The whaling bark Progress was a New Bedford ship transformed into a whaling museum for Chicago's 1893 world's fair. Traversing waterways across North America, the whaleship enthralled crowds from Montreal to Racine. Her ultimate fate, however, was to be a failed sideshow of marine curiosities and a metaphor for a dying industry out of step with Gilded Age America. This book uses the story of the Progress to detail the rise, fall, and eventual demise of the whaling industry in America. The legacy of this whaling bark can be found throughout New England and Chicago, and invites questions about what it means to transform a dying industry into a museum piece.

Through the mid-nineteenth century, the US whaling industry helped drive industrialization and urbanization, providing whale oil to lubricate and illuminate the country. The Pennsylvania petroleum boom of the 1860s brought cheap and plentiful petroleum into the market, decimating whale oil's popularity. Here, from our modern age of fossil fuels, Jamie L. Jones uses literary and cultural history to show how the whaling industry held firm in US popular culture even as it slid into obsolescence. Jones shows just how instrumental whaling was to the very idea of "energy" in American culture and how it came to mean a fusion of labor, production, and the circulation of power. She argues that dying industries exert real force on environmental perceptions and cultural imaginations. Analyzing a vast archive that includes novels, periodicals, artifacts from whaling ships, tourist attractions, and even whale carcasses, Jones explores the histories of race, labor, and energy consumption in the nineteenth-century United States through the lens of the whaling industry's legacy. In terms of how they view power, Americans are, she argues, still living in the shadow of the whale.

The true story of a voyage to the South Pacific in search of sperm whales. The Charles W. Morgan was the last surviving whaler from the fleet sailing out of New Bedford, Massachusetts. She was retired in 1921, after 80 years of active service. In this book, first published in 1948, Nelson Cole Haley recaptures the high drama of the whale hunt, the character of his shipmates, and their adventures ashore on the exotic islands of the South Pacific. “This classic true story of a voyage on the CHARLES W. MORGAN is both a wonderful read and an excellent source of information about American whaling in the 19th century.”—Nathaniel Philbrick, author of IN THE HEART OF THE SEA

“Written in prose so clear that we absorb its images as if by mind meld, “The Last Painting” is gorgeous storytelling: wry, playful, and utterly alive, with an almost tactile awareness of the emotional contours of the human heart. Vividly detailed, acutely sensitive to stratifications of gender and class, it’s fiction that keeps you up at night — first because you’re barreling through the book, then because you’ve slowed your pace to a crawl, savoring the suspense.” —Boston Globe A New York Times Bestseller A New York Times Book Review Editor's Choice A RARE SEVENTEENTH-CENTURY PAINTING LINKS THREE LIVES, ON THREE CONTINENTS, OVER THREE CENTURIES IN THE LAST PAINTING OF SARA DE VOS, AN EXHILARATING NEW NOVEL FROM DOMINIC SMITH. Amsterdam, 1631: Sara de Vos becomes the first woman to be admitted as a master painter to the city’s Guild of St. Luke. Though women do not paint landscapes (they are generally restricted to indoor subjects), a wintry outdoor scene haunts Sara: She cannot shake the image of a young girl from a nearby village, standing alone beside a silver birch at dusk, staring out at a group of skaters on the frozen river below. Defying the expectations of her time, she decides to paint it. New York City, 1957: The only known surviving work of Sara de Vos, At the Edge of a Wood, hangs in the bedroom of a wealthy Manhattan lawyer, Marty de Groot, a descendant of the original owner. It is a beautiful but comfortless landscape. The lawyer’s marriage is prominent but comfortless, too. When a struggling art history grad student, Ellie Shipley, agrees to forge the painting for a dubious art dealer, she finds herself entangled with its owner in ways no one could predict. Sydney, 2000: Now a celebrated art historian and curator, Ellie Shipley is mounting an exhibition in her field of specialization: female painters of the Dutch Golden Age. When it becomes apparent that both the original At the Edge of a Wood and her forgery are en route to her museum, the life she has carefully constructed threatens to unravel entirely and irrevocably.