The Age of Homespun: Objects and Stories in the Creation of an American Myth

Laurel Thatcher Ulrich attempts to explain and tell history in a unique fashion in her work: The Age of Homespun. It is rare and difficult to tell the tale of a historical era merely through objects of material culture. Ulrich’s approach is fascinating and in a similar nature to visiting a museum, adds a touch of depth and personal linking to a long past time. Seeing, and in the case of the book this is achieved via photographs and prints, can create a more personal and relatable connection to history. This reading of Ulrich’s work is the most basic, it is much more than a study of objects. The main, overarching premise in The Age of Homespun is not very different than what Ulrich did with her previous work, Good Wives. In both works Ulrich looks at the early Colonial Era in America and examines the role of women during this time. Not merely women either, but the role of marginalized segments of society and how they interacted culturally and economically. However similar her two works are, The Age of Homespun stands on its own in its use of objects of material culture interwoven with a broader sense of the ideas and myths of America.The basic structure of The Age of Homespun is straightforward and logical; as one might expect it consists of chapters, with each one discussing a different object. What is most interesting to the reader comes in the prologue and introduction, the time period in which Ulrich begins her examination of these objects: the Nineteenth Century. Ulrich explains that it was during the time just before the American Civil War that a revived interest in the American Colonial past emerged. “In the last decades of the nineteenth century they discovered the detritus of rural households. For a people caught in the march of mechanization, antique tools and scraps of fabric evoked a world that seemed simpler and more authentic than the one they knew.” (6) The renewed interest of nineteenth century Americans in the past helped to preserve many of the artifacts of that time, but also diluted and reinterpreted the Colonial era. Most importantly for Ulrich, a new look at how women contributed to early Colonial life and society emerged.The title, “The Age of Homespun”, itself derives from a speech delivered during a bicentennial commemoration of a New England town. In 1851 the Reverend Mr. Horace Bushnell delivered a “sermon”, as it was called, extoling the virtues of New Englanders of the past, and not merely the military heroes, but the common men and women. Thus, the title not only for Ulrich’s book was born, but of an entire ideal regarding Colonial society. “The mythology of household production gave something to everyone. For sentimentalists, spinning and weaving represented the centrality of home and family, for evolutionists the triumph of civilization over savagery, for craft revivalists the harmony of labor and art, for feminists women’s untapped productive power, and for antimodernists the virtues of a bygone era.” (29) According to Ulrich, the nineteenth century managed to create an “alternative history” of the Colonial era and still greatly effects many modern people’s views of the time.Ulrich argues that cloth played as important a role in the settling and early history of North America than any other factor. “Later historians have not been so quick to see the link between textiles and the conquest of North America.” (38) In The Age of Homespun Ulrich creates a link between the material culture objects of the time and the role of women, Native Americans and slaves. Ulrich’s work can be taken as a mostly feminist read on the early Colonial era, but also as a Marxist interpretation in many respects, relating women to the building of the early American economic system.In examining each object Ulrich creates a literary museum. In the prologue she even discusses as much, pondering how to display these items if they were to be in a museum. The primary concern is not to create a display representing one specific period, but the entire length of the period represented by a series of objects from different times. Ulrich begins each chapter by describing the artifact by its physical characterizes: height, weight, material, etc. Then whatever backstory is known about the said item.The first artifact examined is an Indian Basket, and functions as a good example of the examinations of all subsequent objects. The original note accompanying the basket describes it as a gift, created by a Native, for a soldier in Rhode Island circa 1676. Donated to a local historical society in 1842, it was long presumed to have dated from the time of Metacomet or King Philip. This claim was long believed by those who displayed and cared for the basket. Ulrich examines the history of the original claim and finds it questionable. The issue for Ulrich is not the validity of the claim that the basket was from the time of King Philip’s War, but rather what it represents. While the story of the basket itself, or any of the other objects discussed in subsequent chapters, is short, Ulrich expands on the original tale. The artifact serves as springboard of further analysis of a given culture or segment of society. In examining how Algonkian Indians and the English settlers perceived themselves, Ulrich notes, “The English came from a wool producing country proud of their blankets. Algonkians were renowned for their basketry.” (44) In the basket discussed, bits of dyed wool were discovered, prompting the question, “could they have come from an English blanket?” (43). Ulrich sees this singular example as a larger symbol for the blending and adaptation between Native and European cultures.Another artifact of note is a “chimneypiece”, a decorative embroidery meant to be hung like a painting on a mantel. The particular example was created by a Eunice Bourne in the mid eighteenth century. (145) Ulrich uses this depiction of gentile country life to show how a woman of a higher stature still perceived the simple life of the country as an ideal.“Eunice Bourne’s embroidery is a specimen of colonial needlework, a document in the history of female education, and an exemplar or eighteenth century pastoral. Portraying an archaic form of spinning at a time when Boston leaders were considering opening a factory, it obscures the discrepancy between idealized visions of women’s work a d the often has circumstances under which they lived.” (173)In this brief examination of an artifact Ulrich pulls out both the role of a women in Boston society on the eve of the American Revolution and the role that an idealized view of American life had already emerged in the late eighteenth century.The Age of Homespun is not for a reader with little knowledge of the time periods examined. Ulrich provides only the briefest overall historical analysis of a given time, and in many ways, expects the reader to at least have a basic grasp of the era. Despite this, to any reader with foreknowledge Ulrich provides interesting interpretations and additions to the tale. At its heart the work is an examination of how different parts of Colonial society interacted and functioned. The case of the basket demonstrates the interactions and cross-cultural learning between Native and English cultures. Later examples of stockings and blankets serve to show how women contributed to the economy and society of many New England villages and towns.Much in the same manner as objects of early Colonial America held great interest for many different segments of nineteenth century society, The Age of Homespun is a historical work that interests many types of readers. The person interested in the art and methods of early fabric weaving and spinning will not be disappointed. Similarly, a person interested in local history will find the tidbits and stories heartening. Most importantly, a historian will see in The Age of Homespun a unique interpretation of the Colonial period. Laurel Thatcher Ulrich combines different historical approaches to create this exceptional work. The feminist take on history might very well be said to be the most obvious aspect of this work. Although this is true, there are other aspects involved. The incorporation of Native Americans and Black Slaves also provide a different insight. Moreover, and linked to the above two, the economic aspect is a Marxist take on the era as well. In the conclusion Ulrich states, “The mythology of homespun persists not only because it is adaptable to so many political persuasions, but because it allows us to forget that greed and war were so much a part of the American past.” (414) This is, perhaps, a very true statement about Americans. Even today we look back at different aspects of our past and idealize them, using the idea of the “good old days” to simplify and venerate the past while forgetting its negative aspects.

