Look up cabin in Wiktionary, the free dictionary.

Cabin may refer to:

• Cabin. A small, roughly built house usually with a wood exterior and typically found in rural areas
• Log cabin, a small house built from logs with basic utilities
• Cottage, a dwelling, typically in a rural, or semi-rural location
• Beach cabin, a small wooden shelter on the beach

Transportation[link]

• Cabin (ship), an enclosed space generally on a ship
• Cabin cruiser - boat
• Aircraft cabin, an enclosed room generally on an aircraft
  • Cabin crew - Flight attendants
  • Cabin pressurization
• Cabin (truck), the driver/operator's compartment in a truck (lorry)
• Railway locomotive cabin
• Cabin car, a caboose
• Cabin cycle, a bicycle or motorcycle design similar to a tuk-tuk or auto rickshaw

Other[link]

• Cabin Crew - Australian band
• Cabin Hill - a private primary school in Belfast
• Cabin in the Sky - 1940 musical
• Cabin Exchange - Scottish artists group
• Cabin Rights, also known as tomahawk rights, an American frontier claim to land
• Battle of Cabin Creek - US Civil War

Locations[link]

• Cabins, West Virginia
• Bone Cabin Quarry - Wyoming
• Latimer Cabin historic site Panama City Beach, Florida
• Mayhew Cabin, Nebraska City, Nebraska
• Big Cabin, Oklahoma
• Cabin Bluff, Camden County, Georgia
• Log Cabin, Texas
• Settler's Cabin Park Allegheny County, Pennsylvania
• Slab Cabin Run, Centre County, PA
• Keith Cabin, Pittman, Florida

See also[link]

• Cab (disambiguation)
• Uncle Tom's Cabin
• Cabin fever (disambiguation)
• Cabin boy (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

For the defunct avant-garde metal band from Kristiansand, Norway, see In the Woods...

In the Woods
Cover of In The Woods
Author(s)	Tana French
Country	Ireland
Language	English
Series	Dublin Murder Squad
Genre(s)	Mystery
Publisher	Viking Adult
Publication date	30 January 2007
Media type	Print (Hardcover)
Pages	496
ISBN	978-0-670-03860-2
OCLC Number	191864570
Dewey Decimal	823/.92 22
LC Classification	PR6106.R457 I52 2007
Followed by	The Likeness: A Novel

In the Woods is a 2007 mystery novel by Tana French about a pair of Irish detectives and their investigation of the murder of a twelve year old girl. The novel won several awards such as the 2008 Edgar Award for Best First Novel By An American Author,^[1] the 2008 Barry Award for Best First Novel,^[2] the 2008 Macavity Award for Best First Mystery Novel,^[3] and the 2008 Anthony Award for Best First Novel.^[4]

Plot[link]

Twenty years prior to the novel's events, twelve year-old Adam and his two best friends failed to come home after playing in the familiar woods bordering their Irish housing estate. A search is called by the families, and the police find Adam shivering, clawing the bark of a nearby tree, blood on his shoes and slash marks on his back. He is unable to tell them what happened or where his friends are. His amnesia holds to the present day, where he goes by his middle name, Rob, to avoid the attention of the media to his famous case. His friends were never found.

The plot of the novel circles around the murder of a twelve year old girl, Katy Devlin, whose case Rob and his partner Cassie Maddox are given to investigate. The body is found in the same woods where Rob’s friends disappeared, at an archeological dig site, and the coincidence is enough to make Rob nervous, though he insists to his partner that he is fine.

Cassie and Rob have been partners for a few years and get along famously, teasing one another and completing one another’s thoughts. There are many rumors at the station that they are romantically involved, though both of them scoff at the idea, despite the fact that they live almost like a married couple, spending a lot of time at Cassie’s cooking dinner for one another, drinking wine, and having Rob crash on Cassie’s couch across the room.

Katy’s murder takes the pair along many lines of investigation. Her death might be related to her father’s protests against the new highway meant to go straight through the dig site, or one of the students on the dig might have attacked her. She might have been abused by her father or someone else (her mother, twin sister, or older sister) in the family. She might have been previously poisoned over time. Or it might be related to the disappearance of Rob’s friends, as a hair clip that one of his friends was wearing that day appeared near the crime scene.

