In 1867, Frances Anne Rollin, a Black writer and teacher from South Carolina, traveled to Boston to seek a publisher for her biography of famed Black abolitionist, writer, and Civil War veteran Martin R. Delany. Beginning in January 1868, Rollin kept a diary while in Boston documenting her progression on Delany’s biography, negotiations with publishers, visits from friends, attendance at lectures and readings, and her marriage to William J. Whipper, a Black politician and jurist. Rollin’s diary is one of the earliest known diaries by a Southern Black woman. In this critical edition Jennifer Putzi offers the first complete transcription and annotation of Rollin’s diary, along with a robust introduction providing important biographical, historical, cultural, and literary contexts for readers. Rollin’s diary provides one of the fullest pictures of an African American woman as an author, activist, and well-connected and politically involved individual during the Reconstruction era—filling a gap in the literature and scholarly analysis of such preserved works by nineteenth-century African American women.

About the Speaker

Jennifer Putzi is a Professor of English and Gender, Sexuality, & Women’s Studies at William & Mary. Her research and teaching are broadly focused on nineteenth-century American women’s writing. She is the author or editor of seven books, including most recently The Reconstruction Diary of Frances Anne Rollin: A Critical Edition (2025) and Fair Copy: Gender, Relational Poetics, and Antebellum American Women’s Poetry (2021). Her current research is on nineteenth-century African American women’s diaries and the relationship between material format and content in Black women’s everyday writing. Professor Putzi’s book-in-progress, titled Making Space: Geography and Material Form in African American Women’s Diaries, considers the way nineteenth-century Black women diarists use their diaries to negotiate, claim, and map geographical space as gardeners, travelers, city dwellers, and invalids. Along with Professor Kirsten Lee of Auburn University, Putzi is also Project Co-Director of the Black Women’s Diaries Project, a digital humanities project that scans, transcribes, annotates, and encodes manuscript diaries written by African American women between 1854 and 1905. The BWDP site will launch in the fall of 2026, with the 1902 diary of Norfolk resident Florence Barber.

At the turn of the millennium, Editorial Assistant Clodagh “Clo” Harmon wants nothing more than to rise through the ranks at the world’s most prestigious fashion magazine. There’s just one problem: she doesn’t have the right pedigree. Instead, Clo is a “workhorse” surrounded by beautiful, wealthy, impossibly well-connected “show horses” who get ahead without effort, including her beguiling cubicle-mate, Davis Lawrence, the daughter of a beloved but fading Broadway actress. Harry Wood, Davis’s boarding school classmate and a reporter with visions of his own media empire, might be Clo’s ally in gaming the system—or he might be the only thing standing between Clo and her rightful place at the top. In a career punctuated by moments of high absurdity, sudden windfalls, and devastating reversals of fortune, Clo wades across boundaries, taking ever greater and more dangerous risks to become the important person she wants to be within the confines of a world where female ambition remains cloaked. But who really is Clo underneath all the borrowed designer clothes and studied manners—and who are we if we share her desires? Hilariously observant and insightful, Workhorse is a brilliant page-turner about what it means to be in thrall to wealth, beauty, and influence, and the outrageous sacrifices women must make for the sake of success.

About the Speakers

From 2014 to 2019, Caroline Palmer was the director of editorial, video, and social media at Amazon Fashion. Prior to her tenure at Amazon, she spent seven years as the editor of Vogue. Her work has appeared in various publications, including The New York Times, Life, Seventeen magazine, and Vogue. She lives in Montclair, New Jersey, with her husband and three children. Workhorse is her first novel.

Todd Plummer is a Boston-based writer and attorney. He started his career with an internship at Vogue under Caroline Palmer in 2010, and went on to work as a society reporter in New York City for five years, and a travel writer across seven continents for ten.

On April 14, 1975, Myles Connor, already a known art thief, entered the Boston Museum of Fine Arts in disguise along with a cohort. The pair went directly the Dutch Gallery and proceeded to remove Portrait of Elsbeth van Rijn from its place on the wall. After a brief scuffle with the guards—with Myles deterring his partner from shooting a bystander—the pair was gone, leaving behind no traceable evidence amidst the mayhem. Who was Myles Connor and what were his motivations? Most thieves are in it for the money, but Myles was far from most thieves. His motive was freedom. The summer before the heist, he was arrested by the FBI when he attempted to sell three highly valuable paintings by Andrew and N.C. Wyeth to an undercover agent. Incredibly, Myles did this while out on bail for possession of yet more stolen art. When he was arrested and placed in the back seat of a state police vehicle, the FBI agent said to him, “We’ve got you now. Let’s see you get out of this one.” Without batting an eye, Connor calmly replied, “Just you watch me.” Again released on bail, Connor met with an old friend of his father’s, Massachusetts State Police Major John Regan. Regan worked for the District Attorney at the time, future Congressman William Delahunt. Connor asked Regan if there was any way out of the fix he was in, and the straightlaced cop told him bluntly, “It’s going to take a Rembrandt to get you out of this one.” With that, a master plan was hatched. But there was a flip side to this story. One involving Connor’s best friend—Al Dotoli—who lived a life in the music industry, far from the world of art heists. Dotoli’s own masterpiece of a plan hinged on the Rembrandt’s return. Filled with unforgettable personalities and non-stop action and intrigue, Anthony Amore layed out the anatomy of this notorious art theft while describing not just the criminal genius that is Myles Connor, but also the complexity of personal relationships between lifelong friends. Our audience learned about a breathtaking painting by the world’s most famous artist and the incredible true story about how Portrait of Elsbeth van Rijn ended up on the wall at the MFA in the first place.