Read this book to find out how the impulse to fill our closets with old textiles and oddments fulfills a cultural tradition so deeply imbedded that it may as well be a genetic imperative. Ulrich's sensitive descriptions of the nuances of colonial society explain how bits of fabric evoke class distinctions, wealth, and a sense of self worth. Perhaps even more interestingly, the interpretations that the decendants give to these items tell us more about their contemporary society than genuine colonial history -- something to muse over as we wish for the "good old days" (My goodness, who would EVER have thought the 1970's would be something to remember fondly?!?)This is a scholarly book, and the earlier review that suggests readers may be tempted to give up halfway through is correct. Stick with it though -- there are rewarding insights in the final chapters. Throughout, the early colonial history is fascinating and the personal details are tantalizing.

One stitch at a time, one woven inch a day. It's hard for us nowadays when every piece of clothing from our skin to winter hats & gloves come from every country in the world, made on machines.My kind of history book: it takes a handstitched/woven relic & expands on its past & future, reminding us that after the War for Independence, America headed straight into the Industrial Revolution which had historic & life-changing influences on the family unit. Imagine how treadle sewing machines changed women's clothes.Have given a copy to all the women in my life whether they sew or not, & we talk/email about it. Amazing the attitudes: One of the first reactions was from a friend 16 years older: "Women were such slaves then!" I reminded her that her husband still labors for hours every single day in the fields of their farm.30 years ago this would have fed the Feminist Fire, today, Feminist though I be, I'm old enough to read it for the information, vision & wisdom it transfers.

In the Age of Homespun, Ulrich examines "homespun" artifacts or artifacts relating to the creation and storage of homespun goods in early colonial America. Each chapter of her text is devoted to a particular artifact, such as an Indian basket, spinning wheels, a Niddy-Noddy, a chimneypiece, a pocketbook, linens, and a cupboard.However, the chapters are not merely about these artifacts. Instead, Ulrich uses the artifacts as a lens or a vehicle through which she examines the complex social, cultural, economic, and political dynamics of the time period the artifact stems from. Further, Ulrich uses these articles to "write" history--women's history--that has largely been unwritten in history texts.Each chapter of her text really undermines the myth of an idyllic and pastoral society and provides a fascinating look at the complexity of the times.

Such a good book for those interested in history that I bought this copy for a friend. I want to reread mine.

I only remember one thing about this book, and it is the fact that Ulrich didn't put down the dreamers. At first I thought she was going to, but she actually didn't. Without dreamers, there would be no history, and there would be no future, so this made me happy. However, I honestly don't remember anything else!

yes very intense and interesting if one is interested in the New England history of the world of fibers of all kinds from linen to basket reeds.

This came in perfect condition! It is not a cosy analys such as A Midwife's Tale but rather an indepth history of certain objects, how they came about, their purpose and the stories surrounding them. A bit technical but extremely interesting for a history buff.