These possibilities are investigated, but the detectives come up frustratingly empty-handed at every turn. The case messes with Rob’s psyche as he tries to remember details about the two previous disappearances in case it would help. He tries spending the night in the woods, but freaks out and calls Cassie to pick him up. He’s afraid to sleep again, thinking that he’ll just have nightmares, so Cassie allows him into her bed. Things escalate from there and they end up having sex.

Rob feels immensely awkward after and can’t go back to their normal jokey-insult ways, but also feels that he can’t start a relationship with her. Their partnership deteriorates just as they start to uncover new leads in the case and they are unable to discuss the case and get along the way they used to.

Rob goes back to the dig site alone, where all the students are frantically digging before the site is shut down for the construction of the highway. He comes to a realization and calls in the forensics team again, who discover the location of the murder in a shed to which only three people have the key. After some heavy interrogation, one of the suspects confesses, though his motive is far from clear.

It becomes clearer when the suspect contends that he had been dating Katy’s older sister, Rosalind. When questioned by Cassie, she denies it and any involvement in Katy’s death, but also makes a comment that Cassie is obviously sleeping with Rob. Cassie takes it in stride, but after the interrogation, she has an idea of how to get a confession out of Rosalind: Go to her and admit sleeping with Rob and promise to keep her updated on the case if she promises not to tell.

Rosalind’s psychopathic tendencies get the better of her, and once she knows that she has Cassie in her debt, she brags about the whole thing and how she got the murderer to come up with the idea by telling him that all three girls were being sexually abused by their father, but that Katy liked it and was therefore their father’s favorite. Rosalind also told him that Katy told their father lies to make him beat them and would watch and laugh, that if Katy was gone, then they would be happy. She also admitted to Cassie that Katy was strong-willed and wouldn’t always do as Rosalind told her, so she had poisoned her to make her sick. After this confession, recorded on a wire, Cassie arrests her and takes her in, but because Rosalind was a few months from turning 18 (though she had told Rob previously that she was already 18), the confession is invalid. She is released with a smug smile.

The Police Captain has learned that Rob is actually Adam Ryan and confines him to desk work. He never goes back to Detective work. Cassie starts dating someone else and gets engaged. Rob is heartbroken and calls her, but it’s too late. He goes to the dig site to see the highway construction has begun, and thinks that he’ll never regain his lost memories of that night.

Reception[link]

Thomas Gaughan of Booklist gave In the Woods a starred review and hailed it as “…a superior novel about cops, murder, memory, relationships, and modern Ireland. The characters of Ryan and Maddox, as well as a handful of others, are vividly developed… Equally striking is the picture of contemporary Ireland, booming economically and fixated on the shabbiest aspects of American popular culture. An outstanding debut and a series to watch for procedural fans.” ^[5] Publishers Weekly praised author French, saying she “… expertly walks the line between police procedural and psychological thriller in her debut” and that “Ryan and Maddox are empathetic and flawed heroes, whose partnership and friendship elevate the narrative beyond a gory tale of murdered children and repressed childhood trauma.” ^[5] Kirkus Reviews said of the novel, “When not lengthily bogged down in angst, a readable, non-formulaic police procedural with a twist. It’s ultimately the confession of a damaged man.” ^[6]

Awards and nominations[link]

• Edgar Award for Best First Novel By An American Author, 2008^[1]
• Barry Award for Best First Novel, 2008^[2]
• Macavity Award for Best First Mystery Novel, 2008^[3]
• Anthony Award for Best First Novel, 2008^[4]

References[link]

For other uses of the title The Grid, see Grid (disambiguation).

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2010)

The Grid are an English electronic dance group, consisting of Richard Norris and David Ball (formerly of Soft Cell),^[1] with guest contributions from other musicians. They are best known for the hits "Swamp Thing", "Crystal Clear", "Rollercoaster", "Floatation", and "Cybernetic" (with Robert Fripp and Phil Manzanera).

