Blog

  • Trump EPA Proposes To Scrap Protections for Children From Pesticide Linked to Birth Defects, Cancer; Plan Would Also Allow 50 Percent More Atrazine in Rivers, Streams

     atrazine spraying

    The Trump administration proposed to reapprove the pesticide atrazine, an endocrine-disrupting herbicide that castrates frogs and is linked to birth defects and cancer in people. It has been banned or is being phased out in more than 35 countries.

    Herbicide application on fields. Photo: Eric Vance, EPA

    The proposal weakens safeguards for children’s health and the environment, allowing 50 percent more atrazine to end up in US waterways.

    “It’s absolutely shameful that while other countries are banning atrazine, the Trump administration is opening up the tap,” said Nathan Donley, a scientist with the Center for Biological Diversity. “This disgusting backward step ignores decades of research and will inflict untold damage on people, wildlife and waters across the country.” Atrazine is the second-most-used pesticide in the United States and one of the most common pesticide contaminants in waterways and drinking-water supplies.

    In allowing the continued use of atrazine, the EPA discarded safety precautions mandated under the Food Quality Protection Act that protect young children from pesticide exposures. In doing so, the agency is  ignoring multiple independent studies finding that developing embryos and young children are at a high risk of harm from this pesticide.

    The EPA also reduced the protection factor it uses to convert toxicity in rat and mouse studies to levels considered safe for humans. The more permissive benchmark proposed by the Trump EPA relies solely on a model developed by the primary manufacturer of atrazine, Syngenta.

    With those protections in place, atrazine uses on lawns and turf would likely have been cancelled due to unacceptable harms to children. In today’s decision, the agency is only proposing a modest reduction in application rate for turf.

    “Restricting the spraying of atrazine is essential for protecting human health,” said Olga Naidenko, the Environmental Working Group’s vice president for science investigations. “Instead, the Trump EPA’s proposal would increase atrazine discharges, endangering children’s health and harming communities. Since the beginning of the Trump administration, the agency has been working overtime on behalf of chemical agriculture while acting against the interests of children’s health.”

    The Trump EPA plan also weakens environmental safeguards put in place in 2006 to protect aquatic life from harmful atrazine exposure, a move that will dramatically increase the amount of atrazine allowed in waterways across the United States.

    At issue is the “concentration equivalent level of concern,” or CELOC, a regulatory threshold meant to protect aquatic ecosystems from pesticide pollution. The current CELOC is a 60-day average concentration of 10 parts per billion of atrazine. The proposed action would raise that level to 15 parts per billion, nearly five times higher than the 3.4 parts per billion the EPA identified as safe in 2016. Water concentrations that exceed the CELOC in any given year are subject to mitigation measures by the pesticide companies that are meant to bring the watershed back into compliance.

    The proposed weakening of safeguards for atrazine comes after Jeff Sands, a former Syngenta lobbyist, was appointed a senior agricultural advisor to then-EPA administrator Scott Pruitt in October 2017. Sands received a waiver from Trump’s pledge to forbid political appointees from working on issues involving former employers or clients. Sands has since left the EPA.

     

    The Center for Biological Diversity is a national, nonprofit conservation organization with more than 1.6 million members and online activists dedicated to the protection of endangered species and wild places.

  • Sofonisba Anguissola and Lavinia Fontana: A Tale of Two Women Painters

    A Tale of Two Women Painters: Sofonisba Anguissola and Lavinia Fontana

    The exhibition

    Self-Portrait in the Studio, Lavinia Fontana, Oil on copper, 1579; Florence, Gallerie degli Uffizi, Galleria delle statue e delle pitture

    Sofonisba Anguissola and Lavinia Fontana trained in Cremona and Bologna respectively; two geographically close artistic centres but ones characterised by their particular artistic, social and cultural traditions. They came from different types of families and had different lives although in both cases the role of their fathers had a fundamental influence on their careers. Both were able to overcome the stereotypes that society assigned to women in relation to artistic practice and the deep-rooted scepticism regarding their creative and artistic powers. As a result, they made use of painting to achieve a significant position in the society in which they lived.

