“New Knowledge of Lost Worlds”?

In contemporary academic circles, the fields of science, theology, and literature may be compartmentalized with relatively little interaction. However, such distinctions were less rigid in the early nineteenth century. One of the figures whose writings stretched across these disciplinary boundaries was Edward Hitchcock, a world-renowned geologist and president of Amherst College who also had extensive theological training. Now best-known among paleontologists for his discovery of fossil footprints in the Connecticut River Valley, Hitchcock made use of his considerable talents in an 1836 poem entitled “The Sandstone Bird.” This poem—often known to historians of science but little remarked among students of American literature—effectively uses formal verse to draw out theological dimensions to the prehistoric world conjured up by Hitchcock’s own paleontological discoveries.

Stanley Cavell at Amherst College

In February of 2000, Stanley Cavell came to Amherst College to present two public lectures as the John C. McCloy ’16 Professor of American Institutions. (I had nominated him for the lectureship the previous year, and he had been approved by a College committee and the president of the College at the time, Tom Gerety, who was himself a legal philosopher.) It was a big deal. In the fall, the lecturer had been Ronald Dworkin. Others who had lectured through these early years of the lecture included such luminaries as Martha Nussbaum and George Kateb. (The first McCloy lecturer had been Fred Korematsu, who had unsuccessfully sued the U.S. government during World War II to end the Japanese internment program. Korematsu’s invitation had been a sort of historical reparation, since John McCloy, for whom the professorship had been named, had directed the internment camp program for FDR, famously saying, when asked about its constitutionality, “Compared to my country, the Constitution is just a piece of paper.”)

‘Importunity Which Mocked All Denial’: The Amherst Charity Fund and the Foundation of Amherst College

This chapter discusses the complex history of the Amherst Charity Fund and Amherst College, located in western Massachusetts. The story of the Charity Fund, an independent fund which financed the foundation and early growth of Amherst College through designated scholarships and loans, incorporates many elements of the larger American myth. This chapter offers an alternative story based on the surviving historical record. In particular, it draws on the accounts of Noah Webster and Rufus Graves. It also cites the founding in 1815 of the Hampshire Education Society, whose aims contrast sharply with those embraced by the trustees of Amherst Academy, and how Amherst’s history was intertwined with that of Williams College. Finally, it highlights the important roles played by such men as Pastor David Parsons and Samuel F. Dickinson.

“Colored” Is the New Queer

Andreana Clay and a small group of queer faculty of color reflect on E. Patrick's Johnson's experiences at Amherst College, recounted in his essay ""In the Merry Old Land of Oz: Rac(e)ing, Quee(r)ing the Academy,"" as they discuss how things have and haven't changed for LGBTQ faculty around the country. In addition to the challenges all faculty of color face, this essay shows the struggles unique to queer faculty, from coming out in the classroom, to being viewed as super minorities, to working in departments all too willing to ignore the invisible labor they do as they work to build communities in and out of academia. The participants in this discussion also reflect on how working class roots shape their experience in higher ed.

“Be Your Own Man”: Student Activism and the Birth of Black Studies at Amherst College, 1965–1972

Historians have examined how social movements influenced African American student activism in mid-to-late twentieth century America. This essay extends the scholarship by telling the story of African American male student activists who led the fight for curricular reform at Amherst College, then an all-male liberal arts college in Massachusetts. This local story reveals that African American student activism was driven by social movements as well as the distinctive mission of the liberal arts college.