Fiddlebacks

Fiddlebacks and Crooked-backs

Fiddleback

“… how do you describe that moment when the lights go out in someone's eyes and the darkness takes over? They become something you can’t reason with, something whose conscience you can't appeal to—like a shark or a machine. They look human, but they're not. Not in the sense that the majority of us understand, anyway. They have no moral code. They become less than human—inadequate, incomplete. And that incompleteness can make them dangerous, even deadly.” When Ruth Gemmill’s younger brother Alex fails to return her calls, she sets off to check up on him. Unable to find him in Greenwell, the town where he has been living and teaching, she begins her tentative enquiries. She soon discovers the locals to be frustratingly unhelpful, while the eerie town holds more questions than clues. Why are the police so uncooperative? Why is Greenwell so dark and lonely? And who is the “grey man” the schoolchildren saw Alex with not long before he went missing? As Ruth becomes concerned that something terrible has happened to her brother, events escalate mysteriously, dangerously out of control. Then in one fearful moment she is sure she glimpses the abusive ex-boyfriend she left behind in London, the man who caused her years of tortuous pain. Too late, Ruth realizes that her worst fears haunt her still, and that she is at the center of a far darker nightmare than she could ever have imagined …

Making Furniture in Preindustrial America

Cooke offers a fresh and appealing cross-disciplinary study of the furnituremakers, social structure, household possessions, and surviving pieces of furniture of two neighboring New England communities. Winner of the Decorative Arts Society, Inc.'s Charles F. Montgomery Prize Originally published in 1996. In Making Furniture in Preindustrial America Edward S. Cooke Jr. offers a fresh and appealing cross-disciplinary study of the furnituremakers, social structure, household possessions, and surviving pieces of furniture of two neighboring New England communities. Drawing on both documentary and artifactual sources, Cooke explores the interplay among producer, process, and style in demonstrating why and how the social economies of these two seemingly similar towns differed significantly during the late colonial and early national periods. Throughout the latter half of the eighteenth century, Cooke explains, the yeoman town of Newtown relied on native joiners whose work satisfied the expectations of their fellow townspeople. These traditionalists combined craftwork with farming and made relatively plain, conservative furniture. By contrast, the typical joiner in the neighboring gentry town of Woodbury was the immigrant innovator. Born and raised elsewhere in Connecticut and serving a diverse clientele, these craftsmen were free of the cultural constraints that affected their Newtown contemporaries. Relying almost entirely on furnituremaking for their livelihood, they were free to pay greater attention to stylistically sensitive features than to mere function.