    One of six daughters, Sofonisba Anguissola was born into a family of the minor nobility in Cremona. Painting offered her the chance to achieve a social position appropriate to her family, the Anguissola-Ponzonis. Her abilities and personality combined with her father’s promotional skills led her to become a celebrated woman and one renowned for her virtue, furthering the possibilities of women in artistic roles and becoming a figure whose legend still survives today. Most noted for her portraiture, Anguissola was also summoned to serve as a lady-in-waiting to Isabel de Valois, a role that effectively concealed her true activities.

    For Fontana, the daughter of a painter of some prestige, painting was a natural environment which, with the encouragement of her father, offered her a career. She was the first woman painter to be acknowledged as a professional and an artist who transcended the limits and pictorial genres imposed on women. Her extensive, wide-ranging oeuvre includes numerous portraits and religious works for churches and private oratories and she also painted religious compositions, a genre in which the nude was an important element.

    Ladies and painters

    Self-Portrait at the Easel, Sofonisba Anguissola, Oil on canvas, c. 1556-57; Poland, The Castle – Museum in Łańcut

    Sofonisba Anguissola (Cremona, ca.1535 – Palermo, 1625) and Lavinia Fontana (Bologna, 1552 – Rome, 1614) were two female pioneers of painting who achieved fame and recognition among their contemporaries. Both dismantled the social stereotypes assigned to women with regard to artistic practice, characterised by scepticism regarding their capabilities.

    Anguissola came from a large family of noble origins. Her father, Amilcare Anguissola (ca.1494-1573) promoted and supported his daughter’s artistic training as part of a humanistic education considered appropriate for young people. Sofonisba primarily focused on portraiture and achieved a level of fame which, thanks to her aristocratic origins and her reputation as a virtuous woman, facilitated her arrival at the Spanish court where she became a lady-in-waiting to Queen Isabel de Valois. This position prevailed over her role as a painter but made her a reference point for other female artists.

    Lavinia Fontana’s early years are comparable to those of most women artists. She was the daughter of Prospero Fontana (1512-1579), a prestigious Bolognese painter with whom she trained and worked. The city’s prosperous economic and social situation account for the prominent role of women in its cultural, religious, social and artistic life. Lavinia Fontana was the first woman to open her own studio where she embarked on a notably active career that would extend to Florence and Rome, before moving to the latter city towards the end of her life.

  • Goosed: Those Years when Fate Takes a Hand

    by Julia Sneden

    A Child's Christmas in WalesChristmas at our house is nothing if not traditional, both in the generic sense and in the keeping of our own, personal traditions. The decorations and timing of our Yuletide celebrations almost never vary. We follow the same schedule, and put up the same excessive but un-exotic décor year after year.

    Edibles are a large part of our tradition, too. Our dining room sideboard boasts several kinds of cookies and candies, both homemade and store-bought. Our Christmas menus vary little from one year to the next.

    Such consistency is comforting to old and young, and is cheerfully (and sometimes mockingly) referred to as “the same old Christmas:” same, that is, except for those years when fate takes a hand.

    The first time that happened was the year that I slid on an icy road and put my car through a fence just days before Christmas. I was fine, but the car was definitely the worse for the experience, and we had to make do without it until well into the New Year. I hastily re-did some of the last-minute plans, and we had a rather restrained Christmas (no last-minute shopping) while we counted our blessings.

    Then there was the year that one of our sons couldn’t be home for Christmas. It felt a bit bleak, but we survived it. I’m sure it was harder on us than on him. He was invited to spend Christmas Eve with a friend’s wonderful, Polish family, and on Christmas Day, he served at a soup kitchen, enjoying every minute of it.

    There was the year that we had a Russian exchange student living with us, and he invited his mother to join us for all of November and December. She didn’t speak English, but that didn’t seem to matter. We all got along just fine with smiles and gestures.

    Less pleasant was the year that I came down with stomach flu in the middle of Christmas Eve dinner, followed serially over the course of the next three days by seven more family members. Only one son and the baby managed to escape. That was the year we discovered that there is no such thing as a house with too many bathrooms.

    But the strangest Christmas of all was the Christmas of the Goose. John, my husband, was born in the wrong century. His vision of Christmas is informed by a heavy dose of Dickens and merrie olde England. It’s not enough to watch every version of A Christmas Carol that is shown on television, year after year. He hangs an Advent wreath over the center of the dining table. He sings along with the Advent hymns on a CD of the Canterbury Cathedral Choir. He sings The Boar’s Head in Latin as I carry in the roast. He reads Dylan Thomas’s A Child’s Christmas in Wales aloud to the family every Christmas Eve. He puts Christmas crackers at each place at table. He has even been known to remind us about Boxing Day.

