famed "New England Vampire". Her plot is near a cedar tree, and a triangular stone structure, the crypt where she was first stored, is nearby in the cemetery, a site known for folklore about consumption victims believed to be vampires.

About the case of Mercy Lena Brown, a 19-year-old resident of the town of Exeter, was the last known instance in the state of Rhode Island of a large group of otherwise sensible folks exhuming, mutilating, immolating, and cannibalizing a corpse to kill a vampire.

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Wednesday, November 19, 2025

Let's write about November 19th the year 1863 and the Gettysburg Address

 Heather Cox Richardson Letters from an American in substack:  

President Abraham Lincoln

Gettysburg, PA- For three hot days, from July 1 to July 3, 1863, more than 150,000 soldiers from the armies of the United States of America and the Confederate States of America slashed at each other in the hills and through the fields around Gettysburg, Pennsylvania.

When the battered armies limped out of town after the brutal battle, they left scattered behind them more than seven thousand corpses in a town with fewer than 2,500 inhabitants. With the heat of a summer sun beating down, the townspeople had to get the dead soldiers into the ground as quickly as they possibly could, marking the hasty graves with nothing more than pencil on wooden boards.
A local lawyer, David Wills, who had huddled in his cellar with his family and their neighbors during the battle, called for the creation of a national cemetery in the town, where the bodies of the United States soldiers who had died in the battle could be interred with dignity. Officials agreed, and Wills and an organizing committee planned an elaborate dedication ceremony to be held a few weeks after workers began moving remains into the new national cemetery.
They invited state governors, members of Congress, and cabinet members to attend. To deliver the keynote address, they asked prominent orator Edward Everett, who wanted to do such extensive research into the battle that they had to move the ceremony to November 19, a later date than they had first contemplated.
And, almost as an afterthought, they asked President Abraham Lincoln to make a few appropriate remarks. While they probably thought he would not attend, or that if he came he would simply mouth a few platitudes and sit down, President Lincoln had something different in mind.
On November 19, 1863, about fifteen thousand people gathered in Gettysburg for the dedication ceremony. A program of music and prayers preceded Everett’s two-hour oration. Then, after another hymn, Lincoln stood up to speak. Packed in the midst of a sea of frock coats, he began. In his high-pitched voice, speaking slowly, he delivered a two-minute speech that redefined the nation.
“Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal,” Lincoln began. While the southern enslavers who were making war on the United States had stood firm on the Constitution’s protection of property—including their enslaved Black neighbors—Lincoln dated the nation from the Declaration of Independence.
The men who wrote the Declaration considered the “truths” they listed to be “self-evident”: “that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.” But Lincoln had no such confidence. By his time, the idea that all men were created equal was a “proposition,” and Americans of his day were “engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure.”
Standing near where so many men had died four months before, Lincoln honored “those who here gave their lives that that nation might live.”
He noted that those “brave men, living and dead, who struggled here, have consecrated” the ground “far above our poor power to add or detract.”
“It is for us the living,” Lincoln said, “to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced.” He urged the men and women in the audience to “take increased devotion to that cause for which they gave the last full measure of devotion” and to vow that “these dead shall not have died in vain—that this nation, under God, shall have a new birth of freedom—and that government of the people, by the people, for the people, shall not perish from the earth.”

The Gettysburg Address (1863)Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal.
Now we are engaged in a great Civil War, testing whether that nation or any nation so conceived and so dedicated, can long endure. We are met on a great battle-field of that war. We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live.

It is altogether fitting and proper that we should do this. But, in a larger sense, we can not dedicate, we can not consecrate, we can not hallow, this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. The world will little note, nor long remember what we say here, but it can never forget what they did here.

It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. 

It is rather for us to be here dedicated to the great task remaining before us — that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion — that we here highly resolve that these dead shall not have died in vain — that this nation, under God, shall have a new birth of freedom — and that government of the people, by the people, for the people, shall not perish from the earth.

