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Bridgewater Review, Vol. 39, No. 1, April 2020 Bridgewater Review Volume 39 Issue 1 Article 1 4-2020 Bridgewater Review, Vol. 39, No. 1, April 2020 Follow this and additional works at: https://vc.bridgew.edu/br_rev Recommended Citation Bridgewater State University. (2020). Bridgewater Review. 39(1). Available at: http://vc.bridgew.edu/ br_rev/vol39/iss1/1 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Bridgewater Review Ridged Pots: A Studio Investigation by R. PRESTON SAUNDERS Also in this issue: XIAOYING JING and ON SABBATICAL PAULA BISHOP BIN ZHANG Reflections by LISA LITTERIO, on Felice Bryant’s Country Music on Chinese Family Kinship DIANA FOX, and Songwriting and Ancestor Worship MAURA ROSENTHAL SAMUEL SERNA SIMuRing: Making an Book Reviews by OTÁLVARO Interdisciplinary Project Work HALINA ADAMS, and on Scientists and Public Policy by CHRISTINE BRANDON, JESSICA BIRTHISEL POLINA SABININ, and CHARLES C. COX III NICOLE GLEN, and on Shuji Isawa JENNIE AIZENMAN Poetry by JOE LACROIX AprilVolume 2020 39, Number 1 April 2020 BRIDGEWATER STATE UNIVERSITY1 A Note on COVID-19: The editors of Bridgewater Review hope that all members of our BSU community and their loved ones are safe and well during this crisis. We would like to thank our administrators for providing leadership and guidance; our faculty and librarians for their hard work in moving and teaching courses online; our staff for keeping university business running and supporting us all; and our students for their patience and endurance during a challenging time. “Do you Remember? When you got to school LATE and the Chalk trays weren’t dusted __” (Hilda M. Todd Scrapbook, BSU Archives and Special Collections) Credits for Author Photographs Sarah Wiggins (by George Rizer); Paula Bishop (by Nicki Pardo); Charles C. Cox III (by Charles C. Cox III); Xiaoying Jing (by Bin Zhang); R. Preston Saunders (by R. Preston Saunders); Christine Brandon (by Christine Brandon); Polina Sabinin (by Jim Wakefield); Nicole Glen (by Polina Sabinin); Jennie Aizenman (by Cape Cod Broadcasting); Lisa Litterio (by Ben Hollis); Maura Rosenthal (by John Winters); Jessica Birthisel (by George Rizer); Halina Adams (by Halina Adams); Joe LaCroix (by Donna Russo). 2 Bridgewater Review Bridgewater Review Volume 39, Number 1 April 2020 2 Editor’s Notebook EDITOR Sarah Wiggins Sarah Wiggins History 4 Felice Bryant and Country Music Songwriting in the 1950s Paula Bishop ASSOCIATE EDITOR Ellen Scheible 8 The Responsibility of Scientists in Public Policy English & Irish Studies Samuel Serna Otálvaro EDITORS EMERITUS 13 Shuji Isawa and Bridgewater State Normal School, 1875-1878 Michael Kryzanek Charles C. Cox III Political Science & Global Studies 16 Ridged Pots: A Studio Investigation William C. Levin R. Preston Saunders Sociology Barbara Apstein 24 Chinese Family Kinship and Ancestor Worship English Xiaoying Jing and Bin Zhang Brian Payne 28 SIMuRing: Making an Interdisciplinary Project Work History Christine Brandon, Polina Sabinin, Nicole Glen, and Jennie Aizenman Andrew C. Holman 33 ON SABBATICAL History & Canadian Studies From Data Gathering to Classroom Policies: Reflecting on Lee Torda My First Sabbatical, Lisa Litterio English Scholar-activist Anthropology in Nepal: Radical Women DESIGN Artists on the Liberation Front, Diana Fox Philip McCormick’s Design Sabbatical 2.0: A True Break, Maura Rosenthal Works, Inc., North Easton, MA 36 BOOK REVIEWS The Testaments by Margaret Atwood, Halina Adams Because Internet: Understanding the New Rules of Language by Gretchen McCulloch, Jessica Birthisel 40 POETRY “When I Taught My Last Class,” Joe LaCroix On the Front Cover: Ridged Pot Series # 1, 15”h x 16”w x 16”d (Photograph by Clements Photography and Design) Bridgewater Review is published twice a year by the faculty and librarians of Bridgewater State University. Opinions expressed herein are those of the authors and do not necessarily reflect the policies of Bridgewater Review or Bridgewater State University. Letters to the Editor are encouraged and should be sent to: Editor, Bridgewater Review, [email protected] Articles may be reprinted with permission of the Editor. ©2020, Bridgewater State University ISBN 0892-7634 April 2020 1 and living in a boarding house with a EDITOR’S NOTEBOOK cast of characters that she vividly illus- trates. Todd introduces an insurance Being Toddy salesman, a lawyer, and her principal, who was “constitutionally cursed Sarah Wiggins with fly-a-way, untidy hair,” and thus cannot stop thinking about Hilda M. Todd. I first “spoiled her DISPOSITION.” She calls herself “Toddy” and, in a third- encountered her last summer when I brought my person narrative format, promises the students to the BSU archives. Sitting on the table reader that more will be revealed about I her. In