    One year, as we were cleaning up from Thanksgiving, he suddenly said: “Let’s have a goose for Christmas this year.” I was stunned. “Yes,” he said, agreeing with himself where I could not, “a Christmas goose would be an adventure.”

    (My only previous experience with goose occurred before we were married, in 1960. I was in Denmark, visiting with friends, and was invited to share the goose-liver stew that was made up of leftovers from their Christmas dinner of a few days before. It was absolutely delicious, but no one thought to enlighten me about the digestive effects of over-indulgence in such a rich dish. I wondered why I was the only one who took second helpings. I soon found out. The dinner was followed by an attack of flatulence that could have powered one of the rocket engines of our fledgling space ships).

  • Rumors Of War by Kehinde Wiley: Monuments and Their Role in Perpetuating Incomplete Histories and Inequality

    Kehinde Wiley's Rumors of War

    Photo by Travis Fullerton © Virginia Museum of Fine Arts

    Kehinde Wiley (born 1977) is an American artist known for repositioning black youth within the classical European tradition of power and status. With Rumors of War, he expands this concept while directly engaging the national conversation around monuments and their role in perpetuating incomplete histories and inequality.

    As a direct response to the Confederate statues that line Monument Avenue in Richmond, Wiley conceived the idea for Rumors of War when he visited the city in 2016 for the opening of Kehinde Wiley: A New Republic at VMFA.  Rumors of War takes its inspiration from the statue of Confederate Army General James Ewell Brown “J.E.B.” Stuart created by Frederick Moynihan in 1907. As with the original sculpture, the rider strikes a heroic pose while sitting upon a muscular horse. However, in Wiley’s sculpture, the figure is a young African American dressed in urban streetwear. Proudly mounted on its large stone pedestal, the bronze sculpture commemorates African American youth lost to the social and political battles being waged throughout our nation.

    First unveiled on September 27, 2019, in Times Square, where the statue  remained on view for several weeks, Rumors of War was  unveiled December 10, 2019, at Virginia Museum of Fine Arts, its permanent home. The artist’s vision will be complete when the statue is installed there with the city of Richmond as its backdrop. While this is Wiley’s first monumental public sculpture, it is a continuation of his career-long investigation of representation, race, gender, and power.

    In Rumors of War, Wiley draws from a series of paintings he created in the early 2000s when, inspired by the history of equestrian portraiture, he replaced traditional white subjects depicted in large-format paintings with young African American men in street clothes. At that time, these works were a reaction to the conflicts in Iraq and Afghanistan. Nearly two decades later, Wiley’s public sculpture, taking its name from a biblical phrase found in Matthew 24:6, addresses the violence that continues not just in the Middle East but every day on the streets of this nation. Rumors of War also offers an exquisite example of how to imagine and develop a more complete and inclusive American story.

    Wiley’s career has focused on addressing and remedying the absence of black and brown men and women in our visual, historical, and cultural narratives. His subjects range from individuals the artist encountered while traveling around the world to many of the most important and renowned African American figures of our generation, including President Barack Obama.

    Also in the VMFA collection, Kehinde Wiley’s 2006 painting Willem van Heythuysen, is located in the Museum’s Tapestry Hall.

    • Type: Special Exhibition
    • Collection: African American Art, American Art, 21st-Century Art
    • Culture/Region: America
    • Subject Area: African American, Fine Arts

    Kehinde Wiley: A New Republic presents a stunning retrospective of this artist’s prolific career through nearly sixty paintings and sculptures. Kehinde Wiley’s work raises intriguing questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional European portraiture. Appropriating the format of specific paintings by renowned masters ranging from Titian to Édouard Manet, Wiley often depicts his subjects wearing sneakers, hoodies, and other gear associated with today’s hip-hop culture and sets them against ornate decorative backgrounds that evoke earlier eras and cultures.

    Explore twelve of Wiley’s pieces through the lens of VMFA’s encyclopedic permanent collection! VMFA curators and educators combed through the galleries and drew inspiration from A New Republic. You can find the Wiley/VMFA pairings in the ArtLounge at the end of the exhibition as well as a downloadable version here.