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Monday, November 03, 2025

Let's write about inspired religious art- Fra Angelico (born1395- died 1455)

Can a Painting Make a Skeptic Believe? By Cody Delistraty

Following the death of his mother, the artist Mark Rothko set off on a five-month trip across Europe in 1950, visiting the continent’s great museums. Echo opinion art review published in The New York Times.
The Annunciation- Archangel Gabriel with the Virgin Mary by Fra Angelico

But, it wasn’t until he visited a former Dominican convent in Florence, Italy, that he found what he was looking for.✝️👼😇 👼🏽🙏Each “cell” — where the convent’s friars lived — was adorned with a fresco painted by the 15th-century friar Fra Angelico that captured, Rothko said, what no other art he’d seen could.

“I traveled all over Europe and looked at hundreds of Madonnas,” Rothko wrote to a friend, “but all I saw was the symbol, never the concrete expression of motherhood.” 

With Angelico, though, Rothko recognized an artist of the highest order: Angelico’s paintings transcended representation to transmit deep emotional, spiritual experience.

A major influence on Abstract Expressionists like Rothko, wherein emotional evocation trumped figuration, Angelico’s great gift was his ability to convey a sense of the divine. 

Centuries later, his work invites a skeptic to belief. Angelico’s art has pushed me to find within myself a desire for belief I’d thought had been extinguished long ago.

So strong is Angelico’s own vision, so capable is he of showing it that while his foreign, 15th-century world of asceticism, magic and unconditional faith is at first discombobulating, it is a testament to his artistic ability that even more than half a millennium later, I find myself transported into his way of seeing the world, as though I were a friar in one of his cells.


Angelico began as an illustrator of illuminated manuscripts and had sold a few paintings by the time he joined the convent of San Domenico near Florence, where he took the name Fra Giovanni. (He posthumously gained the “angelic” moniker.) He was a man of deep faith, said to have wept every time he painted Jesus on the cross.

The Dominican friars of Angelico’s order were a particularly disciplined breed, following a 13th-century credo that encouraged extreme austerity. There was no search for meaning in that convent; it was a given. When Cosimo de’ Medici commissioned him to paint many of the frescoes in Angelico’s new convent of San Marco, it’s very likely Angelico didn’t even consider what he was doing to be “art.” His painting was, more than anything, an act of devotion — “visions,” as the art critic John Ruskin would later write.


This fall, I visited a major exhibit — running through January — at the Museo Nazionale di San Marco (where Rothko visited) and the nearby Palazzo Strozzi that brings one into Angelico’s world and faith.

There, you’ll find Angelico’s most stunning work, “The Annunciation,” outside the friars’ cells, up the stairs in the convent, which became a museum in 1869. A large-scale fresco painted in the 1440s, it depicts Mary and the Archangel Gabriel. 

Look first at Gabriel’s wings. Though the light and shadow of the scene are otherwise realistic, Angelico omits the shadows that would otherwise emanate from the angel’s wings, lending Gabriel an other worldliness.

Look next at both Gabriel and Mary’s eyes. Angelico has given the angel a feminized face — neat lashes, reddened cheeks, golden and curly hair. He looks ever so slightly upward at Mary. He is here to deliver impossible news. His eyes pretend toward authority, but mostly he appears puzzled. Mary meets his gaze with a look of her own weighted shock, her lips pursed, her neck arched downward so that she has quietly become the one in control of the conversation, as though, with the exchange of this revelation, she now embodies a divinity greater even than an angel.

Look then at the architecture around them. The ornate, Corinthian columns, the mathematically precise Roman arches. How classical and ordered. What a contrast these exacting, human creations are to the cosmic information being delivered and received by these startlingly modern, expressive faces. It is as though the word of the Virgin birth has slashed its way through art history itself, so that we can practically see the Classical giving way to the early Renaissance.

And though it would have mattered a great deal to Angelico, it matters not to contemporary eyes whether the viewer believes this scene to have ever occurred. It will capture you regardless.

“You may be as little of a formal Christian as Fra Angelico was much of one,” the novelist Henry James wrote after visiting the former convent, “you yet feel admonished by spiritual decency to let so yearning a view of the Christian story work its utmost will on you.”

It is this ability to emotionally spellbind the viewer that most sets Angelico apart — imparting belief through art. Georg Wilhelm Friedrich Hegel, the philosopher, described Angelico’s key artistic invention as interiority: “that indwelling significance of human features.” Angelico did not just depict; he evoked. Before Angelico, one largely found ideas in art, but not necessarily feeling.


