Showing posts with label UPNE. Show all posts
Showing posts with label UPNE. Show all posts

Thursday, March 24, 2016

5 Cool Artifacts Unearth Boston's Rich Past

Volunteers for the City Archaeology Program excavating a site in Boston.

As the city archaeologist of Boston, Joseph Bagley's job includes managing more than one million artifacts excavated from dozens of sites throughout the city and conducting digs, often with volunteers, on small projects on city-owned land. Between what resides in the archives and what still remains unrecovered, he would tell you there's no shortage of fascinating discoveries deep in the soil of Boston history.

So when Bagley decided to write a book about some of his favorite finds, the hard part was narrowing it down to the few dozen that could adequately represent this place over the ages, from as early as the first human inhabitants thousands of years ago. Painstakingly, he did just that, and the result is A History of Boston in 50 Artifacts, complete with photos and essays on each artifact, due out in April from UPNE. Here Bagley selects five of those 50 objects that begin to tell Boston's fascinating story:

Neville Point
7500–5500 BP | Boston Common

Found on Boston Common during a 1986 archaeological survey before installation of lighting throughout the park, this 5,500–7,500-year-old native spear point base is the oldest artifact found in downtown Boston. It was made from stone harvested from outcrops found only in the Blue Hills area south of Boston. While the oldest man-made object found in downtown Boston (so far), the earliest evidence for people in the area around Boston goes back 12,000 years. This stone tool is older than the Pyramids in Egypt and Stonehenge.



Cat Skeleton
1714–1750 | Three Cranes Tavern, Charlestown
This intact cat skeleton was found buried in a bowl under the entrance of the Three Cranes Tavern in the Charlestown neighborhood of Boston. It dates to around the turn of the 18th century when witchcraft hysteria was peaking in and around Boston, and appears to be similar to other caches of cats in thresholds and hearths as a means to deter vermin and witchcraft from the home.



Whizzer
Circa 1750 | Faneuil Hall, Downtown
This whizzer toy, which would produce a buzzing sound when spun on a loop of string through the two central holes, was hammered from a lead musket ball. Thomas Apthorp was the son of Charles Apthorp, a major merchant and slave dealer in Boston who had a shop near Town Dock near present-day Faneuil Hall, where this artifact was excavated. The Apthorps were the wealthiest family in Boston in the early to mid 18th century. After Charles' death Thomas became the pay master for the British troops, who were at the time encamped on Boston Common. As a Tory, Thomas fled the city with the British on Evacuation Day in 1776.



Shell-Edge Pearlware
1819–1830 | African Meeting House, Beacon Hill

While this type of ceramic is one of the most common artifacts one will ever find on an archaeological site in Boston, this plate in particular was part of a large matching set of dishes that were encountered during excavations behind the 1806 African Meeting House on Beacon Hill. The oldest standing Black church in America, the church also had apartments in the basement where Domingo Williams lived. As a free black man, Domingo ran his own business and became a popular very popular event caterer and organizer for Boston's white upper class. Despite his freedom he and others in the Black community faced broad discrimination in Boston. Based on the number of similar dishes, archaeologists believe this plate is part of Domingo's catering set, which was used throughout the City for parties, but also for community events at the African Meeting House back yard.



Red Sox Pin
1912 | Dillaway-Thomas House, Roxbury

This 1912 pin was issued to members of the Boston Red Sox fan club the year Fenway Park opened. Parts have broken off in the past, but it consists of a baseball face with eyes and a mouth, crossed-bat arms, and a chest made from an umpire's pads. The pin was found in the yard of the Dillaway-Thomas house in the Roxbury neighborhood of Boston.





A History of Boston in 50 Artifacts by Joseph Bagley is available for purchase now.

Follow the City of Boston Archaeology Program's ongoing projects on Facebook.

Tuesday, December 1, 2015

HOLIDAY SALE! 30% Off Select Titles


The season of giving and—let's face it—getting is upon us again, and UPNE is perfectly delighted to be offering a special deal on a dozen of our most popular books from the past year and beyond. Treat yourself and those you love who love reading, why don't you, and pick up these books at 30% off, only at UPNE.com. Use promo code WWH30E at checkout. (Sale goes through January 15, 2016.)


