Table of Contents
Title Page
Table of Contents
Dedication
Copyright
Introduction by Gary D. Schmidt
I. Up and About
II. The Pride of Your Power
III. An Earth of Brass
IV. The Rising Eye
V. The Boston Observer
VI. Salt-Water Tea
VII. The Fiddler's Bill
VIII. A World to Come
IX. The Scarlet Deluge
X. 'Disperse, Ye Rebels!'
XI. Yankee Doodle
XII. A Man Can Stand Up
Award-winning fiction from Gary D. Schmidt
History comes alive!
A Newbery Collection
To Pamela, Emily, John and Molly Taylor
Copyright © 1943 by Esther Forbes Hoskins
Copyright renewed © 1971 by Linwood M. Erskine, Jr., Executor of Estate
All rights reserved. Published in the United States by Graphia,
an imprint of Houghton Mifflin Harcourt Publishing Company.
Originally published in hardcover in the United States by
Houghton Mifflin Books for Children, 1943.
Graphia and the Graphia logo are trademarks of
Houghton Mifflin Harcourt Publishing Company.
For information about permission to reproduce selections from this book,
write to Permissions, Houghton Mifflin Harcourt Publishing Company,
215 Park Avenue South, New York, New York 10003.
www.hmhbooks.com
The text of this book is set in Adobe Caslon.
Library of Congress Cataloging-in-Publication Data Control Number 43016483
ISBN: 978-0-395-06766-6 hardcover
ISBN: 978-0-547-61432-8 paperback
Manufactured in the United States of America
DOC 10 9 8 7 6 5 4 3 2 1
4500286767
Introduction by Gary D. Schmidt
On the day that Johnny Tremain was first published, the United States was midway through World War II—though at the time, no one knew how much longer the war would go on. Germany had conquered Europe and Great Britain was tottering. American forces were fighting fierce battles in North Africa, but they hadn't even a toehold on the European front. In the Pacific, the war seemed to be going badly. Every tiny island was a battleground, and a costly, deadly one at that. Despite President Roosevelt's radio assurances, Americans realized that the costs of this worldwide fight for freedom were going to be very high, and would touch every family.
In the middle of that comes the most unlikely book—unlikely because it is astounding that it was ever written or published. Esther Forbes was a historian, not a novelist—certainly not a novelist for young readers. In the year that Johnny Tremain was published—1943—she had won the Pulitzer Prize for Paul Revere and the World He Lived In (1942), but that was a historical work for an adult audience. Now she was using what she had learned in that book to try her hand at a story about a young boy growing up in Boston during the Revolutionary War. And she was going to base it all on a single, small, true incident in which a boy delivered a message about British movements to Paul Revere—a slight enough beginning, to be sure.
But there was more that made the book unlikely. As a writer, Forbes faced enormous struggles. She had to work her way through dyslexia, a condition that made it extremely difficult to draft any writing. She rarely spelled a word the same way twice. Her punctuation was a series of dashes—and that's it. And her temperament would have driven most editors to tears: she refused to accept suggested changes to her story, she refused to clean up the manuscript with proper punctuation, and she refused to even bother with standard spelling.
And if that weren't enough, she decided to put the most important words in the book—the words that would sum up the book's entire meaning—in the mouth of a character who is clearly a lunatic.
Here are those words: "that a man can stand up."
Half a dozen words. Each only a single syllable.
But perhaps it was these very things that made the book almost inevitable, and that made Esther Forbes the one person to write it. It was her years of work on Paul Revere and the World He Lived In that gave her the historian's eye that was so necessary. Only someone so immersed in the world of Revolutionary Boston could guide a reader through the narrow streets, under the signs of various shops, to the wharves where the boys went swimming, down to the Common where the blueberry bushes were thick and as high as a cow's belly and the British soldiers were drilling, out along the Neck where Redcoats guarded the way to Charleston.