Consider, as Hegel does, an ancient Egyptian sculpture of Isis embracing her son, Horus. In this, there is no warmth, no “soul,” writes Hegel. The artist expects the viewer to know that there exists love between these two by the nature of their relationship. The viewer must generate within himself the associated feelings and apply it to the art.

Angelico, by contrast, elicits these emotions — through his depictions of eyes, hands, the use of light and so much else — so that upon looking at his art one is immediately struck by the love and intimacy flowing between his depictions of Virgin and Child or the awe and befuddlement between her and Gabriel in “The Annunciation.” 

Angelico broke through art history by subtracting a crucial step. One does not regard his art, then create feeling, then look again to see that feeling manifest; rather, the seeing and the feeling are simultaneous, as Rothko saw in Angelico’s work. The artwork has become the emotion.

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Saturday, November 01, 2025

Let's write about the history of the mariners' Underground Railroad to help free Southern slaves

 The Underground Railroad’s Stealth Sailors by Eric Foner

The web of Atlantic trading routes and solidarity among maritime workers, many of them Black, meant fugitive slaves’ chances of reaching freedom were better below deck than over land.

Freedom Ship:  The Underground History of Escaping Slavery by Sea, author Marcus Rediker. A book review published in the New York Review of Books by Eric Foner*, Emeritus, Columbia.

Of the innumerable images published in American newspapers in the decades before the Civil War, few were as ubiquitous as those depicting a young Black man traveling on foot through a forest (represented by a single tree), his belongings wrapped in a sack attached to a pole slung over his shoulder. Instantly recognizable as a runaway slave, the image was usually accompanied by text providing a physical description of the fugitive, the offer of a reward for his capture, and a warning that anyone who assisted the runaway—or even refused to take part in his capture—risked serious legal consequences.

Thousands of these notices (including those for women
) appeared in print, testimony to American slaves’ intense desire for freedom and their willingness to risk their lives to obtain it. But this familiar depiction, argues the historian Marcus Rediker in his new book, Freedom Ship: The Uncharted History of Escaping Slavery by Sea, is misleading, encouraging historians to focus on overland flight, ignoring the fact that “a large proportion” of slaves escaped by boat. Moreover, these advertisements imply that most fugitive slaves were acting on their own, whereas many relied on assistance from sympathetic individuals or organizations such as the Vigilance Committees. Springing into existence in the 1830s, and 1840s, in Philadelphia, New York, Boston, and other northern cities, they sought to combat an epidemic of kidnapping of northern free Blacks for sale into slavery and to provide help to fugitives. Taken together, these local networks came to be known as the Underground Railroad.

Ironically, the rapid expansion of cotton production in the lower South beginning in the 1820s, not only enriched slave owners, merchants, and bankers, North and South, but also established a web of maritime trading routes that greatly increased fugitives’ opportunities for escape by sea. Hundreds of ships each year carried the South’s “white gold” to the port cities of the Atlantic coast and on to textile factories in New England and Europe. 

Rediker presents some startling statistics that illustrate the growth of seaborne commerce. By the middle of the nineteenth century nearly 200,000 seamen sailed out of the major ports each year, the largest number to and from New York City, which dominated the cotton trade. Some 20,000 of the sailors were African Americans. In 1855 American shipyards produced over two thousand new vessels. That explosion in maritime commerce, a result of slavery’s widening role in the American economy, created more occasions to steal away on ships and rendered obsolete the idea that those who fled the South did so unassisted.

Laws punishing attempted escapes by sea proved difficult to enforce. Captains were supposed to search their ships for runaway slaves, but as the coastal trade expanded this became prohibitively time consuming. The accelerating sectional conflict over the future of slavery, moreover, meant that a growing number of northerners proved willing to abet fugitives. This was especially true of members of the free Black communities that spread after northern states enacted laws for the gradual abolition of slavery. Black men were well positioned to help fugitives hiding on sailing vessels. As sailors, longshoremen, sailmakers, carpenters, and other maritime laborers, Black workers were omnipresent on the docks and aboard ships. Many kept a lookout for fugitives and directed them to people who could help. The presence of Black seamen was especially important for stowaways. Sailors were known to stack the heavy bales of cotton in a way that created spaces where slaves could fit and to provide them with food and water during the voyage.


