North America Books

This is a first hand account of the Indian War of 1864. In terms of its chronological time slot, these remembrances of Captain Eugene F. Ware, Seventh Iowa Cavalry, fit smack in the middle of the flood tide of Western migration from all parts of the east. Captain Ware's responsibilities were to keep the overland migration routes free from Indian attack while simultaneously protecting the Indians from white depredations. The story depicted is one of continual conflict resolution, long, weary hours of patrol, inadequate manpower and intense exposure to drought, flood, heat and cold. It is a story of fifteen mile wagon trains, vast buffalo herds and space, truly wide open space. It is a story of the OLD west, that which existed before fences and cattle ranches, before complex Indian reservation systems and most of all, a time when Native American tribes were still a force to be reckoned with. It is extremely well written.

That portion of the trail which Eugene Ware patrolled is today Interstate 80 as it passes through western Nebraska.

Having said this, I caution, that it's not exactly like reading about Custer. The most exciting encounter with the Indians involves Ware and his troop trying to make a mad dash for the fort before the Indians have time to persue, and the major accomplishment is replacing the telegraph wires that the Cheyennes destroyed. Thus I would not recommend this for an individual new to the topic of the Indian Wars, but if you're at the point where you want to delve deeper, and get more insight into the times, this is a very valuable work.

When a member of the publishing family of It Happened In Woodstock approached me to write a review about his family's book on Woodstock, New York honoring the blue ray, and indicated that "This book's stunning use of reverse lithography (white letters on cobalt blue background) activates the blue ray in every reader," I had no idea what he was talking about.

The book finally showed up in my mail- box one day, and although, you can never tell a book by its cover, this one is remarkable, not only for its good look, but also its amazing succinct chronicling of the history of Woodstock from A.D. 1614 until 1971.

Originally published in 1959, it was authored by a Philadelphia debutant, Anita Smith, who today is a well- known artist known for her impressionist and post-impressionist landscapes.

The 165 pages are cleverly divided into distinct sections presenting various portraits of the town from a historic, nostalgic, and psychic perspective.
Moreover, the book's strong and sensitive use of old photographs coupled with fascinating historical data effectively transports readers into a charming little town, and as the book quotes Helen Hayes: "a unique spot in the world, isn't it. Throbbing with creation, flashing with genius-and so placed and countrified withal."

We learn that in 1614, when the first map of the Hudson River Valley was drawn up, the name Woodstock was missing.
However, in 1777 the Englishman, Robert Livingston, referred to Woodstock in a letter and points out that the original Saxon word was "Wudestock" for "a clearing in the wood."
Apparently, the village borrowed its name from the (woodsy) town in Oxfordshire, England.

Another section of the book, entitled "Woodstock: It happened in" we read about Native American folk lore, and the reminders of the past, such as the Native American names as Onteoras, (loosely translated as mountains of the blue ray-Onti-oras) Ohayo, Mountain, and the Esopus River. The beads, pipes and leather goods, or co-called "Hippie" affectations, that is abundant in the village.

We have a peek at some of the daily ads appearing in the local newspaper that give us a glimpse of the unenviable life of women- "My wife Polly has left my bed and board for no good reason. Or so he says.... As she is fond of riding, I forbid anyone to pick her up in a sleigh, carriage or wheelbarrow."

As for the Woodstock Music Festival of 1969, the publishers point out:
"We as Piceans, have been in error. The reader will note that the attitude taken toward the Woodstock Music Festival of 1969 is, in all but the final section of this book, one of unmerited condescension. For it was our purpose, as stated above, to place this festival into the context of the history of Woodstock itself.

We felt that that the event had been blown-through some vagary of the public mind-out of all proper historical proportion.
But we have since concluded-with the persuasion of our London observer-that public attention, in this case at least, has been anything but arbitrary.
The "happening" of August, 1969 is a part of the village of Woodstock. But of far more important has been its Cosmic role."

The book is a neat history lesson supported by a wealth of interesting tidbits.
As an added feature, the book in its classic art folio version comes with post and screws to allow readers to open the book, remove pages, and even thumb tack anyone of the seventy illustrations on an office or home wall.

This review first appeared on the reviewer's own site: Bookpleasures.Com

The first Woodstock Festival did not occur in August 1969, but instead was enacted in 1915 to help finance bills from the drilling of an artesian well on the property of Kansas-born Harvey White, publisher of The Plowshare and playwright. During this festival, Tchaikovsky was performed in a stone quarry to the delight of its then audience. A leading light in Woodstock's cultural evolution, Harvey White was the man who built The Maverick on his property where John Barrymore, Edward G. Robinson, Helen Hayes all acted and later the Juilliard School and The Metropolitan Opera. Included in this attractive book is an account of the Woodstock Music Festival of 1969 by an Englishman who was there. An addendum includes a series of decorative adds for historic Woodstock enterprises including the bus lines, Jack Horner Tea Room, artist's home, etc. We come to understand why so many have loved the essential human-ness of life in Woodstock, including Mrs. Franklin D. Roosevelt who commented in her nationally syndicated feature: "Anyone who knows Woodstock will agree, I think, that it is a charming place. It shows what good taste and imagination can do to create a delightful atmosphere."

While we learn that in 1906 the Art Student's League of New York established their summer home in Woodstock. more interesting is the section that recounts the flourishing of an arts scene in Woodstock, which included the likes of George Bellows, Robert Henri, and the early abstractionist Andrew Dasburg. A full chronology of the life and times of Woodstock, New York informs us of how much this rural centre has led a continued flourishing culture that has been an inspiration not only for its residents but for Americans of all stripes over the decades. Read it!