Samuel Griswold Goodrich Creator Of Peter Parley A Study Of His Life And Work

Peter Parley has, alas, gone the way of the children he once entertained, the children of our great-grandfathers in the early half of the American nineteenth century. But in his day he was a household word, a teller of cautionary tales, instructive fables, and reports of strange lands. He lived in the series of little books found in thousands of homes, in the elementary readers and textbooks, even in the spate of imitation and spurious "Peter Parley" books--and he lived in the hearts of young readers across the new country. If Peter Parley is forgotten today, his creator Samuel Griswold Goodrich is no less well remembered, though in their lifetime the two were almost synonymous. In later years Goodrich even resembled his fictitious narrator--gouty foot, silver hair, stout wooden cane, and all. Believing old Peter Parley and his creator deserve a better fate, Daniel Roselle has dipped into our history to produce this biography of Samuel Griswold Goodrich. A well-known author, editor, and publisher even before he conceived Peter Parley books, Goodrich deserves at least a footnote to American literary history. As the author of the most popular children's books of his day, he demands recognition as a cultural and educational force. And Professor Roselle's charming and straightforward narrative helps recapture the spell of the era and the wonder of childhood stories. Daniel Roselle's interest in Samuel Griswold Goodrich stems from his twin interests in history and in children's literature. One of his major fields is French folklore, and in the 1950's a Fulbright research grant enabled him to travel widely in France gathering authentic folk stories in the oral tradition; many of these he has since published in a variety of magazines, both popular and scholarly. He has also published poems and stories of his own, as well as scholarly articles and A World History, a high school text.

"Famous Men of Ancient Times" is a collection of biographies of the most famous and influential figures in ancient history. The author brings the fascinating information about emperors, kings, philosophers, writers and other notable figures of ancient time in a concise and interesting manner. Belisarius Attila Nero Seneca Virgil Cicero Julius Caesar Hannibal Alexander Aristotle Demosthenes Apelles Diogenes Plato Socrates Alcibiades Mohammed Democritus Pericles Aristides Aesop Solon Lycurgus Homer Confucius

Memoir of Samuel Griswold Goodrich, an an American author, better known under the pseudonym Peter Parley. Also contains a list both of the works of which he was the author or editor and of the spurious works published under his name.

A powerful exploration of the past and present arc of America’s white supremacy—from the country’s inception and Revolutionary years to its 19th century flashpoint of civil war; to the Civil Rights movement of the 1960s and today’s Black Lives Matter. “The most profoundly original cultural history in recent memory.” —Henry Louis Gates, Jr., Harvard University “Stunning, timely . . . an achievement in writing public history . . . Teaching White Supremacy should be read widely in our roiling debate over how to teach about race and slavery in classrooms." —David W. Blight, Sterling Professor of American History, Yale University; author of the Pulitzer Prize–winning Frederick Douglass: Prophet of Freedom Donald Yacovone shows us the clear and damning evidence of white supremacy’s deep-seated roots in our nation’s educational system through a fascinating, in-depth examination of America’s wide assortment of texts, from primary readers to college textbooks, from popular histories to the most influential academic scholarship. Sifting through a wealth of materials from the colonial era to today, Yacovone reveals the systematic ways in which this ideology has infiltrated all aspects of American culture and how it has been at the heart of our collective national identity. Yacovone lays out the arc of America’s white supremacy from the country’s inception and Revolutionary War years to its nineteenth-century flashpoint of civil war to the civil rights movement of the 1960s and today’s Black Lives Matter. In a stunning reappraisal, the author argues that it is the North, not the South, that bears the greater responsibility for creating the dominant strain of race theory, which has been inculcated throughout the culture and in school textbooks that restricted and repressed African Americans and other minorities, even as Northerners blamed the South for its legacy of slavery, segregation, and racial injustice. A major assessment of how we got to where we are today, of how white supremacy has suffused every area of American learning, from literature and science to religion, medicine, and law, and why this kind of thinking has so insidiously endured for more than three centuries.

An aesthetic of unoriginality shaped literary style and reader taste for decades of the nineteenth century. While critics in the twentieth century and beyond have upheld originality and innovation as essential characteristics of literary achievement, they were not features particularly prized by earlier American audiences, Claudia Stokes contends. On the contrary, readers were taught to value familiarity, traditionalism, and regularity. Literary originality was often seen as a mark of vulgar sensationalism and poor quality. In Old Style Stokes offers the first dedicated study of a forgotten nineteenth-century aesthetic, explicating the forms, practices, conventions, and uses of unoriginality. She focuses in particular on the second quarter of the century, when improvements in printing and distribution caused literary markets to become flooded with new material, and longstanding reading practices came under threat. As readers began to prefer novelty to traditional forms, advocates openly extolled unoriginality in an effort to preserve the old literary ways. Old Style examines this era of significant literary change, during which a once-dominant aesthetic started to give way to modern preferences. If writing in the old style came to be associated with elite conservatism—a linkage that contributed to its decline in the twentieth century—it also, paradoxically provided marginalized writers—people of color, white women, and members of the working class—the literary credentials they needed to enter print. Writing in the old style could affirm an aspiring author's training, command of convention, and respectability. In dismissing unoriginality as the literary purview of the untalented or unambitious, Stokes cautions, we risk overlooking something of vital importance to generations of American writers and readers.