To be sure, escape by ship carried its own risks. It was easier to hide in the woods than on a small packet boat. If a runaway was discovered, the captain and crew might turn him in for a reward. Nonetheless, Rediker argues, the chances of getting away on one of the innumerable vessels plying the Atlantic trading routes were considerably higher than those of reaching freedom on land. In 1856, Virginia established a Port Police to search all ships heading north from the state, but the officers had only six vessels for patrolling the vast waters of Chesapeake Bay. They were “overwhelmed,” Rediker writes.

Proximity to the sea was crucial for the most celebrated fugitive in American history, Frederick Douglass, whose journey from Maryland to New York in 1838 was immortalized in his three autobiographies. Douglass’s escape from bondage required him to travel by ferry and steamboat as well as by train—all modes of transport much faster than running away on foot. Instead of days or even weeks, it took him less than twenty-four hours to cover the two hundred miles to freedom.

Douglass, Rediker writes, was “a man of the waterfront.” As a youth he spent several years in Baltimore, one of the nation’s leading port cities and home to its largest free Black community. Along with two uncles and two friends, Douglass devised a plan to escape by canoe into Chesapeake Bay and make their way northward. But someone who learned of their intentions betrayed them. Douglass was sent to jail and then to Baltimore by his owner to learn the maritime skill of caulking.

In his second, successful effort at escape, Douglass, in his words “rigged out in sailor style,” was aided by Anna Murray, the free woman he was planning to marry, 
and by a retired Black sailor who gave him his own “sailor’s protection” identifying him as free. Soon after he reached New York, however, Douglass encountered Jake, a runaway slave he had known in Baltimore, who warned him that slave catchers prowled the city’s streets. A “generous” Black sailor then directed him to David Ruggles, head of the city’s recently established Vigilance Committee. Ruggles arranged for Douglass to travel to New Bedford, Massachusetts, the nation’s whaling capital, whose free Black community had long assisted fugitives—the city was known in antislavery circles as the Fugitive’s Gibraltar. Douglass’s experience drives home the point that escape was not a solo project and that assistance came from both organized networks and strokes of luck, such as Douglass’s encounter with Jake. Rediker also emphasizes the importance of Black (and not a few white) sailors who secretly distributed antislavery documents in southern ports, especially copies of Walker’s Appeal by David Walker, a free person of color from North Carolina who published his powerful condemnation of slavery and racism in 1829. 

Southern state governments outlawed its circulation and tried to restrict the presence of seamen who might distribute it, requiring Black sailors who arrived on ships from the North to be imprisoned while their vessels were in port.

Rediker is especially interested in multiethnic patterns of resistance uniting sailors and dockworkers, including the New York Conspiracy of 1741, which involved Irish, Hispanic, and African participants, and the Knowles Riot in Boston, in which free sailors and slaves fought the press-gangs rounding up seamen for the Royal Navy. The waterfront, he writes, may well have been the most racially and ethnically diverse workplace in the world. Many ships based in the British Isles and North America picked up sailors while in Europe, the Caribbean, and even the Pacific to replace men who had died, been disabled, or deserted.

Over the course of a long and influential scholarly career, Rediker has established himself as a pioneering chronicler of working-class life in the early modern Atlantic world, with an emphasis on those working at sea or on turbulent waterfronts. He has urged historians to include sailors in their accounts of the era’s labor history, rather than slighting them in favor of much-studied early factory workers. He knows the ships, maritime workers, and commercial routes intimately. Rediker brings to life the cacophonous soundscape of the waterfront, with merchants and captains crying out work orders as ships were loaded and unloaded and women, slave and free, loudly hawking baked goods, eggs, and other food to sailors and dockworkers. He identifies an ethos of solidarity among maritime workers, contrasting it with the dog-eat-dog outlook of emerging capitalism. He pays considerable attention to the importance of the suppression of piracy in the emergence of Britain’s seaborne empire and the imposition of discipline on an unruly working class. “Pirate ships,” he has written, were “democratic in an undemocratic age,” offering an example of multiracial accord that helps explain why many white sailors and waterfront workers were willing to assist fugitive slaves.

