The communal style of living which is now so much a part of our picture of the Shakers was actually not a part of their beliefs. When they moved to the Colonies, however, relocating around Albany, financial stresses compelled them to live in a communal setting
If you have begun thinking of tie-dye, put it out of your mind.
The equality between the sexes was a direct outgrowth of the Shakers’ belief in the dual nature of God; a masculine half and a feminine half. It did not hurt that the spiritual leader of the order was a woman, Mother Ann Lee. Her experiences during childbirth, and the death of her young children, persuaded her that all sin came from sex and that only by overcoming fleshly desires could true salvation be attained. Unlike many of the new faiths that sprang up at that time, the Shakers were celibate.
The sexes lived together in the Dwelling Houses, but were separated and lived on separate sides of the Dwelling House. Personal property was abolished as well, all the property being held communally. New converts brought with them and gave to the order all of their worldly possessions, including land. Even though the order accepted anybody, including those who were penniless, the order became quite wealthy from the property deeded to them.
By living communally, the Shakers also had a work force, necessary on the large farms they owned.
Their agrarian methods ceased to be competitive with the United States economy when it shifted from farming and handcrafts to factories. The Shakers couldn’t compete and their numbers began to dwindle. Celibacy was part of the problem. Since they had no children of their own, they relied on converts, both adults and children. Once there were governmental agencies that cared for the poor and for the abandoned children, formerly a conduit of people to ‘make’ a Shaker, and the number of converts declined, the number of Shakers diminished rapidly.,
Tthey remain once of the most successful ‘communes’ ever established. Currently, there are still two surviving members.
The short comment on the title is that women had none. Although I would expect that wives had some input in their married lives and the lives of their children, legally they had none.
Women could not vote. The only people who could were white men, and white men with property at that. Women could not inherit from their husbands unless specifically mentioned in a husband’s will. If he did not mention her, she became the responsibility of her son. If the relationship was poor, he could, and frequently did, turn her own to starve on the road.
Women owned nothing. Although a woman might bring a dowry to a marriage, property of such, as soon as the marriage took place, the property became her husband’s. He could spend it as he wished, including on other women. If he chose to gamble it away, she had no legal recourse. (This, by the way, is a common trope in Regency and romance fiction.) One of the sources I read described a case of divorce. When the woman wished to remarry, she had to do so in her petticoat. Even the clothing on her back belonged to her husband and he refused to give her any of it. (This is why the farm Lydia owns becomes Rees’s after their marriage.)
Even her children belonged to her husband. In a dispute, he might remove them and forbid her to see them again. He usually chose his children’s spouses and determined where and when they were apprenticed.
Domestic abuse was not a crime. Although it was expected a husband would not beat his wife to death, English common law gave him the right to beat her with a stick no bigger than his thumb.
This is not a world I would ever wish to return to and it is certainly unfortunate that some people seem to think this is still the way the world should work.
One of the wonderfully progressive facts about the Shakers is that they believed in equality between the sexes. Although their work was divided by gender, and followed along traditional gender roles, women bore a equal share in the governance of the community. Education as well was offered to both boys and girls, a rarity at that time.
So excited to reveal the cover for my new Will Rees mystery: Murder on Principle. I am not sure when it will be released. Death in the Great Dismal will be available Jan 5, 2021.
I am guessing sometime this summer. Stay tuned for more information!
In The Circle of Dead Girls, my latest Will Rees mystery, the circus comes to this small Maine town. It is hard to believe, but the American circus was still in its infancy in 1799.
Although the circus has a long history – the Egyptians are commonly credited with inventing acrobatics – all forms of entertainment including the jugglers and the acrobats were banned during the Puritan era. It was not recreated in England until Sergeant-Major Philip Astley began exhibiting his equestrian prowess on the outskirts of London in 1768. He performed in a circle (a ‘circus’ in Latin).
In 1770 he decided to expand the appeal of his show by adding acrobats, ropedancers (or wire walkers) and jugglers. (The trapeze, which evolved from the high wire acts, had not yet been invented.) He finished the production with a pantomime, a farcical play that included characters from the Commedia del Arte: Harlequin, Columbine and Clown. His new circus was a huge success.
Like many parts of American culture, this new version of the circus came to the United States from England. As Europe prepared for war, one of the many between England and France, a pupil of the English equestrian tradition, John Bill Ricketts, brought the circus across the Atlantic. He set up a riding school in Philadelphia in 1792 and established the first circus the following year. It was not a traveling circus but was, like the Astley entertainment, housed in a wooden amphitheater.