Band members[link]

• Richard Norris (born 23 June 1965, London) - keyboards
• David Ball (born 3 May 1959, Blackpool, Lancashire) - keyboards
• Sacha Rebecca Souter (musician) (born 26 November 1963, Cockerton, County Durham) - Vocals

Biography[link]

The Grid formed in 1988 and had their first success with debut single, "Floatation", released on East West Records in 1990. They went on to release a string of ten UK hit singles and four albums,^[1] and toured the UK, Europe, Asia and Australia. The group's 1994 album Evolver reached #14 in the UK Albums Chart.^[1] The lead single from this album, "Swamp Thing", featuring elaborate banjo lines played by Roger Dinsdale. "Swamp Thing" proved to be a commercial success in the UK, Europe and Australia, reaching #3 in the UK^[1] and Australia and selling a total of one million copies.^{[citation needed]}

In 1996, Norris and Ball agreed to a hiatus period in order pursue individual music interests. Norris formed the Droyds, which went on to remix tracks by musicians including Armand Van Helden and Siobhan Fahey, and wrote the official biography of Paul Oakenfold (published in 2007): Ball reformed Soft Cell with Marc Almond, and also wrote music scores for films.^{[citation needed]} Norris has since formed the psychedelic duo, Beyond The Wizard's Sleeve, with DJ Erol Alkan, and has released a number of solo records and remixes under the name The Time and Space Machine.

The duo reunited in 2005, initially playing two gigs under the name GDM with female singer Misty Woods, before writing and recording new material as the Grid. A single, "Put Your Hands Together", was released in 2007 and an album, Doppelgänger, followed in 2008. Both were released on the Some Bizzare label. The album featured vocals by the British musician, Chris Braide.

Discography[link]

Albums[link]

Singles[link]

References[link]

External links[link]

• Grid Central - An Unofficial Page for The Grid
• Death of Roger Dinsdale.
• The Grid on allmusic.com
• The Grid MySpace page

This article is about the character from the Harriet Beecher Stowe novel, Uncle Tom's Cabin, and the resulting epithet. For the P. G. Wodehouse character, see Tom Travers.

A 1901 stage adaptation of Uncle Tom's Cabin containing mixed elements of Harriet Beecher Stowe's original Christian martyr and the stock minstrel character of later adaptations.

Uncle Tom is the title character of Harriet Beecher Stowe's 1852 novel, Uncle Tom's Cabin.

The phrase "Uncle Tom" has also become an epithet for a person who is slavish and excessively subservient to perceived authority figures, particularly a black person who behaves in a subservient manner to white people; or any person perceived to be a participant in the oppression of their own group.^[1][2]

Original characterization and critical evaluations[link]

Detail of an illustration from the first book edition of Uncle Tom's Cabin. Depicts Uncle Tom as young and muscular

At the time of the novel's initial publication in 1851 Uncle Tom was a rejection of the existing stereotypes of minstrel shows; Stowe's melodramatic story humanized the suffering of slavery for White audiences by portraying Tom as a Christlike figure who is ultimately martyred, beaten to death by a cruel master because Tom refuses to betray the whereabouts of two women who escape from slavery.^[3][4] Stowe reversed the gender conventions of slave narratives by juxtaposing Uncle Tom's passivity against the daring of three African American women who escape from slavery.^[3]

The novel was both influential and commercially successful, published as a serial from 1851-1852 and as a book from 1852 onward.^[3][4] An estimated 500,000 copies had sold worldwide by 1853, including unauthorized reprints.^[5] Senator Charles Sumner credited Uncle Tom's Cabin for the election of Abraham Lincoln and Lincoln himself reportedly quipped that Stowe had triggered the American Civil War.^[3] Frederick Douglass praised the novel as "a flash to light a million camp fires in front of the embattled hosts of slavery".^[3] Despite Douglass's enthusiasm, an anonymous 1852 reviewer for William Lloyd Garrison's publication The Liberator suspected a racial double standard in the idealization of Uncle Tom:

Uncle Tom’s character is sketched with great power and rare religious perception. It triumphantly exemplifies the nature, tendency, and results of CHRISTIAN NON-RESISTANCE. We are curious to know whether Mrs. Stowe is a believer in the duty of non-resistance for the White man, under all possible outrage and peril, as for the Black man… [For whites in parallel circumstances, it is often said] Talk not of overcoming evil with good—it is madness! Talk not of peacefully submitting to chains and stripes—it is base servility! Talk not of servants being obedient to their masters—let the blood of tyrants flow! How is this to be explained or reconciled? Is there one law of submission and non-resistance for the Black man, and another of rebellion and conflict for the white man? When it is the whites who are trodden in the dust, does Christ justify them in taking up arms to vindicate their rights? And when it is the blacks who are thus treated, does Christ require them to be patient, harmless, long-suffering, and forgiving? Are there two Christs?^[6]

James Weldon Johnson, a prominent figure of the Harlem Renaissance, expresses an ambivalent opinion in his autobiography:

For my part, I was never an admirer of Uncle Tom, nor of his type of goodness; but I believe that there were lots of old Negroes as foolishly good as he; the proof of which is that they knowingly stayed and worked on the plantations that furnished sinews for the army which was fighting to keep them enslaved.”^[7]

In 1949 American writer James Baldwin rejected the emasculation of the title character "robbed of his humanity and divested of his sex" as the price of spiritual salvation for a dark-skinned man in a fiction whose African-American characters, in Baldwin's view, were invariably two dimensional stereotypes.^[3][8] To Baldwin, Stowe was closer to a pamphleteer than a novelist and her artistic vision was fatally marred by polemics and racism that manifested especially in her handling of the title character.^[8] Stowe had stated that her sons had wept when she first read them the scene of Uncle Tom's death, but after Baldwin's essay it ceased being respectable to accept the melodrama of the Uncle Tom story.^[3] Uncle Tom became what critic Linda Williams describes as "an epithet of servility" and the novel's reputation plummeted until feminist critics led by Jane Tompkins reassessed the tale's female characters.^[3] According to Debra J. Rosenthal in an introduction to a collection of critical appraisals for the Routledge Literary Sourcebook on Harriet Beecher Stowe's Uncle Tom's Cabin, overall reactions have been mixed with some critics praising the novel for affirming the humanity of the African American characters and for the risks Stowe assumed in taking a very public stand against slavery before abolitionism had become a socially acceptable cause, and others criticizing the very limited terms upon which those characters' humanity was affirmed and the artistic shortcomings of political melodrama.^[9]

Inspiration[link]

A specific impetus for the novel was the Fugitive Slave Act of 1850, which imposed heavy fines upon law enforcement personnel in Northern states if they refused to assist the return of people who escaped from slavery.^[4][10] The new law also stripped African Americans of the right to request a jury trial or to testify on their own behalf, even if they were legally free, whenever a single claimant presented a sworn affidavit of ownership.^[10] The same law authorized a $1000 fine and six months imprisonment for anyone who knowingly harbored or assisted a fugitive slave.^[10] These terms infuriated Stowe, so the novel was written, read, and debated as a political abolitionist tract.^[4]

Stowe drew inspiration for the Uncle Tom character from several sources. The best-known of these was Josiah Henson, whose autobiography was originally published in 1849 and later republished in extensively revised editions after the publication of Uncle Tom's Cabin.^[11] Henson was enslaved at birth in 1789.^[11] He became a Christian at age eighteen and took up preaching.^[11] Henson attempted to purchase his freedom for $450, but after selling his personal assets to raise $350 and signing a promissory note for the remainder Henson's owner raised the price to $1000; Henson was unable to prove that the original agreement had been for a lesser amount.^[11] Shortly afterward Henson was ordered on a trip south to New Orleans, and when he learned that he was to be sold there he obtained a weapon and contemplated murdering his white companions, but decided against violence because his Christian morals forbade it.^[11] A sudden illness in one of his companions forced their return to Kentucky, and shortly afterward Henson escaped north with his family, settling in Canada where he became a civic leader.^[11]

Stowe read the first edition of Henson's narrative and later confirmed that she had incorporated elements from it into Uncle Tom's Cabin.^[11] Kentucky and New Orleans figure in both Henson's narrative and the novel's settings, and some other story elements are similar.^[11]

In the public imagination, however, Henson became synonymous with Uncle Tom.^[11] After Stowe's death her son and grandson claimed she and Henson had met before Uncle Tom's Cabin was written, but the chronology does not hold up to scrutiny and she probably drew material only from his published autobiography.^[11]

Epithet[link]

Uncle Tom, from an 1885 magic lantern series.

