Madeira Mondays: Mid-Year Wrap-Up

It’s the middle of the year (June) and the middle of the month (the 15th), so I figured what better time to do a mid-year recap of all the ‘Madeira Mondays’ that I’ve posted so far this year, as well as a look ahead at what topics I’m hoping to cover in the second half of 2020.

This blog series is all about early American history and historical fiction, but the topics I’ve looked at range pretty far and wide, so I’ve organized this list in terms of category (‘On Films and TV Shows’ ‘On books’ ‘Recipes’ etc). You can easily scroll down to the category that might be of most interest to you. I’d also love any suggestions and feedback on which topics you’d be curious about as I move forward – more on that at the end of the post!

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Display of items that would have been found in an 18th century American shop, at the Museum of the American Revolution in Philadelphia (November, 2019)

Madeira Mondays January-June 2020

On Films and TV Shows

Washington miniseries Episode 1; Washington miniseries Episodes 2-3 (Reviews of The History Channel’s new miniseries about the life of America’s first President, George Washington)

Behind the Mask (Review of film set in Revolutionary War Philadelphia, directed by Chad Burns)

Grace and Frankie and…John Adams (A look at the popular TV series Grace and Frankie and its surprising links to early American history and John Adams)

Portrait of a Lady on Fire (Film review of Celine Sciamma’s 2019 film about a romance between two women in 18th century France)

18th century Fashion on RuPaul’s Drag Race (A look at how drag queen Gigi Goode incorporates 18th century fashion into her outfits)

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Scene from Portrait of a Lady on Fire, featuring Noemie Merlant as Marianne (right) and Adele Haenel as Heloise (left)

On Books

Thomas Jefferson, James Hemings, and French Cooking (Book review of Thomas Jefferson’s Creme Brûlée by James Craughwell, about how Jefferson and his enslaved cook James Hemings brought French cuisine to America)

Historical Short Stories (On Karen Russell and her historical fiction short stories)

The Five by Hallie Rubenhold (Book review of non-fiction book about the lives of the five women who were killed by Jack the Ripper)

Celia Garth (Book review of this novel by Gwen Bristow, first published in the 1950’s and set in Revolutionary Charleston, South Carolina)

Emily Dickinson’s Poem about Waiting (Analysis of a poem by Dickinson)

Recipes

A Forgotten 18th Century Drink (Making ‘flip’, an 18th century warmed rum drink)

A Cheap and Delicious 18th Century Recipe (Making potato cakes from an 18th century recipe)

Discovering an 18th Century Energy Drink (Making ‘switchel’, a refreshing summertime drink popular in early America)

Historical Research

Dictionary of the Vulgar Tongue (A-F); The Dictionary of the Vulgar Tongue (G-P); Dictionary of the Vulgar Tongue (R-Z) (A series of posts about the best words from Francis Grose’s Dictionary of the Vulgar Tongue, a compendium of 18th century slang)

Hamilton wasn’t wearing any underwear (An in-depth look at 18th century men’s underwear)

The Poetry of Phillis Wheatley (A look at the life of Phillis Wheatley, a young African-American writer who was a celebrity in 18th century Britain and America and one of the first American poets)

The Surprisingly Interesting History of Tomato Ketchup (A look at ketchup’s history, from ancient China through to today)

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Exhibitions and Historic Sites

Runaway Slaves in 18th Century Louisiana (A visit to The Cabildo museum in New Orleans Louisiana in January 2020, and a look at their exhibition Le Kèr Creole (The Creole Heart): Runaway Slaves, Music, and Memory in Louisiana)

Inside a Georgian Drawing Room (A visit to The Georgian House in Edinburgh, run by The National Trust of Scotland, where I volunteer as a costumed historical guide)

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The Drawing Room at The Georgian House where I volunteer in Edinburgh, Scotland

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I’ve really enjoyed writing and researching these posts and I hope you’ve enjoyed reading them. So what’s next for Madeira Mondays? Since I have a new book coming out next month, there will be a couple of posts on the research I did for that and how I went about writing some of the poems (many of the poems are inspired by history). I also have plans to read two books by Laurie Halse Anderson in the near future. One of these I’ve read before – Chains – about an enslaved young girl in 18th century New York City who gets involved with the Revolution. The other book – Fever, 1793 – is about the outbreak of yellow fever in Philadelphia in the late 18th century, and I’ve never read this one. But I know Anderson is a brilliant writer (she’s most famous for her 1999 novel Speak, which is a really harrowing but beautifully written book about a teenager’s experience with sexual assault).

In terms of shows, I plan to watch Dickinson (the new TV series loosely inspired by the life of Emily Dickinson, which looks like a lot of silly fun). And, in honor of the upcoming 4th of July, I’d like to do a post or two about the musical 1776, about the signing of the Declaration of Independence (I also researched this musical as part of my PhD, so I’ve got a lot to say about it!).

Which posts have been your favorites thus far? Are there any historical fiction books/TV series/films that I should know about? I’ve also toyed with the idea of asking some of the Early American historians that I met through my PhD to do a guest post (or perhaps an interview) for the blog, so let me know if that’s something you’d be curious to see!