Meeting Tom Brady: One Man's Quest for Truth, Enlightenment, and a Simple Game of Catch with the Patriots Quarterback 
by Richard J. King

"Meeting Tom Brady should occupy a spot next to Fred Exley's A Fan's Notes on every thinking sports fan's bookshelf."—Sean Glennon, author of Tom Brady vs. the NFL


A History of the World in Sixteen Shipwrecks 
by Stewart Gordon

"From dugout canoes dating to 6000 BC down to 2013, when a modern cruise ship ran aground off the coast of Italy, Gordon lucidly shows how maritime activities reflect the ever-increasing pace of globalization."—Richard M. Eaton, University of Arizona

Baby You're a Rich Man: Suing the Beatles for Fun and Profit
by Stan Soocher

"Soocher's cast of mobbed-up producers, cut-out shilling managers, and opera-composing judges reads like Elmore Leonard in the Sky with Diamonds."—Steven Lee Beeber, author of The Heebie-Jeebies at CBGB's" A Secret History of Jewish Punk
Dirt: A Love Story 
edited by Barbara Richardson

36 artists, scientists, and renowned writers go wild about the virtues, pleasure, and importance of dirt. Essayists include Vandana Shiva, Peter Heller, Janisse Ray, Bernd Heinrich, Linda Hogan, Wes Jackson, BK Loren, and others. With a foreword by Pam Houston.

The Whistleblower: Rooting for the Ref in the High-Stakes World of College Basketball 
by Bob Katz

"Katz is a talented writer who provides a vivid account of a world not seen by college basketballs fan. He show the referees' complete dedication to the art of working a game.—Chicago Tribune

Malevolent Muse: The Life of Alma Mahler 
 by Oliver Hilmes

"Alma's incredible life, the contrasting aspects of her powerful nature, her burning passions, the fierce jealousies and dislikes she aroused in others, make for a fascinating tale that is very well told by Hilmes."
—Henry-Louis de la Grange, biographer of Gustav Mahler
Knish: In Search of the Jewish Soul Food 
by Laura Silver

"A whimsical, mouthwatering, and edifying odyssey through New York neighborhoods and beyond."—Sam Roberts, New York Times

And check out 6 Reasons a Knish is Better than a Bagel!



The Kosher Baker: Over 160 Dairy-free Recipes from Traditional to Trendy
by Paula Shoyer

"Amaretto cookies, challah beer bread pudding with caramel sauce, and chocolate babka are among the delectable desserts featured in this beautifully illustrated cookbook."—Jewish Book World


Ice Ship: The Epic Voyage of the Polar Adventurer Fram
by Charles W. Johnson

"As splendidly composed a biography of the magnificent vessel Fram as it is a portrait of the courageous men who sailed her into the daunting arctic."—Howard Norman, author of Next Life Might Be Kinder

Victura: The Kennedys, a Sailboat, and the Sea 
by James W. Graham

"This wonderfully written book takes a well-worn subject—the Kennedys—and gives it as fresh a gust as the sailors on the sturdy, little Victura must have felt a thousand times off the Nantucket shore."—Richard D. Mahoney, author of Sons & Brothers

The Court-Martial of Paul Revere: A Son of Liberty and America's Forgotten Military Disaster 
by Michael M. Greenburg

"The most fascinating book that I have read in a long while. This is not the Paul Revere that you thought you knew. This Revere is pugnacious, snarky, maybe underhanded, and despite the verdict in his court-martial a poor military officer."—John Ferling, author of Jefferson & Hamilton
The Strangers We Became: Lessons in Exile from One of Iraq's Last Jews
by Cynthia Kaplan Shamash

"Shamash's writing beautifully communicates the confusion, imagination, and resilience that she experienced as a child from the trauma, displacement, and possibility of immigration, all caused by anti-Semitism. She weaves her story so well that the reader truly feels what the author has lived."—Jewish Book World




Thursday, November 19, 2015

The Afterlife of a Fictional Town


Ernest Hebert, award-winning author of the Darby Chronicles, a classic and enduring series of novels about a fictional town in New Hampshire and its hardscrabble cast of characters—both lovable and hard-to-love—published the final book in the series last year with UPNE. But Howard Elman’s Farewell shouldn’t have to be the end of Darby as we know it. Hebert explains the motivation behind his new web project (created in collaboration with the DALI Lab at Dartmouth College) and how Darby and its townsfolk will go on, well beyond the page, guiding new readers into that world for generations to come. 

by Ernest Hebert
author of the Darby Chronicles

Ernest Hebert's Guide to the Darby Chronicles began with the idea of imagery when I was writing the fiction. Every time I would write a scene I would run a little slide show in my head. Of course those mental images came out in words. Here's an example from page 30 of the UPNE edition of Live Free or Die: "Cooty's main chore was gathering firewood to stoke the small stove in his cabin."

