Stark’s work on Young Washington began with a satellite image of the eastern American seaboard. He had been looking for “blank spaces” in the United States—those areas without light, and thus without people—and found to his surprise a large swath of such space in western Pennsylvania. During preliminary research of the area, Stark was introduced to someone who had already explored that mountainous and thickly forested backcountry: “I kept running into young [George] Washington.”
Neither associate editor Benjamin L. Huggins nor assistant editor Adrina Garbooshian-Huggins could have anticipated the complexities involved in editing The Papers of George Washington’s Revolutionary War Series, volume 26. One such difficulty concerned the content of the documents, which included the communication of misleading or even false intelligence. And so, in anticipation of the volume’s publication later this year, I sat down with both editors—who collaborated on the volume—to examine the work behind the next installment of the series.
“Why is this nation like this? These structures, these institutions—how did we get here?” These are questions that Jennifer E. Steenshorne wants to address in her new position as director and editor in chief of The Washington Papers, a role she assumed in January 2018. “There’s this sort of sense that the nation emerged fully formed, but it didn’t,” she explains. “There was a process of becoming.” Some insight can be found, of course, through examining the papers of George Washington and his family. But for Steenshorne, these questions of “becoming” guide more than just historical inquiry.
In Rosencrantz & Guildenstern Are Dead, Tom Stoppard’s take on Hamlet, Rosencrantz tells Guildenstern that he doesn’t believe in England. Guildenstern shoots back, “Just a conspiracy of cartographers, you mean?” Here at The Washington Papers, we may not have the makings of a conspiracy, but—amazingly—we do have a cartographer.
Samuel Roukin is used to strangers coming up to him and saying, “I hate you.” And he loves it. Roukin has portrayed the villainous John Graves Simcoe on the AMC television series Turn: Washington’s Spies for three seasons, and the British officer is a character fans love to hate. “My job is to humanize,” says Roukin. “That means it’s working.”
More than just a man, George Washington is a symbol of our revolutionary spirit and democratic principles. Lydia Brandt, architectural historian and professor at the University of South Carolina, studies Mount Vernon, his home, to explore whether it holds similarly iconic status. In her new book, titled First in the Homes of His Countrymen: George Washington’s Mount Vernon in the American Imagination, Brandt surveys Mount Vernon’s memory in the American imagination. Recently, she sat down with us to reflect on the results of her investigation.
“You have to have a little ham in you,” James Madison recently told me. Or rather Kyle Jenks, the living history interpreter who portrays James Madison, told me.
Jenks and I were having lunch in Gordonsville, Virginia, just a few miles away from Madison’s home, Montpelier. I had the pleasure of meeting with Jenks and Tom Pitz, who plays Thomas Jefferson, to learn more about first-person historic interpretation.
Ian Kahn knows George Washington. For three seasons, he has played the General on the AMC television series Turn: Washington’s Spies. An accomplished stage actor, Kahn has also appeared on Dawson’s Creek and Sex and the City. Washington Papers editors Kim Curtis and Lynn Price recently spoke with Kahn about his work on Turn, what this season holds in store, and what George Washington means to him.
The Washington Papers project stands poised to record the origins of the Franco-American alliance with the editing and publication of the final 16 volumes of the Revolutionary War Series, covering the years from 1780 to 1783. We are proud to announce a major new partnership with the Florence Gould Foundation, ensuring that these documents chronicling the most important period in the history of Franco-American relations are edited and published in time for the project’s completion in 2024.
Associate Editor William M. Ferraro will soon be featured as an historical contributor in a documentary about James Monroe’s farm home Monroe Hill. As the film prepares to be debuted at the Virginia Film Festival, Ferraro sat down to answer questions about his experience in being a part of the documentary.