As always, thanks so much for reading. Hope to see you next Monday! x

 

Madeira Mondays: Portrait of a Lady on Fire (Film Review)

France, 1770. A tale of forbidden love, same-sex desire and painting. Sign me up! From the moment a friend of mine sent me the trailer for Céline Sciamma’s new film, Portrait of a Lady on Fire (or Portrait de la Jeune Fille En Feu, in its original French), I knew I would enjoy this movie. It ticks so many boxes of things I enjoy. It’s historical, it’s a bit gothic, it’s about female experiences and patriarchal limitations. I’m also a sucker for art about art. So I went into it with pretty high expectations. But what I did not expect was just how good this film was: it’s a subtle, sensuous, and frankly pretty faultless movie. It’s also just so. darn. romantic. And tragic. But we’ll get to that in a second.

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As I mentioned, the film takes place in France in the 1770’s (which, by the way, is the exact same time period in which the novel I am working on is set – so I loved seeing the costumes in this!). It follows a small cast of characters. Marianne (Noémie Merlant) is a painter, newly arrived to a drafty old mansion on the Brittany coast. She has been called there to paint Héloise (Adèle Haenel), a young aristocratic woman who will soon be married off to a Milanese nobleman. The painting will be a gift to this man, a lovely portrait of his new French bride. The only catch is: Héloise doesn’t want to have her portrait painted at all. She doesn’t want to be married off, either. So Marianne must paint her subject in secret, observing her with furtive glances on their walks on a windswept beach, or by the steep cliffs. Is there tension? You bet there is! Are those pauses pregnant with longing and unspoken words? You bet they are.

This is a film that is especially suited to its medium and by that I mean it’s a very visual film. Don’t get me wrong: the dialogue, when it happens, is excellent. Funny and specific and gives a great sense of character. But it’s a lot about looks, as slowly Marianne’s portrait of the surly but also surpassingly sweet Héloise emerges. But Héloise is also looking back at Marianne, observing this young woman who, unlike herself, has a professional career as a painter and has decided not to marry. Marianne wears masculine clothes and smokes a pipe (although this is not entirely uncommon for women of the time). Marianne is well-travelled. She’s heard symphonies. Héloise is entranced. They’re entranced with each other.

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Marianne (Noemie Merlant), right, and Heloise (Adele Haenel), left.

I don’t think it’s giving too much away to say that these two fall in love (it’s made obvious in the trailer). At its heart, this film is a love story. But what I like most about the film is that we are made constantly aware – through their romance, through Marianne’s career (which is limited due to her sex), and through a sub-plot with Sophie (Luàna Bajrami), Héloise’s servant who falls pregnant on accident – that their lives are governed by patriarchal rules. Marianne casually mentions that she cannot draw nude male models, only female ones, because female artists are not allowed to observe naked men. ‘Is it a matter of modesty?’ Héloise asks. Marianne replies: ‘It’s mostly to prevent us from doing great art. Without any notion of male anatomy, the major subjects escape us.’

This is great. Sciamma doesn’t have to make Marianne say: ‘We’re oppressed! We’re women! It’s an unequal society!’ We just know from these examples.

I don’t want to come down too hard on Greta Gerwig’s recent adaptation of Little Women, which I liked for certain reasons, but it’s also concerned with limitations faced by women of the past, when trying to enter the public, professional world. And it definitely hits you over the head with these sorts of inequalities more overtly than Portrait does. Think of the speech that progressive artist Jo March makes in Gerwig’s Little Women:

I just feel that women, they have minds, and they have souls, as well as just hearts. And they’ve got ambition and they’ve got talent, as well as just beauty. And I’m so sick of people saying that love is all a women is fit for. I’m so sick of it. But I’m so lonely.

This is a good speech and delivered exceptionally well by Saoirse Ronan, but all of those same sentiments were encapsulated in Portrait, without needing to be directly said. This film is subtle and understated in all of the ways that I felt Little Women was not. And, granted, Little Women was a much cheerier, lighter, brighter, film overall. Whereas Portrait is more turbulent, moody, subtler, holds a lot more back. (Little Women is an American film, after all, and Portrait is a French one haha!). But still. They came out at almost the same time and explore many of the same themes, which is why I’m comparing them.

ANYWAYS, if you like these types of stories (about women who are ‘ahead of their time’, about forbidden passions, about slightly creepy mansions on windswept coasts), then you’re gonna LOVE Portrait of a Lady on Fire. While Portrait didn’t blow my mind – I don’t think it was doing anything exceptionally innovative or treading on especially new territory – I still think it was an excellent film. I cried several times. It’s also definitely one of the best films I’ve ever seen set during this time period, so if you’re looking for a brilliant, subtle, well-crafted historical film, then do check it out!

(PS All of the images in this post, including the gorgeous waves-crashing Featured Image, were accessed via IMDB)

‘Madeira Mondays’ is a series of blog posts exploring Early American history and historical fiction. I’m not a historian, but an author and poet who is endlessly fascinated by this time period. I am also currently writing/researching a novel set during the American Revolution and recently finished a Doctorate of Fine Art looking at how creative writers access America’s eighteenth-century past. Follow the blog for a new post every Monday and thanks for reading!