Details about the stove and the cabin would bog down the story line. Same goes for just about every scene. When I write, my goal is to give readers just enough information to follow the action and let them use their own powers of visualization to fill in. Some of my mental images of Darby are clear and in great detail; others are murky; a few are abstract; and sometimes there's no picture at all. For example, I did not know what Cooty's wood-burning stove looked like when I wrote the lines I quoted above.

I always wanted to get these images out of my head onto paper, but I could never draw well enough. Then about fifteen years ago I discovered that I had a knack for drawing on the computer. Yippee! Around 2012 I came up with the idea of recreating Darby visually. I wanted not only to show the imagery that appears in the novels, but to go beyond into details that are not in the books.

Around the same time period that I was mulling over the idea of drawing images of Darby I looked at the John Milton Reading Room, a fabulous website conceived by Thomas Luxon, a colleague of mine at Dartmouth College. Inspired, I set out to create an everything-anybody-wants-to-know-about-Darby-and-then-some website. I began by drawing a map on Adobe Illustrator of the town of Darby. (By the way, a version of that map appears at the beginning of all seven of the Darby books, but only in the UPNE editions.)

I wrote an essay about every place name that appears on the map. Somehow in the alchemy way of creativity the essays led me to write poems, so that Ernest Hebert's Guide to the Darby Chronicles includes a collection of poems by yours truly, though often in the voice of Darby Characters. I never expected to write new fiction, but I felt moved to write a short story, "The Bulletin Board", which appears in the Blog category of my website.

In my drawing of Cooty Patterson's wood stove (see top of this post) the challenge was to create an object that would be original and in the context of Cooty's character. The stove would be aesthetic, somewhat practical, but a little dangerous and crazy, too. The stove would have to have a stew pot on a grill, because in the Darby Chronicles Cooty is famous for his stew, which he stocks with road kill and veggies from compost piles and dumpsters. Cooty also collects sticks which he hangs on the wall as art objects. Note the clock. Instead of XXII, I wrote "DOOM," which is a reference to Darby Doomsday, a video game that plays a role in Howard Elman's Farewell. I drew the enclosed image with my finger in the Procreate app on the iPad.

My aim for the future of Ernest Hebert’s Guide to the Darby Chronicles is to give my readers information about Darby, both visual and verbal, that is not in the books. And the characters? What they look like is best left to the imagination.


Tuesday, May 19, 2015

On a Long-Lost American Masterpiece, and Why Public Museums Matter

The Moving Panorama of Pilgrim’s Progress on view in Building 13 of the Pepperell Mill Campus, Biddeford, Maine, June 18, 2012. Photo by Shawn Patrick Ouellette, courtesy Portland Press Herald/Maine Sunday Telegram.

by Jessica Skwire Routhier, coauthor (with Kevin J. Avery and Thomas Hardiman, Jr.) of The Painters' Panorama: Narrative, Art, and Faith in the Moving Panorama of Pilgrim's Progress

You would think that an 800-foot-long painting, created by leading American artists and seen all over the United States in the 1850s, would be hard to lose track of. But in fact, that’s exactly what happened to the Moving Panorama of Pilgrim’s Progress, the subject of The Painters’ Panorama, new from UPNE this month.

By the time the panorama was rediscovered, in 1996, in the storage vault of Maine’s Saco Museum (then called the York Institute), no one had seen it for more than a century. Historians of panoramas, a kind of mass entertainment medium of the 19th century, as well as scholars of the Hudson River School painters who designed it—Frederic Edwin Church, Jasper Cropsey, Daniel Huntington, and others—were aware of its history and importance in their fields, and they often referred to it in their writings. But they invariably described it as “lost” or “unlocated,” never imagining that this enormous canvas, once the toast of New York and described by one excitable reviewer as “beyond exception the finest work of art ever produced in this country,” lay safe and untouched—albeit utterly forgotten—within the walls of one of America’s first-generation museums.

Land of Beulah, design attributed to Jasper Cropsey, from the Moving Panorama of Pilgrim’s Progress.