    Learn more about the twelve pairings that link Wiley’s work to VMFA’s Permanent Collection! Click here to download a print version of the pairings.

    Watch Kehinde Wiley’s talk at VMFA:

    Kehinde Wiley’s interview at VMFA:

  • Weekly National Summary of Week 50: Outpatient Illness Surveillance, Geographic Spread, Mortality Surveillance

    ILINet

    Nationwide during week 50, 3.9% of patient visits reported through the U.S. Outpatient Influenza-like Illness Surveillance Network (ILINet) were due to influenza-like illness (ILI). This percentage is above the national baseline of 2.4%.

    national levels of ILI and ARI
    View Chart Data | View Full Screen

     

    On a regional level, the percentage of outpatient visits for ILI ranged from 1.9% to 7.8% during week 50. All regions reported a percentage of outpatient visits for ILI which is equal to or above their region-specific baselines.

    ILI Activity Map

    Data collected in ILINet are used to produce a measure of ILI activity* by state.

    During week 50, the following ILI activity levels were experienced:

    • High – Puerto Rico, New York City, and 19 states (Alabama, Arizona, Arkansas, Colorado, Florida, Georgia, Kansas, Kentucky, Maryland, Mississippi, Nebraska, New Mexico, Oklahoma, Oregon, South Carolina, Tennessee, Texas, Virginia, and Washington)
    • Moderate – the District of Columbia and six states (Connecticut, Illinois, Minnesota, New Jersey, North Carolina, and North Dakota)
    • Low – 10 states (California, Hawaii, Indiana, Massachusetts, Nevada, New York, Pennsylvania, Utah, Wisconsin, and Wyoming)
    • Minimal – 14 states (Alaska, Delaware, Idaho, Iowa, Maine, Michigan, Missouri, Montana, New Hampshire, Ohio, Rhode Island, South Dakota, Vermont, and West Virginia)
    • Data were insufficient to calculate an ILI activity level from the U.S. Virgin Islands and Louisiana.

    *Data collected in ILINet may disproportionately represent certain populations within a state, and therefore, may not accurately depict the full picture of influenza activity for the whole state. Differences in the data presented here by CDC and independently by some state health departments likely represent differing levels of data completeness with data presented by the state likely being the more complete.

    Additional information about medically attended visits for ILI for current and past seasons:
    Surveillance Methods | FluView Interactive: National, Regional, and State Data or ILI Activity Map

    Geographic Spread of Influenza as Assessed by State and Territorial Epidemiologists

    The influenza activity reported by state and territorial epidemiologists indicates geographic spread of influenza viruses but does not measure the severity of influenza activity.

    During week 50 the following influenza activity was reported:

    • Widespread – Puerto Rico and 30 states (Alabama, Alaska, Arizona, California, Connecticut, Delaware, Florida, Georgia, Idaho, Indiana, Kentucky, Louisiana, Maryland, Massachusetts, Minnesota, Mississippi, Montana, Nebraska, Nevada, New Mexico, New York, North Carolina, Ohio, Oregon, Pennsylvania, South Carolina, Tennessee, Texas, Virginia, and Washington)
    • Regional – 17 states (Arkansas, Colorado, Illinois, Iowa, Kansas, Maine, Michigan, Missouri, New Hampshire, New Jersey, North Dakota, Oklahoma, Rhode Island, South Dakota, Utah, Wisconsin, and Wyoming)
    • Local – the District of Columbia and two states (Vermont and West Virginia)
    • Sporadic – the U.S. Virgin Islands and one state (Hawaii)
    • Guam did not report.

    Additional geographic spread surveillance information for current and past seasons:
    Surveillance Methods | FluView Interactive

  • Worth Revisiting: Joan Cannon’s Review of Islandia, a Novel of Remarkable Length Nowadays

    ISLANDIA

    By Austen Tappan Wright © 1942

    Published by Farrar & Rhinehart; Hardcover, 1013 pp

    This lengthy story covers a short time in the life of a privileged young man who forms a friendship at Harvard with another student from Islandia in 1905. John Lang of New England and Dorn of Islandia cement a friendship reminiscent of the male bonding of classics. After spending a summer together on Cape Cod, Lang has learned enough Islandian from Dorn and by studying on his own to secure a job as consul to the nation that occupies the southern coast of a continent whose nearest land mass would be Antarctica — if it existed. Endpapers in the original edition enable the reader to be oriented.

