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"We, the house begins in 1878 in a frontier town on the Kansas prairie where a battered Civil War Union veteran builds his new wife her dream house, and Italianate glory she names Ambleside who tells this story. Soon and early American portrait of Mrs. Simon Peale arrives from Hartford, Connecticut to dignify the dining room wall. When the portrait's existential yelp causes house and painting to discover each other, Ambleside is a perfect 'tabula rasa, ' almost literaly born yesterday, and Mrs. Peale is a devastated young widow, a starchy professor of Latin, who has been dead since 1841. Together, through the lives and generations of 'their' family, the two works of art witness and try to comprehend the panorama of American social history-- from women's suffrage, three wars, the ice box, photography, and the invention of the two-by-four, to indoor plumbing and electrification, the Dust Bowl, the Depression, and Dachau, foxglove, the Love That Dare Not Speak its Name, the song of the catbird, and Little Women. Over the decades, a most unusual love develops between them and quietly deepens, until one day, in 2010 and art historian from New York happens to see the portrait of Mrs. Peale, and abruptly, everything changes."--back cover.… (plus d'informations)
Original and thoroughly charming. As the fond owner of a 110-year-old Kansas house, I've gotten caught up in its history and the people who built it, who were born, lived, and died there. Ashworth and Kander have brought their house, a stately Italianate residence dubbed Ambleside, to life through their (Ambleside's preferred pronoun) conversations with an intelligent, erudite, observant and occasionally temperamental woman in a painting on the wall. The House - a sensitive, earnest, gentle and sheltering soul - can only see outside their walls; Mrs. Speale [sic - actually a misinterpretation of Mrs. S. Peale's name] can only see what happens inside. Their discussions range across a century, enlightening the House about the lives of those who inhabited them (with forays into Latin and Greek etymology), through marital spats, the births of children, recovery from wartime traumas and a pandemic, courtships and deaths. The reader learns along with the House about the trials and triumphs of the humans who inhabit them, under the perceptive eye of Mrs. Peale.
I did occasionally stumble with the sequence of events, as the incidents are not told in the order in which they appear - but after all, we learn our own family stories in dribs and drabs, as different people tell them at different times. And I did wish for a photo or two of Ambleside besides just the cover! Readers are encouraged to look into the wonderful portraitist Ammi Phillips, and paint their own image of the indomitable Mrs. Peale, who I hope is having long, interesting chats with the other portraits in the museum where she may have at last come to rest, and perhaps with the museum themself. ( )
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"We, the house begins in 1878 in a frontier town on the Kansas prairie where a battered Civil War Union veteran builds his new wife her dream house, and Italianate glory she names Ambleside who tells this story. Soon and early American portrait of Mrs. Simon Peale arrives from Hartford, Connecticut to dignify the dining room wall. When the portrait's existential yelp causes house and painting to discover each other, Ambleside is a perfect 'tabula rasa, ' almost literaly born yesterday, and Mrs. Peale is a devastated young widow, a starchy professor of Latin, who has been dead since 1841. Together, through the lives and generations of 'their' family, the two works of art witness and try to comprehend the panorama of American social history-- from women's suffrage, three wars, the ice box, photography, and the invention of the two-by-four, to indoor plumbing and electrification, the Dust Bowl, the Depression, and Dachau, foxglove, the Love That Dare Not Speak its Name, the song of the catbird, and Little Women. Over the decades, a most unusual love develops between them and quietly deepens, until one day, in 2010 and art historian from New York happens to see the portrait of Mrs. Peale, and abruptly, everything changes."--back cover.
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I did occasionally stumble with the sequence of events, as the incidents are not told in the order in which they appear - but after all, we learn our own family stories in dribs and drabs, as different people tell them at different times. And I did wish for a photo or two of Ambleside besides just the cover! Readers are encouraged to look into the wonderful portraitist Ammi Phillips, and paint their own image of the indomitable Mrs. Peale, who I hope is having long, interesting chats with the other portraits in the museum where she may have at last come to rest, and perhaps with the museum themself. (