About the Speaker
Anthony Amore is a leading expert in security, investigations, and art crime. He has held senior roles with the U.S. Department of Homeland Security and served as Director of Security and Chief Investigator at the Isabella Stewart Gardner Museum, where he continues to investigate the infamous 1990 heist of 13 famous masterpieces. A bestselling author, Amore has written four acclaimed books on art crime. His latest, The Rembrandt Heist, was recently named one of the ten best history books of 2025 by Smithsonian Magazine. He teaches at Harvard University and is a licensed private investigator and a consultant to museums, law firms, and high-net-worth clients.

Reflecting in a touching preface on the major caregivers in his own life, Joseph Luzzi narrated the fascinating history of this revolutionary orphanage, offering readers the first comprehensive “biography” of a groundbreaking humanitarian institution that recognized poor and abandoned children as worthy of nurture—and thereby shaped education and childcare for generations to come. The story began with the abandonment of the newborn Agata Smeralda on February 5, 1445, in Florence’s Hospital of the Innocents, the first—but certainly not the last—child to be left at its doors. In an era when children were frequently abandoned, often trafficked or left to die on the streets, an orphanage devoted to their care and protection was a striking innovation. The Innocenti, as it has come to be called—the first orphanage in Europe devoted exclusively to unwanted children—would go on to care for nearly 400,000 young lives over the next five centuries. Built by the Silk Weavers Guild at a time when the wealthy were expected to contribute to civic life, the Innocenti featured glorious arches designed by Filippo Brunelleschi and housed works by some of the greatest artists of the Renaissance, from the painter Domenico Ghirlandaio to the sculptor Luca della Robbia. Meanwhile, the new orphanage also redefined the idea of “childhood” itself, particularly in education, as boys were often taught not just Latin and basic numeracy, but also a well-rounded curriculum that included art, literature, and music. Girls learned viable trades such as weaving and silk manufacturing, and the Innocenti assisted them in securing suitable marriages to protect them from poverty or a life of prostitution. Over the centuries, the orphanage oversaw groundbreaking scientific discoveries—it was a birthplace of modern pediatrics—while struggling against rampant disease, constant financial crises, and the dramatic ups and downs of Florentine politics in the Medici era.

About the Speaker
Joseph Luzzi (PhD Yale) is the Asher B. Edelman Professor of Literature at Bard College, where he also teaches courses on film and Italian Studies. He is the author of nine books, including his recent Botticelli’s Secret: The Lost Drawings and the Rediscovery of the Renaissance (Norton, 2022), a New Yorker Best Books of 2022 selection and shortlisted for the Phi Beta Kappa Ralph Waldo Emerson Award. His other books include Romantic Europe and the Ghost of Italy (Yale University Press, 2008), which received the MLA’s Scaglione Prize for Italian Studies; A Cinema of Poetry: Aesthetics of the Italian Art Film (Johns Hopkins University Press, 2014), a finalist for the international prize “The Bridge Book” Award; My Two Italies (Farrar, Straus and Giroux, 2014), a New York Times Book Review Editors’ Choice; and In a Dark Wood: What Dante Taught Me About Grief, Healing, and the Mysteries of Love (HarperCollins, 2015), which has been translated into multiple languages. Joseph’s essays and reviews have appeared in the New York Times, Los Angeles Times, Chronicle of Higher Education, TLS, Bookforum, and American Scholar, among others, and his scholarly writing has appeared in PMLA, Modern Language Notes, Modern Language Quarterly, Raritan, Italica, and Studies on Voltaire and the Eighteenth Century. His media appearances include a profile in the Guardian and an interview with National Public Radio. Among his honors are a Dante Society of America essay prize, Yale College teaching prize, a National Endowment for the Humanities Public Scholars Award, and fellowships from the National Humanities Center and Yale’s Whitney Humanities Center. The first American-born child in his Italian immigrant family, Luzzi was named Cittadino Onorario / Honorary Citizen of Acri, Calabria, in 2017.