    What Lang discovers in the idealized agrarian, humanist society alters him profoundly. So does his passionate love for a woman who, in the time period of the novel, would have been extraordinary, if only slightly less so today. He is befriended without prejudice by some very interesting characters of both sexes and all ages as he travels through the country he is charged with influencing in favor of foreign trade.

    He narrates not only his adventures and minute observations of customs and landscape, flora and fauna, but his reactions to all of them. At once he reveals himself as an introverted, intelligent, compassionate, incredibly observant young man who might better have found himself at Brook Farm than Harvard, it seems. Thoreau’s ghost is a faint, benign presence through discussions of the desirability of “simplicity” in social structures.

    Sections read like poetic romance, others like adventure, some like fantasy of the best and most convincing kind, some like philosophy. The pace varies much in the way one’s daily experience might in a place where the only means of transport are one’s own legs, horses, or boats without motors. The reader is fully immersed in a complete new life in a very few pages, and by the last of over a thousand, has been in some way imprinted.

    Read more …

    http://www.seniorwomen.com/articles/articlesCannonIslandia.html

  • Stories Behind the Numbers: When Laws Make Divorce Easier, US Census Bureau Research Show Women Benefit

    cartoon from 1800 regarding divorce

    Puck cartoon parodying the circus-like divorce proceedings of Anna Gould (an American heiress and socialite) and Boni de Castellane (a French nobleman) in 1906 in Paris, France. Boni de Castellane then sought an annulment from the Vatican so that he could be free to remarry in the Church. The annulment case was not finally settled until 1924, when the highest Vatican tribunal upheld the validity of the marriage and denied the annulment

    By Misty L. Geggeness

    This story showcases one of the many independent research projects done by US Census Bureau experts on topics relevant to the agency’s mission. 

    Divorce usually conjures negative thoughts of broken homes and acrimony but research now shows that divorce laws can actually have a positive effect on society and the economy.

    According to new research, laws that make it easier to divorce can improve the welfare of household members, even for couples that stay together.  

    Divorce can be difficult and lead to less than ideal well-being outcomes. But studies both abroad and in the United States show divorce laws can play a positive role.

    According to new research, laws that make it easier to divorce can improve the welfare of household members, even for couples that stay together. 

    When family laws shift property rights and provide payments directly to women upon divorce, wives have been shown to invest more in quality schooling for their children and in schooling in general. Their leisure time increases and they start working more, decreasing the time they spend on household chores such as cleaning and cooking.

    The prospect of onerous alimony, child support and other divorce compensation increases wives’ bargaining power when they have the option to divorce.

    It may be less favorable for husbands but the reverse is also true when divorce laws are more favorable to husbands.

    Studies have shown there are unexpected positive ripple effects when laws make divorce easier and quicker, including:  

    Divorce laws may also influence the quantity and gender of children within marriage.

    Easier access to divorce has been shown to reduce the number of births and, in China, divorce reform has decreased the probability of trying to have a son after a first-born daughter by around 12%.

    Also, laws that guarantee generous financial compensation upon divorce have been shown to increase first births among highly educated women. Knowing that they will be compensated for lost wages reduces the risk of leaving the labor market to have children.

    In a divorce, family courts redistribute resources gained during (and sometimes before) marriage. Women have more to gain in divorce if laws are more favorable to wives. first births among highly educated women. Knowing that they will be compensated for lost wages reduces the risk of leaving the labor market to have children.

    Expanded alimony and child support and  allowances for divorced mothers have been shown to increase investments in children’s schooling and clothing.

  • Who Was Schuyler Colfax? Sitting Presidents & Vice Presidents Who Have Testified Before Congressional Committees

    Vice President Schuyler Colfax, rightSchuyler Colfax

     

    President Abraham Lincoln [1]
    House Judiciary Committee
    February 13, 1862

    “President Lincoln today voluntarily appeared before the House Judiciary Committee,” reported the New York Tribune, “and gave testimony in the matter of premature publication in the Herald of a portion of his last annual message.” Lincoln’s message to Congress on December 1861 had been published in the New York Herald on the same morning that it was sent to Capitol Hill. The House Judiciary Committee, chaired by John Hickman, investigated the leak and called Herald correspondent Henry Wikoff to testify. Wikoff refused to divulge his source, citing “an obligation of strictest secrecy.” Given Wikoff’s close friendship with Mary Todd Lincoln, many assumed that the correspondent was protecting the first lady. The committee ordered the sergeant at arms to hold Wikoff. Then the president went to the Capitol for a private meeting with Judiciary Committee members, to assure them that no member of his family was involved. The next day the committee released Wikoff.