From the first, despite the social and cultural mores that repressed women, they performed in the circus. They were career women before the term was invented. And they were frequently the stars. In 1772 Astley’s circus featured two equestriennes. The wives of Astley and another trick rider J. Griffin were so popular and famous they were invited to perform before the royal families of England and France. Following their lead Ricketts included a woman in his circus who not only worked as an equestrienne but also doubled as actress and dancer.
Many of the women who performed in circuses were the wives and daughters of male owners or performers. In Europe there was already a culture in which the children raised by circus parents became performers in their turn. A famous ropedancer, familiarly called Bambola, was one such in Italy. I borrowed the name for a character in A Circle of Dead Girls.
The circus allowed women to exhibit their bodies and their physical strength in public. The equestriennes certainly could not do tricks on the backs of galloping horses in long trailing skirts so, horrors!, they wore knee-length skirts that clearly showed the shape of their legs. To modern eyes, this reveal would look remarkably tame. But in the eighteenth century this was titillating. Women of that time were tightly corseted and completely covered. It was not proper for them to attend the circus, which was on a par with Burlesque. Until the Civil War (1861 – 1865) the audience of the American circus was predominantly male. The female performers, like actresses, to whom they were compared, were suspect, considered little better than harlots. But unlike the actresses, who only had to be pretty and seductive, the women in the circuses had to have talent and be willing to undergo the grueling training required for the acts. They, like their male counterparts, had to be unusually healthy and fit.
The circus proved extremely popular in the United States and Ricketts expanded to include New York and Boston and even cities in Canada. To reach more people, the circuses began to travel, building and then tearing down the wooden arenas as necessary. In 1825, Joshua Purdy Brown decided to present his show under a canvas tent instead of the temporary wooden structures. The modern circus was born.
Although there is no record of traveling circuses before the 1800’s, I suspect some enterprising fellows would set up their own small companies. Outside of the few big cities at that time, (which were primarily New York, Philadelphia and Boston, most of the U.S. was rural. Picture how exciting the arrival of such entertainment would be. And how exotic the performers would appear to the farmers and small shopkeepers who came to see them. And imagine how seductive such a beautiful ropedancer would be in a tiny town in Maine . . .
Although I planned to schedule the giveaway to hit just before the release date – March 3 – the book is available now!
So sign up for you copy on Goodreads.
The circus has come to town. Rees drives in to see a performance but sees his old nemesis, Magistrate Hanson, instead. Returning home, Rees meets up with a group of Shakers who are searching for a missing girl. Rees agrees to help search – and they find the girl’s murdered body in a field.
But the publication day last Friday was in Great Britain. Publication of the new Will Rees in the United States does not occur until the beginning of March.
The circus is coming to town. Although primitive by our standards – the circus would not even have had a canvas big top – in 1800 where entertainment options were few, the circus would have been huge. No trapeze artists, but there would be a high wire act, a clown, maybe a magician and also animal acts. Not lions or even elephants, but the more common animals such as horses, dogs, and pigs.
Who could blame the children from being excited – even the children living with the Shakers. Sadly, only the boys would be allowed inside, and the men, as women were not permitted to view such frivolity.
Circuses also provided a haven for refugees. This was only 7 years after the French Revolution and Napoleon was marching across Europe with his armies.
I am very happy to announce that A Circle of Dead Girls, Will Rees number 8, will be released March 3, 2020.
The Circus has come to town. Rees arrives for the performance but the sight of his old nemesis, Magistrate Hanson, sends him home again. On his way, he meets a party of Shaker Brothers searching for a young girl. Her body is found in a nearby field.
Who killed Leah? The circus trick rider? The strong man? One of the Shaker Brothers? Maybe even the Magistrate.
On Sunday, March 31, I spoke about the Shakers, The Shaker Murders, and other topics at the Library. This is the library I was Director of for 14 years. A large library, it serves a diverse population. Working here was life-changing for me in so many ways. And, even though I left over ten years ago, they continue to be supportive.
In The Shaker Murders I used a granny cradle to comfort one of my ill characters. I saw one of these large cradles at a display of Shaker materials at the New York State Museum.
These cradles look like baby cradles although they are much larger. No one is quite sure what these items were used for but it is assumed they were used for people who were ill or at the end of life and in need of comfort.
