PREFACE
"Are you finally going to tell the truth about Valley
Forge?" he asked me. In researching this book, I had the opportunity to
meet many people belonging to a number of organizations associated with
this renowned historic site, most of them deeply committed to the place
and concerned about what went on there. One dedicated gentleman was
quite curious about what I was writing, and very serious when he posed
that loaded question.
His question told me that the gentleman was well
aware of a current lack of consensus about exactly what had happened at
Valley Forge. His manner also told me that it was important to him that
his particular view be promulgated as the correct one. Like most
Americans, he perceived history as a search for a single, discoverable
truth to be staunchly defended once it had been found.
Professional historians view history differently.
They are well aware that the books and papers they produce contain not
"the truth" but their own interpretation of a past that can never be
completely recaptured, and that they cannot escape the biases and
prevalent attitudes of their own time in judging the people and events
of the past. In his book The Past Is a Foreign Country, David
Lowenthal writes: "The past as we know it is partly a product of the
present, we continually reshape memory, rewrite history, refashion
relics." [1] He adds that even those who
define themselves as revisionists do not so much set the record straight
as add one more version to an existing body of interpretations. [2] In his book on creative interpretations of
the American Revolution titled A Season of Youth: The American
Revolution in Historical Imagination, Michael Kammen writes, "Even
our most essential traditions have been subject to some startling
shifts." [3]
Valley Forge really has several histories. There is
the history of the Continental Army's winter encampment of
17771778, but there is also a history of how that particular story
has been toldsomething the professionals call its historiography.
And because the immense popularity of the Valley Forge story led to the
preservation of a large physical site, there is in addition a history of
what has been done at Valley Forge to pay tribute to this event, to
illustrate it and evoke it, and to make its meaning clear to visitors.
Interpretations of the Valley Forge story have changed over the years,
and so has the Valley Forge landscape.
In the early nineteenth century, Americans tended to
be indifferent to their history, although they increasingly glorified
the survivors of the Revolutionary War as this generation began dying
off. Americans were also surprisingly indifferent to the physical
remains of history and allowed many historic structures to be
unsentimentally demolished. Mount Vernon had nearly been sold to
commercial developers when a group of women intervened, their efforts
were an example to those who later came together to preserve something
of the campground at Valley Forge.
"Remaking the past to embody their own wished-for
virtues was a major Victorian enterprise," Lowenthal writes. [4] As American society became increasingly
industrialized and urban-based, and as more and more foreigners arrived
on American soil, Americans looked nostalgically back to the Colonial
and Revolutionary periods, longing for the traditions and values that
were thought to have prevailed before society's changes began to
threaten the future. Ancestral societies that only older-stock Americans
were eligible to join were established. Old buildings were restored and
battlefields preserved. In America's Romantic Era, the tale of a dismal
military winter camp at Valley Forge began taking on legendary
qualities. Valley Forge became the place where virtue had triumphed
through sacrifice and perseverance. Other historic sites associated with
George Washington were spoken of as "shrines," making Valley Forge seem
even more sacred because so much human suffering, it was thought, had
been so willingly dedicated to so worthy a cause. The hallowed ground
seemed to cry out for physical preservation and glorification.
Between the end of the nineteenth century and World
War I, American nationalism found physical expression in the erection of
monuments designed to inspire respect for the virtues they celebrated.
Valley Forge got its own share of monumentssome excellent works of
art, others less significant, but all now artifacts in their own
right.
During the first third of the twentieth century,
there was a gradual shift from the tendency to memorialize the past
toward attempts to physically recreate it. Many historic sites tried to
match the remarkable popular appeal of the re-created colonial capital
at Williamsburg, and Valley Forge was no different. However, in a recent
article in New York Review, Ada Louise Huxtable expresses the
modern view of sites like Williamsburg, saying:
The blend of new and old, real and fake, original and
copy, in even the best of these restorations defies analysis, it is
dedicated to a wholly artificial construction that is supposed to convey
a true (that is, tangible) experience of American art and history. But
if these "recreations" teach something to those who might otherwise
remain innocent of history, they also devalue what they teach, the
intrinsic values of the real place are transformed and falsified. [5]
In an article titled "Visiting the Past: History
Museums in the United States," Michael Wallace writes that after World
War II "the populist openings of the thirties were checked and reversed,
and the meaning of 'historic' narrowed once again, as the bourgeoisie
set out to uproot un-Americanism' and celebrate, with renewed
complacency, 'the American Way of Life.' " [6] During the Cold War period, communism seemed
to threaten the very existence of America. It was hoped that the
nation's history and its historic sites could influence Americans to
uphold American values and be prepared to defend them. Groups that had
long been involved with Valley Forge, as well as one significant
newcomer, made attempts to use the ambience of the place to promote
Americanism.