The titles of Rediker’s previous books suggest these historical preoccupations. They include Between the Devil and the Deep Blue Sea: Merchant Seamen, Pirates, and the Anglo-American Maritime World and Outlaws of the Atlantic: Sailors, Pirates, and Motley Crews in the Age of Sail. Perhaps his most widely known work is The Many-Headed Hydra: Sailors, Slaves, Commoners, and the Hidden History of the Revolutionary Atlantic, coauthored with the scholar of British working-class history Peter Linebaugh. The myth of the Hydra—each time Hercules lopped off one of its numerous heads, two new ones took its place—became a commonly employed metaphor for the difficulties authorities encountered in attempting to suppress a recalcitrant working class. Resistance somehow kept springing back to life.

Within this overarching story of capitalist development and working-class struggle, Rediker takes the reader on a tour of port cities in British North America, from Savannah to Boston. In each locale he surveys the activities of free Blacks, slaves, and white abolitionists in assisting fugitives and presents a compendium of dramatic escapes. Unavoidably the book’s structure produces repetition, but Rediker keeps his eye on the main subject—escapes by sea. A few chapters focus on well-known runaways, notably, in addition to Douglass, Harriet Jacobs, the author of Incidents in the Life of a Slave Girl (1861), a memoir that describes the sexual abuse to which she was subjected by her owner in North Carolina and her eventual escape to the North. Jacobs came from a seagoing family. Three of her uncles were sailors, two of whom escaped by sea. One uncle worked as a steward on a packet ship that sailed regularly between North Carolina and New York City. Jacobs managed to hide for seven years in a small crawl space in the house of her free grandmother. Her wait for a ship to transport her to freedom was excruciating, but many runaways had to remain in hiding before being able to depart on a coastal vessel. In June 1842, one of Jacobs’s uncles succeeded in locating what she calls a “friendly captain,” who transported her on the ten-day voyage to Philadelphia.

Unlike Douglass and Jacobs, most of the individuals whose experiences Rediker relates will be unfamiliar even to the most diligent historians. There’s George (surname unknown), for example, a youth owned by a New Orleans merchant. George must have set some kind of record by stowing away on a ship departing from Louisiana for Boston, a distance of two thousand miles by sea. George had heard people in the Crescent City talk about Boston as an antislavery stronghold, and in August 1846, when he saw the city’s name painted on a ship, he decided to hide on board amid the cargo. One week into the voyage the captain discovered him. It was too late to turn around, so the skipper continued to head for Boston. After the vessel reached the city he contacted his ship’s owner, who agreed to a plan to send George back to New Orleans. Abolitionists tried some innovative legal maneuvers in an effort to free him, some sailors ran interference as they could, and George temporarily slipped his captivity. But efforts to have the fugitive released via a writ of habeas corpus failed, and he was sent back to New Orleans. A subsequent attempt to persuade a grand jury to indict the captain for kidnapping on the grounds that he had unlawfully imprisoned George on his ship also foundered, and the captain was soon back at the helm.
No one knows exactly how many slaves managed to escape bondage. Rediker offers a “conservative estimate” of 15,000 to 20,000 arriving by sea in all ports during the thirty years preceding the Civil War, when the Underground Railroad and cotton shipping were both at their peak. Other historians have proposed figures for escapes of all kinds reaching up to 100,000. Some runaways were recaptured, but successful renditions were costly. Anthony Burns escaped from Virginia by boat in 1854 but was transported back to slavery on a ship from Boston Harbor. To get him there the local authorities required over one thousand armed militia, police, and infantry—hoping to prevent a repetition of events in 1851, when a large, mostly Black crowd rescued the escaped slave Shadrach Minkins from a Boston courthouse and spirited him off to Canada. Rediker devotes an entire chapter to William Powell, who with his wife ran the Colored Seamen’s Boarding House in New York City, a refuge for sailors who needed lodging until they found work at sea and where numerous fugitives were hidden. Rediker describes Powell as a “quintessential waterfront intellectual and activist.” He had sailed the Caribbean, Atlantic, and Pacific and kept detailed records of the over six thousand boarders, including a number of white sailors, that he housed between 1839 and 1851. A prolific writer and speaker, he lectured alongside Douglass. Powell presided at a mass meeting organized by Black New Yorkers to protest the draconian Fugitive Slave Act of 1850, which exposed free Black people to kidnapping or simply misidentification by courts. Powell himself, along with his wife and seven children, departed for Liverpool in 1851, fearing capture by the law even though none had ever been a slave. They returned to New York after a few years in Great Britain and resumed their work. Powell also became the city’s first Black notary, enabling him to produce “seamen’s protection certificates” like the one Douglass used on his escape.