In fact, the reason we know much of anything at all about the Moving Panorama of Pilgrim’s Progress, beyond the historical fact of its existence and the newspaper accounts of its production and enthusiastic public reception in 1851, is that it was donated to a public museum. It’s a historical coincidence that just as panoramas were falling out of fashion—they were being replaced, in the second half of the 19th century, by magic lantern shows and other novelties derived from the alluring new art of photography—museums were being established all over America. As the U.S. passed the benchmarks of its 50th, 75th, and 100th anniversaries, and as American towns, especially in New England, passed even more impressive anniversaries (Saco was founded in 1636), citizens were inspired to create institutions that would preserve their history and artifacts that embodied it.

At the Saco Museum, which was established in 1866, the founders (which included John Johnson, co-inventor of the world’s earliest commercial camera) were also aware that the technological inventions of their time would bring permanent, global change to the way that we work, make things, and look at the world. They knew that the artifacts of the past, or indeed of their present, would not necessarily be the artifacts of the future. The museum’s earliest formal collections therefore included not only art and historical artifacts, but also geological and natural history specimens as well as technological gadgets, including Johnson’s 1839 camera.

“The Splendid Moving Mirror of the Bunyan Tableaux!” Polytechnic Institute (location unknown), circa 1857. Collections of the Dyer Library and Saco Museum, Saco, Maine. Gift of Kathleen M. Swaim.

So in 1896, when the Bryant family of Biddeford (Saco’s sister city across the river) approached the Institute with the gift of the Moving Panorama of Pilgrim’s Progress (or the “Bunyan Tableaux,” as it was then frequently called)—which had been hanging, neglected, in a family barn for a generation or more—the trustees were probably intrigued by it less as a work of art than as an artifact of American entrepreneurship and innovation. Indeed, in the sparse documentation that exists for the gift of the panorama, there is no indication that anyone at that point remembered that the panorama was associated with major American artists—not even Frederic Edwin Church, who was still very much alive at the time and widely revered as a living patriarch of American landscape painting.

Perhaps this explains why, apart from an apparent exhibition or performance within a year of its donation, the panorama was rolled up, tucked away, and soon forgotten. A century’s worth of museum directors, curators, and trustees must have picked their way around it in the storage vault, assuming that it was nothing more than rolled-up dropcloths. Finally, in 1996, then-curator Tom Hardiman (a co-author of The Painters’ Panorama) decided that it was time to finally take those aging bolts of fabric to the dumpster—but he’d better just look at them first to make sure they weren’t anything important.

You might say, at this point, that “the rest is history”—but to do so might imply that what came before was somehow not history. One of the most engaging things about the panorama is its rich and complex relationship to history, from the work of 17th-century English literature that provides its title and subject, to the simultaneous rise of American art and theater in the pre-Civil War years, to the advancements in travel and textile production that meant it could feasibly be presented to audiences all over the United States, to its quiet berth and century-long sleep in one of America’s earliest public museums, to that same small museum’s extraordinary efforts in 2012 to restore and reinterpret it for a new generation and a worldwide audience—efforts made possible, notably, through advancements in video-sharing technology and digital photography.

Jacob Dallas, Joseph Kyle, and Edward Harrison May, The Moving Panorama of Pilgrim’s Progress (detail), 1851, distemper on muslin, Saco Museum, Saco, Maine. Gift of the heirs of Luther Bryant, 1896. Photo by Matthew Hamilton, Williamstown Art Conservation Center; photo splicing by Portland Color.

The Moving Panorama of Pilgrim’s Progress was created as a teaching object; its Christian message was meant to positively influence those who came to see it (find out more about the book The Pilgrim’s Progress here). To many, those ideals are no less important today than they were in 1851. However, in its current form and context the panorama also provides a broader illustration of the world and human experience—the “humanities,” if you will. It is, for instance, lasting evidence that art, religion, entertainment, technology, innovation, and entrepreneurship are not mutually exclusive endeavors, not then and not now. The panorama gives physical, material weight behind the ideal that these passions and pursuits can exist together, not only in a single, remarkable artifact from a specific moment in time, but also—significantly, satisfyingly, and enduringly—in our public museums.

Wednesday, March 28, 2012

Toss out the Chametz and start baking Marble Cholocate Matzoh

Pesach (Passover) preparation begins on April 5, 2012. It is the time to begin clearing your homes of chametz, or leavened products derived from wheat, barley, oat, spelt or rye.   As of the fifth seasonal hour, 11:45 am EDST, you are fobidden to eat chametz. So what can you eat during the 8 days of Pesach that can be made with out flour or yeast? No Worries–Kosher bakers, such as Paula Shoyer, author of The Kosher Baker: 160 dairy-free desserts from traditional to trendy, have learned to work around these restrictions and still present mouth watering meals for entertaining, and snacks to get through the week. For more recipes order your copy of The Kosher Baker .