The Civil Rights Movement brought a new appreciation
for diversity and prompted a new generation of historians to discover
the history of women blacks, and ethnic minorities. Vietnam and
Watergate brought to American society an iconoclasm that may have
inspired the reevaluation of long-accepted historical accounts, while
new scientific instruments made it possible to gain new insight from
existing sites, documents, and artifacts. In the last twenty-five years,
professionals have come up with new interpretations of the history of
Valley Forge and the remains at its physical site.
Today, more than four million people a year visit the
park and view its landscape, but what do they really see when they look
at buildings like Washington's Headquarters, monuments like the National
Memorial Arch or re-created structures like the log huts that were once
supposed to give the place a Williamsburg air? In an article titled
"Harnessing the Romance of the Past: Preservation, Tourism, and
History," Patricia Mooney-Melvin writes:
Every site, no matter how faithfully preserved,
represents a collection of pasts. In addition to the accumulation of its
own history, a site is a combination of where it currently is and what
it is "supposed" to represent. People, politics, level of research, the
absence or presence of preservation funding, and management approaches
to particular sites all influence what the visitor sees. [7]
A Valley Forge visitor sees both the remains of more
than a century of commemoration and much intellectual contention over
the appropriate way to experience the Valley Forge story. Structures in
the landscape at Valley Forge reveal more about the tastes and attitudes
of succeeding generations than they do about Washington's army.
No, I am not trying to tell "the truth" about the
winter encampment at Valley Forge. My story begins just after
Washington's army marched out. This book is about Valley Forge in its
role as a historic site of national importance: a place where people go
to learn about or pay tribute to one incident in American history. This
book examines the words, the structures, and the objects that have been
used to tell the Valley Forge story at this physical place. In a larger
sense, it is about how the Valley Forge experience has been promoted,
packaged, and often exploited, and it examines what has perhaps been the
longer, harder, and less well known ordeal of Valley Forge.
I owe sincere thanks to a number of people at the
National Park Service who helped me research the archival material at
Valley Forge National Historical Park. Chief among them are Joan
Marshall-Dutcher, Joseph Lee Boyle, and Phyllis Ewing. I also thank
Betty Browning, Dona McDermott, and Fran McDevitt for their assistance,
as well as Bob Dodson, E. Scott Kalbach, Barbara Fox, Tom McGimsey, and
Superintendent Warren D. (Denny) Beach, who all provided information
through interviews.
I owe a great deal to the Valley Forge Historical
Society, and particularly to its president Meade Jones for her
cooperation and support and permission to research the society's files
and minutes. In addition, I thank Betty McHenry and the office staff at
the Valley Forge Historical Society for their patient assistance.
I am grateful to the current rector at the Washington
Memorial Chapel, the Rev. Dr. Richard Stinson, and to the former rector
as well, the Rev. Sheldon M. Smith. I extend my thanks to the parish
office staff and especially to carillonneur/historian Frank
DellaPenna.
I also thank Robert Miller, Betty Miller, Charles
Hepburn, and Hal Badger at the Freedoms Foundation, as well as Mrs.
Aloysius S. Banmiller of the Valley Forge DAR.
Finally, I want to thank the helpful staff members of
the following institutions: the Historical Society of Pennsylvania, the
University of Pennsylvania Archives, the Pennsylvania State Archives,
the Chester County Historical Society, the Historical Society of
Montgomery County, the Norristown Times Herald Microfilm Library,
the Mid-Atlantic Regional Office of the National Park Service, Falvey
Memorial Library at Villanova University, the Winterthur Library, and
the Winterthur Archives. My thanks also go to my editor at Penn State
Press, Peter J. Potter, to my manuscript editor, Peggy Hoover, and to
the scholars who reviewed my manuscript, Wayne Bodle, and Dwight
Pitcaithley of the National Park Service.
Two works were particularly helpful to me in
developing my bibliography. These are Harlan D. Unrau's internally
distributed Administrative History of Valley Forge National
Historical Park and Barbara McDonald Powell's "The Most Celebrated
Encampment: Valley Forge in American Culture, 17771983" (Ph. D.
dissertation, Cornell University, 1983).
I reserve my warmest gratitude for my husband,
Matthew A. Treese, for his help with my research, but mainly for the
affectionate encouragement that sustained me through this project.
Without Mat this book would not have been written.
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