States tried to impose their authority on the maritime working class but had little success. As noted above they jailed Black sailors who came into port on northern vessels. In 1859, the government of Charleston, fearing that northern sailors lacked sympathy for “our peculiar institutions,” resolved to train poor white youths to become “homegrown” mariners. Nothing came of this effort. Slave owners in Savannah formed the Savannah River Anti-Slave Traffick Association to stop fraternization onshore between Black and white maritime workers, who often bought and sold stolen goods.

Penalties for those who aided fugitives were not light. Sailors and captains who were caught were arrested and jailed. In Virginia Captain William Baylis was sentenced to forty years in prison and only freed when Union soldiers liberated Richmond at the end of the Civil War. Nevertheless, by the 1850s captains were making what Rediker calls a “business of escape,” charging substantial fees for transporting runaways to the North. Among the most active members of this maritime underground was James Fountain, who had a secret compartment built on his ship, the Chas. T. Ford, where stowaways could hide. A Black ship carpenter worked with Fountain, alerting fugitives when he was sailing. Fountain charged as much as one hundred dollars per fugitive—a substantial sum in those days. He was not averse to carrying groups. On one occasion, in 1856, he transported twenty-one men, women, and children from Norfolk to the North—the largest group escape by sea of the pre-war period.

Freedom Ship joins a burgeoning literature that emphasizes the centrality of the fugitive slave issue in bringing on the Civil War and a smaller but growing literature on the maritime Underground Railroad, including Cassandra L. Newby-Alexander’s Virginia Waterways and the Underground Railroad and Timothy D. Walker’s edited volume Sailing to Freedom. As early as the Constitutional Convention of 1787, debates took place over the responsibility for apprehending runaway slaves. The Constitution required that they be returned to their owners, but exactly how remained unclear. A national law enacted during the presidency of George Washington authorized owners to track down and apprehend fugitives on their own (not always an easy thing to accomplish). Half a century later, efforts to implement the Fugitive Slave Act of 1850, which transferred responsibility for rendition to the federal government, inspired widespread resistance in the North. Some free states enacted “personal liberty” laws that sought to nullify the national statute by barring local officials from participating in the capture of runaways. These measures showed that the South’s ideology of states’ rights could be invoked to combat abusive national policies (a historical lesson especially relevant at the moment). None of this could have happened without the actions of slaves who sought to escape bondage and the people who helped them.

Given the evidence Rediker accumulates, it should not be surprising that the longest complaint against the North in South Carolina’s Declaration of Secession of 1860 was that the Constitution’s Fugitive Slave Clause had been “render[ed] useless” by popular resistance in the free states. How appropriate that the Civil War began in Charleston Harbor, where the irrepressible conflict between freedom and slavery had long been fought on docks piled high with bales of cotton and on ships that daily sailed past the looming presence of Fort Sumter, some of them carrying hidden fugitives on their way to freedom.


*Eric Foner:  The Fiery Trial: Abraham Lincoln and American Slavery, which won the 2011, Pulitzer Prize for History, and Reconstruction: America’s Unfinished Revolution, 1863–1877. (October 2025)

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Monday, October 27, 2025

Let's write about the upside of inevitable aging: For 80 year olds and counting optimists

New York Times essay on aging by Roger Rosenblatt

A famous Maurice Chevalier (b. 1888-d. 1972)
 quote on aging is, "Old age isn't so bad when you consider the alternative". Another related quote is, "I prefer old age to the alternative"
I’d Like to Stay 85 Forever😀

Now that I’m deep in my 80s, I’d like to stay here forever, and I’ll certainly try. I enjoy being here. The decade is the October of aging. And October is a lovely month, don’t you think
To be sure, there are setbacks, such as the other day, when all at once I found myself on the floor. As I rose to leave the living room chair, it slid out from under me, leaving me astonished, my head banging against the piano keyboard nearby. So weak is my twice operated-upon back, so immobile my muscle-less legs, all I could do was sit there looking plaintively at my wife, Ginny, hoping for leverage, and recalling an ad on TV some years ago. A woman about my age now is on the floor, calling out, “I’ve fallen and I can’t get up” — her cry as noble as Beowulf’s or any tragic hero.