The term "Uncle Tom" is used as a derogatory epithet for an excessively subservient person, particularly when that person perceives their own lower-class status based on race. It is similarly used to negatively describe a person who betrays their own group by participating in its oppression, whether or not they do so willingly.^[12][13]

The popular negative connotation of "Uncle Tom" has largely been attributed to numerous derivative works inspired by Uncle Tom's Cabin in the decade after its release, rather than the original novel itself, whose title character is a more positive figure.^[3] These works lampooned and distorted the portrayal of Uncle Tom with politically loaded overtones.^[5]

History[link]

American copyright law before 1856 did not give novel authors any control over derivative stage adaptations, so Stowe neither approved the adaptations nor profited from them.^[14] Minstrel show retellings in particular, usually performed by white men in blackface, tended to be derisive and pro-slavery, transforming Uncle Tom from Christian martyr to a fool or an apologist for slavery.^[5]

Adapted theatrical performances of the novel remained in continual production in the United States for at least eighty years.^[14] These representations had a lasting cultural impact and influenced the pejorative nature of the term Uncle Tom in later popular use.^[5]

Although not all minstrel depictions of Uncle Tom were negative, the dominant version developed into a stock character very different from Stowe's hero.^[5][15] Stowe's Uncle Tom was a muscular and virile man who refused to obey when ordered to beat other slaves; the stock character of minstrel shows became a shuffling asexual individual with a receding hairline and graying hair.^[15] To Jo-Ann Morgan, author of Uncle Tom's Cabin as Visual Culture, these shifting representations undermined the subversive layers of Stowe's original characterization by redefining Uncle Tom until he fit within prevailing racist norms.^[14] Particularly after the Civil War, as the political thrust of the novel which had arguably helped to precipitate that war became obsolete to actual political discourse, popular depictions of the title character recast him within the apologetics of the Lost Cause of the Confederacy.^[14] The virile father of the abolitionist serial and first book edition degenerated into a decrepit old man, and with that transformation the character lost the capacity for resistance that had originally given meaning to his choices.^[14][15] Stowe never meant Uncle Tom to be a derided name, but the term as a pejorative has developed based on how later versions of the character, stripped of his strength, were depicted on stage.^[16]

Claire Parfait, author of The Publishing History of Uncle Tom's Cabin, 1852-2002, opines that "the many alterations in retellings of the Uncle Tom story demonstrate an impulse to correct the retellers' perceptions of its flaws and "the capacity of the novel to irritate and rankle, even a century and a half after its first publication."^[4]

See also[link]

• Acting white
• House Negro
• Jump Jim Crow
• List of ethnic slurs
• Tom Shows
• Uncle Tom syndrome

References[link]

Notes[link]

• Osofsky, Gilbert, ed. (1969). Puttin' On Ole Massa: The Slave Narratives of Henry Bibb, William Wells Brown, and Solomon Northup. Harper & Row. ISBN 978-0-06-131432-2. 
• Mohammad Ali (2009). Thrilla in Manilla (Documentary). USA: HBO. 