In 1940, with the Nazis sweeping through France, Henri Matisse found himself at a personal and artistic crossroads. His 42-year marriage had ended, he was gravely ill, and after decades at the forefront of modern art, he was beset by doubt. As scores of famous figures escaped the country, Matisse took refuge in Nice, with his companion, Lydia Delectorskaya. By defiantly remaining, Matisse was a source of inspiration for his nation. While enemy agents and Resistance fighters played cat-and-mouse in the alleyways of Nice, Matisse’s son, Jean, engaged in sabotage efforts with the Allies. In Paris, under the swastika, Matisse’s estranged wife, Amélie, worked for the Communist underground. His beloved daughter, Marguerite, active in the French Resistance, was arrested and tortured by the Gestapo, sentenced to Ravensbruck concentration camp—and miraculously escaped when her train was halted by Allied bombs. His younger, son, Pierre helped Jewish artists escape to New York; even his teenaged grandson risked his life by defying the Germans and their Vichy collaborators. Amidst this chaos, Matisse responded to the dark days of war by inventing a dazzling new paper technique that led to some of his most iconic pieces, including The Fall of Icarus, his profile of Charles De Gaulle, Monsieur Loyal, and his groundbreaking cut-out book, Jazz. His wartime works were acts of resistance, subtly patriotic and daringly new. Drawing on intimate letters and a multitude of other sources, Christopher C. Gorham illuminated for us this momentous stage of Matisse’s life as never before, revealing an artist on a journey of reinvention, wrenching meaning from the suffering of war, and holding up the light of human imagination against the torch of fascism to create some of the most exciting work of his career, of the 20th century, and in the history of art.

About the Speaker
Christopher C. Gorham is a lawyer, educator, and acclaimed author whose books include Matisse at War and the Goodreads Choice Award finalist, The Confidante. He is a frequent speaker at conferences, literary events, colleges, and book club gatherings.

John Gennari shared the story of how a small town in New England became a home for jazz, challenging conventional assumptions about the relationship between culture and landscape, art and geography, town and city, and race and place. This is a book about what happened in the 1950s in a barn, an icehouse, and a greenhouse in the verdant Berkshire Hills of western Massachusetts. Against the backdrop of McCarthyism, the civil rights movement, the expansion of the Afro-Caribbean diaspora, and postwar cultural tourism, two New Yorkers bought part of a sprawling estate in Lenox, where they converted an old barn and other outbuildings into an inn that could host musical performances and seminars. The Berkshire Music Barn went on to host jazz greats like Duke Ellington, Dave Brubeck, and Billie Holiday, as well as jazz roundtables grounded in folkloric approaches to the music. The Jazz Barn explores the cultural significance of venues like the Berkshire Music Barn and later the Lenox School of Jazz to tell a surprising story about race, culture, and place. John Gennari explores how a predominantly white New England town became a haven for African American musicians, and reveals the Berkshires as an important incubator not just of American literature and classical music but also of the Modern Jazz Quartet and Ornette Coleman’s “new thing.” The Berkshire Music Barn became a crucial space for the mainstreaming of jazz. By the late 1950s, the School of Jazz was an epicenter of the genre’s avant-garde. Richly illustrated with the photographs of Clemens Kalischer among others, The Jazz Barn demonstrates that the locations where jazz is played and heard indelibly shape the music and its meanings.

About the Speaker

John Gennari is Professor of English and Critical Race and Ethnic Studies at the University of Vermont. Gennari’s previous book, Flavor and Soul: Italian America at Its African American Edge (University of Chicago Press, 2017), is a study of Black/Italian cultural intersections in music and vernacular soundscapes, foodways, sports, and other forms of expressive culture. His earlier book, Blowin’ Hot and Cool: Jazz and Its Critics (University of Chicago Press, 2006), won the ASCAP-Deems Taylor Award for Excellence in Music Criticism and the John G. Cawelti Award for Best Book in American Culture Studies.

Arthur Bahr offers a unique study of the only physical manuscript containing Sir Gawain and the Green Knight, exploring it as both a material and literary object. In this book, Bahr takes a fresh look at the four poems and twelve illustrations of the so-called “Pearl-Manuscript,” the only surviving medieval copy of two of the best-known Middle English poems: Pearl and Sir Gawain and the Green Knight. In Chasing the Pearl-Manuscript, Bahr explores how the physical manuscript itself enhances our perception of the poetry, drawing on recent technological advances (such as spectroscopic analysis) to show the Pearl-Manuscript to be a more complex piece of material, visual, and textual art than previously understood. By connecting the manuscript’s construction to the intricate language in the texts, Bahr suggests new ways to understand both what poetry is and what poetry can do.

About the Speaker

Arthur Bahr is professor of literature and MacVicar Faculty Fellow at the Massachusetts Institute of Technology. His first book, Fragments and Assemblages: Forming Compilations of Medieval London (University of Chicago Press, 2013), showed how medieval manuscripts were often artfully sequenced and laid out so as to enhance the literary potential of the compilation as a whole. His new book, Chasing the Pearl-Manuscript: Speculation, Shapes, Delight (University of Chicago Press, 2025), applies those insights to the only surviving copy of four extraordinary Middle English poems: Pearl, Cleanness, Patience, and (most famously) Sir Gawain and the Green Knight.