For my part, I felt more foolish than tragic. The fall was a reminder of the liabilities of the 80s. Yet these are more than counterbalanced by the gifts this decade brings. I have a great deal of free time these days, which I’ve chosen to fill in several satisfying if idiosyncratic ways.

I recite lots of poetry, sometimes to Ginny, often to the window. Poetry that has hibernated in my head since my 20s when I used to teach English and American literature at a university. I memorized great swaths of poetry then because it allowed me to talk directly to the students, eye to eye, as if the poetry existed not in a book, but in the air. Right now, if you turned me upside down and shook me (it really isn’t necessary), I could give you several Shakespeare sonnets, a Dylan Thomas villanelle, “The Mind is an Enchanting Thing” by Marianne Moore, the last lines of Matthew Arnold’s “Dover Beach” and all of the introductory stanza to Wordsworth’s “Lines Composed a Few Miles Above Tintern Abbey.” That may sound like bragging about my memory, but I share it because I think it says something about the lasting power of poetry. Also to brag.

These days, I play more of the piano on which I knocked my head. Playing by ear, too lazy to learn to read music as a kid, my range used to be very limited, especially the chords. With time on my hands I’m getting a little better. You would never mistake me for Bill Evans, or Nat King Cole before his singing days, but my touch is pretty good, and I can do a fair job with “My Romance,” “My Funny Valentine,” “What’ll I Do” and nearly everything by the Gershwin brothers, Fats Waller and Cole Porter. At my age it’s a triumph to get better at anything.

Things I can’t do any more: Run. Play basketball or tennis. I also can’t worry myself to death, or I choose not to. Before my October years, there seemed to be nothing, however inconsequential, that I could not stew over until it grew as big and menacing as Godzilla at night. Nothing was too trivial for my troubled mind. No small rejection. Not the slightest slight. I once came up with a rule, “Nobody’s thinking about you — they are thinking about themselves, just like you.” I wrote it but I didn’t believe it. Now I hardly care if anyone is thinking about me, or not. Hardly.

My love of nature has grown much deeper in this decade. I had always felt an affinity with the natural world, but it was general, casual and fleeting. These days you can catch me at the window, gazing in wonder at the East River (estuary technically), and mesmerized by the shapes in the blue-gray water, the welts and eddies, the tides, the invading armies of the waves, the clouds reflected, looking like submerged sheep.

It’s not what you do in this decade that’s so unusual, or what you think, but rather how you think. The air changes in October. I find myself thinking far less selfishly, giving much more of myself to my friends and family.

In the poem “October,” the sublime Louise Glück found that these years presented one’s life with a cold clarity, as “an allegory of waste.” Me? I see only harvest. I seem to have been partly responsible for creating a crop of six extraordinary grandchildren (add your own excessive compliments here). Before my October years, I would write the same breezy daily note to each of them: “Love you.” Now I have the time and freedom to putter around in their lives, asking this or that, making private jokes. The kids seem to take my attention gladly, or are too polite to tell me they don’t. Either way I have a flourishing garden of young people with whom I can banter to my heart’s content. So I do.

The general improvement is this: In my younger years I was always looking ahead for whatever would befall me. Now I look at what I have. And as those in their 80s appreciate, what one has is considerable. I don’t fear winter, and I don’t regret spring.

The other night Ginny and I watched the film “They Might Be Giants,” with George C. Scott, who thinks he is Sherlock Holmes, and his psychiatrist, played by Joanne Woodward, who actually is a Dr. Watson. I finally realized what it’s about. The film’s title refers to Don Quixote, for whom the windmills at which he tilted might have been giants, though they were not. But the fact that Don Quixote thought they might be giants meant that his capacity for dreams was greater than his fears.

I still have those. Dreams. Dreams for my country and for the world. And love. I have love intact. Ginny, for instance, the remarkable old woman who helped me to my feet when I parted ways with the chair.

My view of Ginny is one thing that October has not changed. I see her as a rescuer now, as I saw her when we married 62 years ago. Bright colors, cool winds, perfect weather.

Roger Rosenblatt is the author of “Making Toast,” “Kayak Morning,” “Cold Moon” and the satirical novel “Lapham Rising.”

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