External links[link]

• An article on the Uncle Tom caricature
• An article from EveryGirls 1931 by Olive Burns Kirby

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Harriet Beecher Stowe
Born	Harriet Elisabeth Beecher (1811-06-14)June 14, 1811 Litchfield, Connecticut, United States
Died	July 1, 1896(1896-07-01) (aged 85) Hartford, Connecticut, United States
Pen name	Christopher Crowfield
Spouse(s)	Calvin Ellis Stowe
Children	Eliza Taylor, Harriet Beecher, Henry Ellis, Frederick William, Georgiana May, Samuel Charles, and Charles Edward
Signature

Harriet Beecher Stowe (June 14, 1811 – July 1, 1896) was an American abolitionist and author. Her novel Uncle Tom's Cabin (1852) was a depiction of life for African-Americans under slavery; it reached millions as a novel and play, and became influential in the United States and United Kingdom. It energized anti-slavery forces in the American North, while provoking widespread anger in the South. She wrote more than 20 books, including novels, three travel memoirs, and collections of articles and letters. She was influential both for her writings and her public stands on social issues of the day.

Biography[link]

Harriet Elisabeth Beecher was born in Litchfield, Connecticut on June 14, 1811.^[1] She was the seventh of 13 children,^[2] born to outspoken religious leader Lyman Beecher and Roxana Foote , a deeply religious woman who died when Stowe was only five years old. Her notable siblings included a sister, Catharine Beecher, who was an educator and author, as well as seven brothers^{[citation needed]} who became ministers: including Henry Ward Beecher, Charles Beecher, and Edward Beecher .

Harriet enrolled in the seminary (girls' school) run by her sister Catharine, where she received a traditionally "male" education in the classics, including study of languages and mathematics. Among her classmates there was Sarah P. Willis, who later wrote under the pseudonym Fanny Fern.^[3] At the age of 21, she moved to Cincinnati, Ohio to join her father, who had become the president of Lane Theological Seminary. There, she also joined the Semi-Colon Club, a literary salon and social club whose members included the Beecher sisters, Caroline Lee Hentz, Salmon P. Chase, Emily Blackwell, and others.^[4]

It was in that group that she met Calvin Ellis Stowe, a widower and professor at the seminary. The two married on January 6, 1836.^[5] He was an ardent critic of slavery, and the Stowes supported the Underground Railroad, temporarily housing several fugitive slaves in their home. They had seven children together, including twin daughters.

[edit] Uncle Tom's Cabin and Civil War

Early portrait of Harriet Beecher Stowe, 1853

In 1850, Congress passed the Fugitive Slave Law, prohibiting assistance to fugitives. At the time, she had moved with her family into a home on the campus of Bowdoin College, where her husband was now teaching. On March 9, 1850, Stowe wrote to Gamaliel Bailey, editor of the weekly antislavery journal National Era, that she planned to write a story about the problem of slavery: "I feel now that the time is come when even a woman or a child who can speak a word for freedom and humanity is bound to speak... I hope every woman who can write will not be silent."^[6] Shortly after, In June 1851, when she was 40, the first installment of her Uncle Tom's Cabin was published in the National Era. She originally used the subtitle "The Man That Was A Thing", but it was soon changed to "Life Among the Lowly".^[1] Installments were published weekly from June 5, 1851, to April 1, 1852.^[6] Uncle Tom's Cabin was published in book form on March 20, 1852, by John P. Jewett with an initial print run of 5,000 copies.^[7] Each of its two volumes included three illustrations and a title-page designed by Hammatt Billings.^[8] In less than a year, the book sold an unprecedented three hundred thousand copies.^[9] By December, as sales began to wane, Jewett issued an inexpensive edition at 37 1/2 cents each to further inspire sales.^[10]

The book's emotional portrayal of the impact of slavery captured the nation's attention. It added to the debate about abolition and slavery, and aroused opposition in the South. Within a year, 300 babies were named "Eva" in Boston alone and a play based on the book opened in New York in November of that year.^[11]

After the start of the Civil War, Stowe traveled to Washington, D.C. and there met President Abraham Lincoln on November 25, 1862.^[12] Legend has it that, upon meeting her, he greeted her by saying, "so you are the little woman who wrote the book that started this great war."^[13] In reality, little is known about the meeting. Stowe's daughter Hattie reported, "It was a very droll time that we had at the White house [sic] I assure you... I will only say now that it was all very funny—and we were ready to explode with laughter all the while."^[14] Stowe's own letter to her husband is equally ambiguous: "I had a real funny interview with the President."^[14]

Later years[link]

In the 1870s, Stowe's brother Henry Ward Beecher was accused of adultery, and became the subject of a national scandal. Stowe, unable to bear the public attacks on her brother, fled to Florida but asked family members to send her newspaper reports.^[15] Through the affair, however, she remained loyal to her brother and believed he was innocent.^[16]

Mrs. Stowe was among the founders of the Hartford Art School which later became part of the University of Hartford.