    Vice President Schuyler Colfax
    House Select Committee to Investigate the Credit Mobilier
    January 7, 1873

    Vice President Colfax appeared voluntarily before the House Select Committee concerning his ownership of stock in Credit Mobilier, a company involved in the construction of federally subsidized transcontinental Union Pacific Railroad. During the previous presidential campaign, in response to newspaper criticism, Colfax had denied that the railroad’s agent, Congressman Oakes Ames, had given or offered him stock in the Credit Mobilier. Before the committee, Colfax testified that he had first agreed to buy $500 worth of stock from Ames but later decided against making the purchase; but that Ames never repaid him the $500. Oakes Ames, however, produced evidence of Colfax’s check to him for $534 and his check to Colfax for $1,200, the difference being a 60 percent cash dividend.

    President Woodrow Wilson
    Senate Foreign Relations Committee
    August 19, 1919

    Members of the Senate Foreign Relations Committee took testimony from President Wilson at the White House concerning the treaty of peace with Germany and establishment of a League of Nations. The president opened by reading a statement and then answered questions for three and a half hours, after which the president invited them to stay for lunch. Chairman Henry Cabot Lodge explained that the committee was “very desirous of getting information on certain points which seem not clear and on which they thought information would be of value to them.” Despite Wilson’s efforts, the Senate twice rejected the Treaty of Versailles, and the United States never joined the League.

    President Gerald R. Ford
    Subcommittee on Criminal Justice, House Judiciary Committee
    October 17, 1974

    President Ford voluntarily appeared before the Subcommittee at the Capitol to explain the reasons behind his pardon of former president Richard M. Nixon. Ford insisted that the pardon had not been prearranged, but was the result of his concerns over reports of Nixon’s deteriorating mental and physical health.

  • And Now for Something Different, Respected and Available to Project Gutenberg: Louisa May Alcott, Little Women and Other Writings

    From The New Yorker, August 20, 2018

    In the past few decades, the most important version has been Gillian Armstrong’s 1994 film, with Winona Ryder as Jo, Kirsten Dunst as Amy, and, as Marmee, Susan Sarandon, who had been enshrined as a feminist icon by “Thelma and Louise.” Recently, it was announced that Greta Gerwig, who had such success last year with “Lady Bird,” her directorial début, is at work on a new “Little Women” movie, with Saoirse Ronan, the star of “Lady Bird,” in the lead role. Ronan seems made to be Jo. And those are just the big-screen versions. Editor’s Note: We unwrapped our copy of this version last night, having had it for some years and will look forward to the new version by Greta Gerwig.

    Project Gutenberg allows you and those who haven’t read the classic to do so at their website: 
    Little Women

    https://www.gutenberg.org/ebooks/37106

    The new film version of the story will be released on Christmas. There is also a documentary about the Alcott’s house, Orchard House, that has won an Emmy Award.  “Orchard House (c. 1650) is most noted for being where Louisa May Alcott wrote and set Little Women in 1868.  This noble home also has a rich history stretching back two centuries beforehand, as well as more than 100 years of life as a treasured historic site open to the public.”  

    In 1857, Amos Bronson Alcott purchased 12 acres of land with a manor house that had been on the property since the 1660s for $945.  He then moved a small tenant farmhouse and joined it to the rear of the larger house, making many improvements over the course of the next year, as he detailed in his journals.  The grounds also contained an orchard of 40 apple trees which greatly appealed to Mr. Alcott, who considered apples the most perfect food.  It is not surprising, then, that he should name his home “Orchard House.”

    After moving more than twenty times in nearly thirty years, the Alcotts had finally found their anchoring place at Orchard House, where they lived until 1877.  The house is most noted for being where Louisa May Alcott wrote and set her beloved classic, Little Women, in 1868 at a “shelf desk” her father built especially for her.