But it was her novelist's eye that Esther Forbes used as well, to enliven a character like Johnny, who begins as an arrogant, almost obnoxious apprentice so skilled that he runs his master's household, so clever that he dominates the other apprentices, so sure of himself that he has his entire life planned out: he will become a wealthy silversmith, with a household of his own, and fat, rich merchants like John Hancock will come to him, begging for his work. But this is not the way it is to be. Instead, Johnny finds himself turning his back on his trade—because he has no choice—and then on his aristocratic heritage—because he does have a choice—and choosing instead to become one of this new breed of men whose fight is deeper and wider than even they know, whose fight is not only for themselves, but for all humanity. He will become an American.
He will fight so that a man—any person, anywhere—can stand up.
For Forbes is writing about 1775. And she is writing about the fictional character Johnny Tremain. And her history and her story drive us through her novel at a pace as fast as Johnny's horse, Goblin.
But Esther Forbes is writing with another purpose, too.
She is addressing a nation of young readers who are looking about at their nation at war. They know soldiers and sailors and pilots from their cities and neighborhoods, their churches and synagogues, their schools and town business—their families—who have died in the fight against the world's darkest cruelty and oppression. Up and down their streets they see the stars hung in the windows, showing that from this household, a boy is away at war, fighting for America. And Esther Forbes wants to say, This is why we are fighting. This is what it means to stand against evil. So she has Johnny remember the words ofJames Otis: "so a man can stand up." And she has Doctor Warren respond, "Yes. And some of us would die—so other men can stand up on their feet like men. A great many are going to die for that. They have in the past. They will a hundred years from now—two hundred. God grant there will always be men good enough."
The words are stirring, for they look forward to the Civil War, and now to World War II, when Americans are called upon to fight so that all people, in this country and abroad, can stand up. And so the book ends on a somber but incredibly hopeful tone, as Johnny understands that many "would die, but not the thing they died for."
This is what Esther Forbes wanted to convey to her first readers—and to readers of Johnny Tremain in future years, when the country is again called upon to fight "so a man can stand up."
But—and this is a big but—she does not make things easy, because in real life, things are rarely easy. It is not the case that the British are all oppressive, wicked men who want to take vengeance on the Americans. The occupation of Boston is a gentle one; until the end of the book, the American cause is hardly challenged. A number of the British soldiers are on the side of the American revolutionaries; all the Redcoat Pumpkin wants is to change his uniform for a farmer's smock and go find some land he can work. There are so many soldiers like Pumpkin that the British are hard-pressed to keep their soldiers in Boston. And Johnny actually likes Lieutenant Stranger, who saves his horse, and who practices riding and jumpin
g with him on the Common.
And not all the Americans are noble. Sam Adams will use anything to fight for his cause, even means that he knows are underhanded. The Sons of Liberty have no trouble dismissing James Otis, even though he is one of their founding members. They can be bullies, too; Johnny witnesses the awful things that are done to one Tory victim. And many of the townsfolk of Boston seem more concerned with the profit of their business than the great cause that is swirling around them.
Johnny's commitment is, more than anything else, to an idea: that every person has the right to be free. For him, this is more important than business, than his trade as a silversmith, than friendships. When he thinks of Doctor Warren operating on his maimed hand to cut the scar tissue and free the movement of his thumb, he thinks only that now he will be able to fight for the cause. His commitment to fighting for freedom is even more important than the grief he feels when his closest friend is shot dead on Lexington Green during the first day of fighting. That is something he will think about another time. Right now, there is this work to be done.
I first read Johnny Tremain because of Walt Disney, who made the novel into a film in 1957—the year I was born. It was one of several movies and adventure series that Disney made about early American history—like The Swamp Fox (1959–61) and Daniel Boone (1964–70) and Zorro (1957–59). I probably first saw it on Walt Disney's Wonderful World of Color, which aired on Sunday nights on our black-and-white television set—which didn't show any color, but we tried to imagine. It was thrilling. Johnny was daring, brave, and resourceful—and he rode a horse really well. He disdained a life of aristocratic ease and chose to become not Jonathan Lyte, but Johnny Tremain—an American. He gained the trust of men such as Paul Revere, and dressed like an Indian for the Boston Tea Party, and was there when the lanterns were hung high in the tower of the North Church.