Marble Chocolate Matzoh
Serves 12

1/3 cup slivered almonds
10 ounces parve dark bittersweet chocolate, chopped or broken into 1-inch pieces
1/3 cup parve white chocolate chips
3 large or 4 small pieces of matzoh

Preheat the oven to 325°F. Line a jelly roll pan with parchment. Spread the almonds on the pan and toast for 15 minutes, stirring the nuts after 10 minutes. When the almonds are toasted, remove the pan from the oven and slide the parchment off the cookie sheet.
While the nuts are toasting, melt the dark chocolate in one heatproof bowl and the white chocolate in another. You can do this either on the stovetop or in the microwave.  If you use the microwave method, be especially careful with the white chocolate chips so they do not burn.

When the almonds are toasted, use a large knife to roughly chop them into pieces about 1/3 of their original size. Mix the nuts into the melted dark chocolate.
Line 1 large or 2 smaller cookie sheets with waxed paper and place the matzohs on top of the waxed paper. Spread the dark chocolate and nut mixture all over the matzoh slices to cover them entirely on one side with the chocolate.
Drop clumps of the melted white chocolate randomly on top of the dark chocolate. Use a toothpick to swirl the chocolates to create a marble effect. Place in the refrigerator to set for 1 hour and then break into pieces to serve.  Store in the refrigerator for six days or freeze for up to three months.


Wednesday, March 14, 2012

Granny D Never Stopped being a Teacher, Mentor, or an Activist

Re-posted from Huffington Post written by co-author of Granny D's American Century, Dennis Michael Burke

New from University Press of New England and University of New Hampshire Press, Doris "Granny D" Haddock's latest collection of memoirs covering the last 100 years, Granny D's American Century.  To order a copy of the book, visit UPNE.com Available in Hardcover (ISBN978-1-61168-234-2) and Ebook (EISBN 978-1-61168-235-9).

I learned a few very good things during my travels with Doris "Granny D" Haddock. The first, which sounds hackneyed, is that one person can make a difference. It's truer than I imagined. When Matt Keller and other young Common Cause lobbyists were making their rounds on the Hill to get votes for McCain-Feingold--a flawed but worthwhile attempt to limit the flood of corrupting money into campaigns--they kept running into the same objection from Members of Congress: "Yeah, you good government folks want this reform, but the real people back home don't care about it--it's a Beltway thing."

Matt told me that all that changed overnight when they could say, "No, actually, people do care, so much so, in fact, that a 90 year-old New Hampshire lady is walking from California to D.C. to support this bill--and she's getting lots of ink along the way." The ink was true: newspapers and local TV stations were all over her, and were changing their editorial stances in favor of the reform. Even the conservative Dallas Morning News endorsed the reform after they talked to her.  So, yeah, one person matters. A lot.

The second thing I learned is that personal sacrifice is the key to political change, and it's very rare today. Getting on a bus to D.C. and walking around with signs doesn't cut it today, if it ever did. If there's not a little Selma in the march, it doesn't much matter. If Doris had been a healthy 35-year-old walking across the country, she would not have moved the bill to passage, which she did. (It could not have passed it without her, according to the bill's sponsors). Her secret weapon was her willingness to endure incredible leg cramps every night and to suffer through steep hills with her emphysema and her arthritis. Reporters walking with her became true believers, starting most notably with Frank Bruni of The New York Times. Big changes are all about personal sacrifice and the acceptance of pain to demonstrate the importance of the issue. The only real way to show people the depth of your feelings is to show them what you will do short of suicide or masochism (which don't sell and don't represent high human values).

Doris's willingness to keep going was an inspiration not only to me (I was the Common Cause guy for Arizona when she strode into our deadly desert), but also to people like the D.C. public relations wiz John Anthony, who pushed her story onto Good Morning America, NPR and a hundred other platforms. He introduced her, in fact, to Arianna Huffington, who became a big supporter of Doris and her message. Some 2,300 people were walking with Doris when she reached Washington, and she had to ski the last 90 miles after the biggest snowstorm in 40 years.

So I learned that we each can make a difference, but it isn't a casual thing: we have to make a sacrifice--that's the second thing to take away from Doris's life. We have to leave our ego and false sense of dignity at home and just get out there and suffer our way through. I learned that when you really do that, and when you are really balls-to-the-wall in service to a good cause, doors and opportunities open like magic for you every new day. It's actually spooky.