Stowe died on July 1, 1896, at age eighty-five in Hartford, Connecticut. She is buried in the historic cemetery at Phillips Academy in Andover, Massachusetts.

Legacy[link]

Bust by Brenda Putnam at Hall of Fame for Great Americans

Landmarks[link]

Multiple landmarks are dedicated to the memory of Harriet Beecher Stowe, and are located in several states including Ohio, Florida, Maine and Connecticut. The locations of these landmarks represent various periods of her life such as her father's house where she grew up, and where she wrote her most famous work.

The Harriet Beecher Stowe House in Cincinnati, Ohio is the former home of her father Lyman Beecher on the former campus of the Lane Seminary. Her father was a preacher who was greatly affected by the pro-slavery Cincinnati Riots of 1836. Harriet Beecher Stowe lived here until her marriage. It is open to the public and operated as a historical and cultural site, focusing on Harriet Beecher Stowe, the Lane Seminary and the Underground Railroad. The site also presents African-American history.^[17]

In the 1870s and 1880s, Stowe and her family wintered in Mandarin, Florida, now a neighborhood of modern consolidated Jacksonville, on the St. Johns River. Stowe wrote Palmetto Leaves while living in Mandarin, arguably an eloquent piece of promotional literature directed at Florida's potential Northern investors at the time.^[18] The book was published in 1873 and describes Northeast Florida and its residents. In 1870, Stowe created an integrated school in Mandarin for children and adults. This predated the national movement toward integration by more than a half century. The marker commemorating the Stowe family is located across the street from the former site of their cottage. It is on the property of the Community Club, at the site of a church where Stowe's husband once served as a minister.

The Harriet Beecher Stowe House in Brunswick, Maine is where Stowe lived when she wrote Uncle Tom's Cabin. Her husband was teaching theology at nearby Bowdoin College, and she regularly invited students from the college and friends to read and discuss the chapters before publication. Future Civil War general, and later Governor, Joshua Chamberlain was then a student at the college and later described the setting. “On these occasions,” Chamberlain noted, “a chosen circle of friends, mostly young, were favored with the freedom of her house, the rallying point being, however, the reading before publication, of the successive chapters of her Uncle Tom’s Cabin, and the frank discussion of them.” In 2001 Bowdoin College purchased the house, together with a newer attached building, and was able to raise the substantial funds necessary to restore the house. It is not open to the public.

The Harriet Beecher Stowe House in Hartford, Connecticut is the house where Stowe lived for the last 23 years of her life. It was next door to the house of fellow author Mark Twain. In this 5,000 sq ft (460 m²) cottage-style house, there are many of Beecher Stowe's original items and items from the time period. In the research library, which is open to the public, there are numerous letters and documents from the Beecher family. The house is open to the public and offers house tours on the half hour.

In 1833, during Stowe's time in Cincinnati, the city was afflicted with a serious cholera epidemic. To avoid illness, Stowe made a visit to Washington, Kentucky, a major community of the era just south of Maysville. She stayed with the Marshall Key family, one of whose daughters was a student at Lane Seminary. It is recorded that Mr. Key took her to see a slave auction, as they were frequently held in Maysville. Scholars believe she was strongly moved by the experience. The Marshall Key home still stands in Washington. Key was a prominent Kentuckian; his visitors also included Henry Clay and Daniel Webster.^[19]

The Uncle Tom's Cabin Historic Site is part of the restored Dawn Settlement at Dresden, Ontario, which is 20 miles east of Algonac, Michigan. The community for freed slaves founded by the Rev. Josiah Henson and other abolitionists in the 1830s has been restored. There's also a museum. Henson and the Dawn Settlement provided Stowe with the inspiration for Uncle Tom's Cabin.^[20]

Honors[link]

• Stowe is honored with a feast day on the liturgical calendar of the Episcopal Church (USA) on July 1.