I probably knew that the film wasn't particularly good history: after the tea was thrown into Boston Harbor, the Sons of Liberty probably did not process through the streets of Boston, showing off, playing drums and fifes. And probably they did not carry lanterns to illuminate the Liberty Tree, all the while singing, "It's a tall old tree and a strong old tree." But I can still sing the song, and I remember the sight of the tree glowing in the darkness, and the swelling of pride that I, too, was somehow connected to all of this.
I think Esther Forbes would have approved. She was, after all, speaking to all generations, hoping that whatever else the American experiment in democracy meant, it meant that the country would rise to challenge evil, that it would praise noble sacrifice, and that it would commit itself always to enable every man, woman, and child to stand up.
I. Up and About
ON ROCKY ISLANDS gulls woke. Time to be about their business. Silently they floated in on the town, but when their icy eyes sighted the first dead fish, first bits of garbage about the ships and wharves, they began to scream and quarrel.
The cocks in Boston back yards had long before cried the coming of day. Now the hens were also awake, scratching, clucking,
Cats in malt houses, granaries, ship holds, mansions, and hovels caught a last mouse, settled down to wash their fur and sleep. Cats did not work by day.
In stables horses shook their halters and whinnied.
In barns cows lowed to be milked.
Boston slowly opened its eyes, stretched, and woke. The sun struck in horizontally from the east, flashing upon weathervanes—brass cocks and arrows, here a glass-eyed Indian, there a copper grasshopper—and the bells in the steeples cling-clanged, telling the people it was time to be up and about.
In hundreds of houses sleepy women woke sleepier children. Get up and to work. Ephraim, get to the pump, fetch Mother water. Ann, get to the barn, milk the cow and drive her to the Common. Start the fire, Silas. Put on a clean shirt, James. Dolly, if you aren't up before I count ten...
And so, in a crooked little house at the head of Hancock's Wharf on crowded Fish Street, Mrs. Lapham stood at the foot of a ladder leading to the attic where her father-in-law's apprentices slept. These boys were luckier than most apprentices. Their master was too feeble to climb ladders; the middle-aged mistress too stout. It was only her bellows that could penetrate to their quarters—not her heavy hands.
'Boys?'
No answer.
'Dove?'
'Coming, ma'am.' Dove turned over for one more snooze.
Frustrated, she shook the ladder she was too heavy to climb. She wished she could shake 'them limbs of Satan.'
'Dusty Miller—let me hear your voice.'
'Here it is,' piped Dusty pertly.
Her voice changed to pleading.
'Johnny—you get them two lazy lug-a-beds up. Get them down here. You pull that worthless Dove right out'er bed. You give Dusty a kick for me. I'm waiting for him to fetch fresh water so's I can get on with breakfast.'
Johnny Tremain was on his feet. He did not bother to answer his mistress. He turned to the fat, pale, almost white-haired boy still wallowing in bed.
'Hear that, Dove?'
'Oh—you ... leave me lay, can't you?' Grumbling, he swung his legs out of the bed the three boys shared.
Johnny was already in his leather breeches, pulling on his coarse shirt, tucking in the tails. He was a rather skinny boy, neither large nor small for fourteen. He had a thin, sleep-flushed face, light eyes, a wry mouth, and fair, lank hair. Although two years younger than the swinish Dove, inches shorter, pounds lighter, he knew, and old Mr. Lapham knew, busy Mrs. Lapham and her four daughters and Dove and Dusty also knew, that Johnny Tremain was boss of the attic, and almost of the house.
Dusty Miller was eleven. It was easy for Johnny to say, 'Look sharp, Dusty,' and little Dusty looked sharp. But Dove (his first name had long ago been forgotten) hated the way the younger apprentice lorded it over him, telling him when to go to bed, when to get up, criticizing his work in the silversmith's shop as though he were already a master smith. Hadn't he been working four years for Mr. Lapham and Johnny only two? Why did the boy have to be so infernally smart with his hands—and his tongue?