    Fortunately, there have been no major structural changes to the house since the Alcotts’ time, with ongoing preservation efforts adhering to the highest standards of authenticity.  Since approximately 80% of the furnishings on display were owned by the Alcotts, the rooms look very much as they did when the family lived here, causing many modern-day visitors to comment that, “A visit to Orchard House is like a walk through Little Women!”  

    Guided tours introduce visitors to the family members themselves, the household items that held meaning to them, their individual and collective achievements and lasting impact, as well as their influence on characters in the beloved novel, Little Women.

     

    LOUISA MAY ALCOTT  By Chloe Morse-Harding

    “Her place is in the forefront among those saintlike women who saw a stern duty lying very near them, and courageously assumed it to their own honorable profit and renown”. – The New York Times, October 14, 1889

      George Kendall Warren (d. 1884), [Louisa May Alcott], ca. 1880. Cabinet photograph. Boston Athenaeum. Gift of Mr. and Mrs. Arthur H. Brooks, 1996.

     

    Louisa May Alcott (1832-1888) was born in Germantown, Pennsylvania to parents Amos Bronson Alcott and Abigail May.  Abby, called “Marmee” by her four future daughters, grew up in Boston, well-read and well-educated.  While visiting her brother, Reverend Samuel May, in Brooklyn, Abby met Bronson in 1827.  Bronson had been teaching in Connecticut, but lost his position and May invited Bronson to come and visit him.  May, who was “an educational reformer himself…arranged a position for him at the Charity Infant School in Boston.”  When Abby found out about Bronson’s new position in Boston, she applied to be his assistant.  But, they were to be joined in an entirely different way: when “the penniless Alcott refused to hire her as his deputy, she proposed marriage instead.”  They were married in Boston, at Kings Chapel in 1830, and so began their tumultuous life together.

    In 1831, Bronson was offered a new teaching job and the couple moved to Germantown.  Their first child, Anna was born in 1831, and Louisa came next in 1832.  In 1834, the Alcott family moved back to Boston, and founded the School for Human Culture (also known as the Temple School) with the help of Elizabeth Palmer Peabody.  The Alcott’s third daughter was born in 1835, and named Elizabeth in Peabody’s honor.  In 1840, after the controversies of the closing of the Temple School, the Alcotts resettled in Concord, where their fourth daughter Abigail May was born.  Louisa, who had been educated at the Temple School, continued her education with her father at home, which was supplemented by the teachings of local family friends Henry David Thoreau and Ralph Waldo Emerson.

    When Louisa was 11, in 1843, the Alcotts, with the help of Charles Lane and Samuel May, purchased and moved in to their famous farm, Fruitlands, in nearby Harvard.  After a disastrous few years, Abby’s inheritance came through and the family moved back to Concord and purchased their new home, Hillside, where Louisa began to practice her writing skills.  In 1849, Louisa wrote her first novel, The Inheritance, which was to remain hidden amongst her papers at Harvard University’s Houghton Library until two professors stumbled upon the 150-page manuscript in 1996.  Previously, scholars had believed Louisa’s first novel was Moods, published in 1864.  The Alcotts remained at Hillside, until Abby sold the property to Nathaniel Hawthorne in 1852.  In 1853, they moved to another Concord home, Orchard House; the Alcotts lived at Orchard House until 1877.  It was at Orchard House where, in 1868, Louisa wrote her classic family tale, Little Women, based on life at Hillside.

    Like her mother, Louisa was a staunch abolitionist and supporter of women’s rights, and she “demanded both the abolition of slavery and political recognition of woman’s rights”.  When America’s Civil War broke out on 1861, Louisa, at the age of 30, was determined to be part of the war effort.  In 1862, Louisa came to Washington, D.C. to work in the Union Hotel Hospital; although married women were usually recruited to be nurses, some strings were pulled for Louisa.  Her “friends and family connections were as influential politically as they were in writing and publishing, and they helped her join the nursing service.”  The letters Louisa wrote home and the journal she kept became the basis for Hospital Sketches, later published in 1863, the same year Louisa contracted typhoid and was discharged from service.  She eventually recovered, but the mercury-based medication she took for the fever caused “lifelong debilitation; she thereafter had painful joints, swollen limbs, and headaches that would not be soothed.”  It was during the years during and after the war that Louisa’s writing was at its prime, from her well-known young adult novels to her lesser-known thrillers.        

