Historian Daniel Todman coalesces various aspects of military history and the personal narratives from those who were in battle. Linking the strategic, political, and cultural sides of war, Todman aims to capture the true consequences of WWII. The excerpt below, from Britain’s War: Into Battle, 1937-1941, illustrates the fluidity of history by telling the stories of the author’s two grandfathers, both veterans with their own respective views on the war.
One hundred years ago, in 1916, Montana elected the first woman to serve in Congress: Jeannette Rankin. On Tuesday, the US did not elect its first woman president. Although Hillary Clinton won the popular vote, Donald Trump won the Electoral College. The expectation of a Clinton victory led many to reflect on the long history of women’s quest for the right to vote.
Guglielmo Marconi was the man who networked the world. He was the first global figure in modern communications, popularizing as well as patenting the use of radio waves. Decorated by the Czar of Russia, named an Italian Senator, knighted by King George V, and awarded the Nobel Prize for Physics, Marconi accomplished more before the age of forty than many people do in a lifetime.
If Hillary Rodham Clinton had triumphed in Tuesday’s presidential election, it would have been a milestone for women’s political representation: a shattering of the hardest glass ceiling, as her supporters liked to say. Clinton’s defeat in the electoral college (but not the popular vote) is also the failure of a certain feminist stratagem. But the victory of Donald Trump tells us just as much about the global politics of gender, and how it is being remade.
Settlers in North America during the 1600s and 1700s grew and raised all their own food, with tiny exceptions, such as importing tea. In the nineteenth century, well over 80 percent of the American public either lived at one time on a farm or made their living farming. Today, just over 1 percent does that in the United States, even though there is a surge going on in small organic family farming.
When Einstein claimed his theory of relativity came from a musical insight, no one blinked twice. Of course music could inspire scientific insight. But the reverse idea is often fraught with baggage. Artistic circles often feel that science is more threat than ally.
Religious fanaticism, power-hungry individuals, local disputes, misogyny, anxiety, political turmoil, psychological distress, and mass hysteria all contributed to the atmosphere surrounding the infamous Salem witch trials. These factors converged in 1692 to “produce what was by far the largest and most lethal outbreak of witchcraft in American history … threaten[ing] to bring down the newly formed Massachusetts Bay government of Sir William Phips.”
While watching the first episode of Luke Cage, I noticed something of a minor miracle. Starting from the amazing opening credits sequence, you could actually count the minutes before a single non-black face graced the screen. Every character of consequence, heroic or villainous, was black. Not only that, they were characters well-versed in blackness, however stereotypical. Fittingly, one of the first real set-pieces is a barbershop.
With the abolition of slavery in 1888 and the collapse of the empire in 1889, Brazil’s population of color was basically abandoned. Many left the plantations that had been their only home and began to move south to the developing urban areas of Brazil.
At the intersection of State and Washington Streets in the Warehouse District of downtown Peoria, a city of about 116,000 that sits halfway between Chicago and St. Louis, stands a nine-foot-tall bronze likeness of the city’s most infamous native son. If you were a visitor, in town to hang out along the up-and-coming riverfront or to visit Caterpillar, the only Fortune 500 company headquartered in the city, you would be forgiven for thinking this makes sense, that of course Peoria would memorialize Richard Pryor arguably the most culturally significant Peorian of all time, and inarguably one of the most significant figures in African American cultural history of the twentieth century.
Earlier this year, the first-ever nationally representative study of child maltreatment in South Africa revealed that over 40% of young people interviewed reported having experienced sexual abuse, physical abuse, emotional abuse, or neglect. This figure is high, but it is not unusual: similar studies on violence against children have been conducted across 12 other countries, with many revealing equally high rates.
Crossing the train track from the predominantly white Anniston into the historically black Hobson City, Alabama, I immediately noticed the significant changes in environment and people. It was not until I exited my car and physically inserted myself into the Hobson City community that I learned that there was much more to this small town than what initially met my eyes.
Hillary Clinton was confidently predicted to ‘crack the country’s highest glass ceiling once and for all.’ In Rochester, New York women queued up to put tokens on the grave of Susan B Anthony the nineteenth century suffragist and architect of the 19th amendment to the US constitution which gave federal voting rights to woman in 1920 (they had been voting in territories and states since 1869).
The United States and its Constitution are now in their third century. The passage from each century to the next has been eventful. This review suggests an important lesson in considering the presidency in the twenty-first century: Events, the issues they generate, and the people who serve are normally more important than reforms in explaining change. Neustadt again: “The presidency nowadays [has] a different look.”
On winning the US Presidential election, Trump’s victory speech confirmed that he would put America first in his policies. That pursuit of America’s interests will permeate US economic and other policies in the years to come. US President Donald Trump’s effect on the economy is hard to discern due to a lack of policy detail.
We have always known already that Shakespeare was a collaborator; he was a man of the theatre which is an inherently very collaborative, social art. The news is that he also collaborated as a writer much more than we used to think he did. We can now say with a high degree of certainty that upward of third of his plays were co-written in some sense or other. In most film portrayals, Shakespeare seems to produce his plays in isolation.