There was a third thing: A few years after her long walk, after the passage of her bill, she recruited a few friends to help her register working women to vote in advance of the 2004 election. It was a grueling trek--I don't remember how many cities, but about 23,000 miles were involved, mostly in a rattletrap old van. What I learned with her on that trek was the fact that the Democrats, or lets say the progressives, can easily win every election in almost every state if they would just listen to people and help them. On that trek, which is the subject of the second half of her new, posthumous, memoir, she did two things of note:

She took over the jobs of working women, just long enough for them to register to vote. She was an alligator feeder in Orlando, a mermaid near Tampa, and a bartender on Bourbon Street in New Orleans, a masseuse in Detroit, and much more. She went into a strip club in Tampa to register the women, which she did (refusing a turn on the stage). She did all that to attract the television and print stories that would encourage working women to register, and encourage voter registration officials to create outreach programs. Her message to working women was, "Yes, it's a pain to take time off and go register, but if I can go to all this trouble at my age and infirmity just to remind you, you can damn well do this thing for yourself and your country," and it worked.

The other, more mind-opening thing she did was listen to people's troubles. When our little wildly-painted van pulled into a housing project, be it Little Haiti, Fort Meyers, Memphis, St. Louis, or as far up as Duluth, kids came out to see us. Our traveling artist, Blue Broxton, would start drawing on the sidewalks with big chalk, and then she would give colors to the kids, and the sidewalks would explode. Then their parents would come out to see, and we would register them. Many of those people said they had never had anyone come into the project to help them register. They told us their problems, and we listened and often did what we could with phone calls to officials. We encouraged them to organize, and to work with churches and other organizations. People seemed inspired by Granny to actually do things like that for themselves and their neighbors. They planned after-the-vote parties to encourage voting.

We learned that many young adults had lost the right to vote because of the rap sheet that follow people in the projects as a result of Clinton's putting a zillion more cops on the streets instead of ending poverty. When we showed up in projects with the forms these young people needed to restore their voting rights, they lined up for them. Mothers took copies so they could make more copies after we left. Had anyone from either political party ever come through here to listen or to help? Never, they said. Never. And there were enough votes right there to swing any election.

With Chicago's amazing Andrea Raila we cruised the halls of Cabrini Green housing projects in Chicago. People were delighted to register, and delighted to know they could vote down at the school they could see from their windows. Were we the first to knock on their doors with voter forms? Yes, they said, we were. Before we left, Doris cried in the parking lot to see such lovely children in such poverty, and so abandoned by the political class.

When the Democratic Convention in Boston rolled around, Doris spoke to a gathering of Dean and Kucinich progressives, whose joint gathering she had worked to create. She told them that elections are just the report card to tell us how well we have been listening to people and helping them with their problems. She said that to just show up every few years and ask for votes was fraud. She said that if the Democrats would shed their fancier offices and plunk down in the middle of the neighborhoods that needed political help every day, then the Democrats would never lose an election.
And she was right. But the parties are, for the most part, just lawyers versus doctors, vying for power. The Democratic party's dedication to real people's needs has more often than not been a scam--the present administration being not much of an exception.

At the end of her working women vote trek, a twist of fate (the last-minute departure of the Democrat candidate) made Doris the New Hampshire candidate for the U.S. Senate in 2004--not because she thought she could win or wanted to, but because it would be an opportunity to turn her state back into the blue by stumping against Bush's war and his anti-middle class policies. In fact, New Hampshire turned blue by a few thousand votes, and her headquarters was a victory celebration for those of us who knew her real reason for running.

That, perhaps was the fourth thing she taught me: you never lose if you're all in. You never lose because, as she said in a speech in Pecos, Texas, when walking across all of our country:
"Never be discouraged from being an activist because people tell you that you'll not succeed. You have already succeeded if you're out there representing truth or justice or compassion or fairness or love. You already have your victory because you have changed the world. You have changed the status quo by you. You have changed the chemistry of things, and changes will spread from you, will be easier to happen again in others because of you, because, believe it or not, you are the center of the world."
She believed that, not only for herself, but for you and me. She often stole that great old quote: "democracy is not something you have; it's something you do."

It's what she did. It's what we all must do, even on days when our bones creak and our voices wheeze.

Dennis Michael Burke is the co-author of Granny D's American Century [University Press of New England, $27.95].