• On June 13, 2007, the United States Postal Service issued a 75¢ Distinguished Americans series postage stamp in her honor.

• In early 2010, Stowe was proposed by the Ohio Historical Society as a finalist in a statewide vote for inclusion in Statuary Hall at the United States Capitol.

Partial list of works[link]

• The Mayflower; or, Sketches of Scenes and Characters Among the Descendants of the Pilgrims (1834)
• Mark Meriden (1841)
• Uncle Tom's Cabin (1852)
• A Key to Uncle Tom's Cabin (1853)
• Dred, A Tale of the Great Dismal Swamp (1856)
• The Minister's Wooing (1859)
• Agnes of Sorrento (1862) (reading online)
• The Pearl of Orr's Island (1862)
• The Chimney Corner (1866) (chapters published in Atlantic Monthly Volume 18)
• The American Woman's Home (1869) (with Catherine Beecher) (see summary and links to the book here)
• Old Town Folks (1869)
• Little Pussy Willow (1870)
• Lady Byron Vindicated (1870)
• My Wife and I (1871)
• Pink and White Tyranny (1871)
• Woman in Sacred History (1873)
• Palmetto Leaves (1873)
• We and Our Neighbors (1875)
• Poganuc People (1878)
• The Poor Life (1890)

As Christopher Crowfield[link]

• House and Home Papers (1865)
• Little Foxes (1866)

See also[link]

Saints portal

• Origins of the American Civil War

Notes[link]

External links[link]

Wikimedia Commons has media related to: Harriet Beecher Stowe

Wikiquote has a collection of quotations related to: Harriet Beecher Stowe

Wikisource has original works written by or about: Harriet Beecher Stowe

• Harriet Beecher Stowe’s Uncle Tom’s Cabin: an Electronic Edition of the National Era Version — Edited by textual scholar Wesley Raabe, this is the first edition of the novel to be based on the original text published in the National Era
• Uncle Tom's Cabin and American Culture — A multimedia archive edited by Stephen Railton about the Stowe's novel's place in American history and society
• Harriet Beecher Stowe House & Center — Stowe's adulthood home in Hartford, Connecticut
• Harriet Beecher Stowe Society — Scholarly organization dedicated to the study of the life and works of Harriet Beecher Stowe
• The Online Books Page (University of Pennsylvania)
• Works by or about Harriet Beecher Stowe in libraries (WorldCat catalog)
• Works by Harriet Beecher Stowe at Project Gutenberg
• Life of Harriet Beecher Stowe Compiled From Her Letters and Journals by Her Son Charles Edward Stowe at Project Gutenberg
• Harriet Beecher Stowe's brief biography and works
• Uncle Tom's Cabin, online text with audio. (PDF)
• "Uncle Tom's Cabin: the book that ignited a nation"
• "How To Live on Christ" a pamphlet by Harriet Beecher Stowe, taken from her Introduction to Chistopher Dean's "Religion As It Should Be or The Remarkable Experience and Triumphant Death of Ann Thane Peck" published in 1847 Hudson Taylor sent a pamphlet using the words of this preface out to all the missionaries of the China Inland Mission in 1869.
• Barron's BookNotes for Uncle Tom's Cabin - The Author and Her Times
• Harriet Beecher Stowe at C-SPAN's American Writers: A Journey Through History

v t e Underground Railroad People Levi Coffin William Cooper Nell William Still Sojourner Truth Harriet Beecher Stowe Harriet Tubman Calvin Fairbank Places Indiana Levi Coffin House Bialystoker Synagogue Town Clock Church National Underground Railroad Freedom Center Events Second Great Awakening Oberlin-Wellington Rescue Pearl incident Uncle Tom's Cabin Thirteenth Amendment Topics Abolitionists African-Americans Quilts Songs See also: Slavery in the United States and Slavery in Canada