    During the 1860’s, Louisa led a “double literary life [which] was a well-kept secret for almost a century”, renting out a room in Boston to write “thrillers whose themes include sexual power struggles, narcotics addiction, murder, revenge, and feminist triumph” under the pen name A.M. Barnard.  Alcott’s thrillers were published by Frank Leslie in his weeklies and monthlies (Frank Leslie’s Illustrated NewspaperFrank Leslie’s Chimney Corner, and Frank Leslie’s Lady’s Magazine).  In the same decade, Louisa also published stories in The Atlantic MonthlyFlag of Our UnionPutnam’s Magazine and the children’s serial, Merry’s Museum.  At the end of the decade, in 1869, Louisa was granted access to the Boston Athenæum by her uncle, Reverend Samuel May, and so became what we call “a Reader.”

    Although we know her as an author, Louisa worked as a maid, a seamstress, a teacher (which she apparently had an affinity for, but did not enjoy), and a governess.  Louisa “appointed herself Alcott breadwinner, and to this end tried every means then available of making money” to support her family, and “[i]t was usually, even in late years, the need of money that impelled her to write”.  She also had dreams of becoming an actress, and although she never acted professionally (save for “as an amateur in performances for the benefit of the Sanitary Commision”), she remained “a constant theatre-goer all the later years of her life.” 

    Just two days after Bronson died in March of 1888, Louisa died from a cold that developed into spinal meningitis.  She was buried in the family plot in the famed Concord, MA cemetery, Sleepy Hollow.  In an article published in the New York Times on March 7, 1888, the author notes “[t]he most widely-known and most popular of American female authors will be sincerely mourned by thousands of children, and thousands of children of larger growth, wherever the English language is spoken, and by all who in other languages have read translations of her writings”.

  • Sanna Marin, 34, Finland’s New Prime Minister, Heads a Government Coalition With Four Other Female Leaders

    Finland has sworn in the world’s youngest sitting head of government. The Nordic country’s parliament confirmed 34-year-old Sanna Marin as its prime minister on Tuesday.Sanna Marin of Finland, new PM

    Marin, a Social Democrat, is set to lead a five-party coalition government. The other four parties also are led by women. All but one of the party leaders are under the age of 35.

    Finland’s government resigned last week after the Centre Party said it had lost confidence in Social Democrat Prime Minister Antti Rinne. Marin takes over during nationwide labor unrest and strikes.

    Marin is known for her support of climate and environmental issues. She was raised in a so-called “rainbow family,” headed by two women. She has told Finnish media about growing up in what she described as “modest” conditions. She has also spoken of past struggles to find her way in life, and the fulfillment she has found in politics.

    She is active on social media, especially Instagram. She has posted many pictures of her private life and of her family, which includes her partner and their young daughter. On Instagram, she shared pictures of her pregnancy and of breastfeeding her daughter.

    When questioned by The Associated Press during her first press conference, Marin gave an answer in English on her personal social media policies. She promised she would not change her ways.

    “As I’ve said, I represent the younger generation,” Marin told reporters in Helsinki. “I think that I’m an individual and a real person also even though I’m the prime minister. So I won’t change the way I behave. But of course I will be careful of what I say” in social media postings.

    After the vote confirming her appointment, Marin reacted with a small smile. Finnish President Sauli Niinisto later welcomed her and her Cabinet, which has women holding 12 of the 19 minister positions.

    The timing means Marin will represent Finland at the European Union meeting in Brussels, Belgium, later this week. Finland currently holds the bloc’s presidency until the end of the year.

    Marin is the third woman to hold the office of prime minister in Finland. She has had a quick rise to the top level of Finnish politics. She took over as city council leader in her hometown when she was 27. She became a national lawmaker in 2015, at the age of 30.

    Now, Marin is the world’s youngest head of government. But she might not be the youngest for long. Thirty-three-year-old Sebastian Kurz, the former Austrian chancellor who rose to that position at age 31, is in talks to form a new coalition. The move would put him back in office as chancellor.

    The Associated Press reported this story. Ashley Thompson adapted it for VOA Learning English with additional materials from Reuters. Kelly Jean Kelly was the editor.