fact, a few more pages in, she was a scrapbook produced by Todd that covered the announces: “THIS BOOK, as may be years 1909 to 1917. This scrapbook was not the usual perceived by the Discerning, is some- type with photos, newspaper clippings, and dance what devoted to the MEN. This Book has shocked a great many people. GET cards. It was filled with beautifully crafted illustrations READY.” Who can walk away from indicative of the time period. These illustrations were that invitation? arranged by Todd to tell her story, as well as for her Toddy does not disappoint. She goes own edification and amusement. The scrapbook into detail about her romantic interests. One that stands out is a courtship with functions twofold as an illustrated storybook and a a curate. From the outset, a tension woman’s personal journal. While I am not one to between the two parties exists. Her illustration of them sitting together on a turn down a good dance card, nothing quite compares bench shows different personalities that to Hilda Todd’s scrapbook. Since spending time with may not be suited for each other (Image it, I have contemplated just what it is that makes the 1). Toddy reveals that the curate finds her love of producing illustrative art book so special. In the end, I think that her artwork, inappropriate in certain circumstances writing, humor, and honesty produced something and unladylike in general. The tipping point comes when Toddy draws an that still feels alive over 100 years later. unflattering picture of the curate and Hilda Todd attended Bridgewater State years at Brockton High School. When “To make matters worse, it looked just Normal School from 1903 until 1905. opening up the scrapbook, we find her like him.” She admits that she “has yet After leaving Bridgewater, she main- situated in Torrington, Connecticut, in to meet a man who can stand seeing tained a long teaching career, including the early stages of her teaching career himself as Toddy makes him look in her Image 1: “The Curate is willing for Toddy to beam on him, but he does Image 3: “What Toddy really Read.” (Hilda M. Todd Scrapbook, BSU wish she wouldn’t do it in quite such a public manner!” (Hilda M. Todd Archives and Special Collections) Scrapbook, BSU Archives and Special Collections) 2 Bridgewater Review sketches,” and faces the consequences ham dangling above her head that her of the curate distancing himself from mother repeatedly asked her to hang. her (Image 2). With humor, she added, “I hope this Ham drops on me and kills “However he bought a higher collar, me Dead!” That was the last page of and some shoulder braces. All things her scrapbook and “The End of That work together for grace,” and titled PERFECT DAY.” Though it may the accompanying drawing, “See the be an odd image with which to end a Improvement.” By the next page she substantial creative project, it is in many drew another woman with a dour face ways symbolic of the dutiful daughter who would win the curate’s affections. whose attempts to balance work, care- taking, and relationships sometimes fail. Throughout the book we see the story of an independent and creative woman Why does Hilda Todd continue to who was unlucky in love at this stage in haunt my thoughts? Maybe the rich- her life. She positions herself often on ness of her artwork made me feel that the sidelines observing other couples I knew her. Part of me wished that I and losing potential lovers to rivals. could be her friend. And that is why One can speculate that her “artistic” this scrapbook feels alive in my hands. personality may not have been consid- Image 2: “The Curate endeavors to ascertain Toddy takes us into her personal life ered suitable for marriage by some men. if he looks as bad as Toddy has drawn him. and shows us the humor, hope, fear, Did Toddy’s ability to produce art give Unfortunately he forgets to lower the shade!” frustration, and heartache that we all her a certain power that the curate felt (Hilda M. Todd Scrapbook, BSU Archives and endure, regardless of who we are or in he could not control? Her vivacious Special Collections) what age we live. It is not a fairy tale spirit may have been too much for the when you’ve got to teach on Tuesday!” with a “happily ever after” message. It starched churchman. Though he did A sentiment upon which I believe that is day-to-day reality that we recognize. try. One set of illustrations tells the we can all agree. Now when I look out upon my class- story of the curate and crucifer (another rooms filled with students who are boarding house resident) offering Serious issues relating to work and future teachers carrying on the BSU Toddy books such as Pilgrim’s Progress, marriage also arose in the book. It was tradition, I can see a direct line to and Lives of the Saints.
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