'Look here, Johnny, I'm not getting up 'cause you tell me to. I'm getting up 'cause Mrs. Lapham tells me to.'
'All right,' said Johnny blandly, 'just so you're up.'
There was only one window in the attic. Johnny always stood before it as he dressed. He liked this view down the length of Hancock's Wharf. Counting houses, shops, stores, sail lofts, and one great ship after another, home again after their voyaging, content as cows waiting to be milked. He watched the gulls, so fierce and beautiful, fighting and screaming among the ships. Beyond the wharf was the sea and the rocky islands where gulls nested.
He knew to the fraction of a moment how long it would take the two other boys to get into their clothes. Swinging about, he leaped for the head of the ladder, hardly looking where he went. One of Dove's big feet got there first. Johnny stumbled, caught himself, and swung silently about at Dove.
'Gosh, Johnny. I'm sorry,' snickered Dove.
'Sorry, eh?...you're going to be a lot sorrier...'
'I just didn't notice...'
'You do that again and I'll beat you up again. You overgrown pig-of-a-louse. You...' He went on from there. Mr. Lapham was strict about his boys swearing, but Johnny could get along very well without. Whatever a 'pig-of-a-louse' was, it did describe the whitish, flaccid, parasitic Dove.
Little Dusty froze as the older boys quarreled. He knew Johnny could beat up Dove any time he chose. He worshiped Johnny and did not like Dove, but he and Dove were bound together by their common servitude to Johnny's autocratic rule. Half of Dusty sympathized with one boy, half of him with the other, in this quarrel. It seemed to him that everybody liked Johnny. Old Mr. Lapham because he was so clever at his work. Mrs. Lapham because he was reliable. The four Lapham girls because he sassed them so—and then grinned. Most of the boys in the other shops around Hancock's Wharf liked Johnny, although some of them fought him on sight. Only Dove ha
ted him. Sometimes he would get Dusty in a corner, tell him in a hoarse whisper how he was going to get a pair of scissors and cut out Johnny Tremain's heart. But he never dared do more than trip him—and then whine out of it.
'Someday,' said Johnny, his good nature restored, 'I'll kill you, Dove. In the meantime, you have your uses. You get out the buckets and run to North Square and fetch back drinking water.'
The Laphams were on the edge of the sea. Their well was brackish.
'Look here—Mrs. Lapham said Dusty was to go and...'
'Get along with you. Don't you go arguing with me.'
Fetching water, sweeping, helping in the kitchen, tending the annealing furnace in the shop were the unskilled work the boys did. Already Johnny was so useful at his bench he could never be spared for such labor. It was over a year since he had carried charcoal or a bucket of water, touched a broom or helped Mrs. Lapham brew ale. His ability made him semi-sacred. He knew his power and reveled in it. He could have easily made friends with stupid Dove, for Dove was lonely and admired Johnny as well as envied him. Johnny preferred to bully him.
Johnny, followed by his subdued slaves, slipped down the ladder with an easy flop. To his left was Mr. Lapham's bedroom. The door was closed. Old master did not go to work these days until after breakfast. Starting the boys off, getting things going, he left to his bustling daughter-in-law. Johnny knew the old man (whom he liked) was already up and dressed. He took this time every day to read the Bible.
To his right, the only other bedroom was open. It was here Mrs. Lapham slept with her four 'poor fatherless girls,' as she called them. The two biggest and most capable were already in the kitchen helping their mother.
Cilla was sitting on the edge of one of the unmade beds, brushing Isannah's hair. It was wonderful hair, seemingly spun out of gold. It was the most wonderful thing in the whole house. Gently Cilla brushed and brushed, her little oddly shaped face turned away, pretending she did not know that Johnny was there. He knew neither Cilla nor Isannah would politely wish him the conventional 'good morning.' He was lingering for his morning insult.