Leslie Stainton – författare

In this poignant and personal history of one of America’s oldest theaters, Leslie Stainton captures the story not just of an extraordinary building but of a nation’s tumultuous struggle to invent itself. Built in 1852 and in use ever since, the Fulton Theatre in Lancaster, Pennsylvania, is uniquely ghosted. Its foundations were once the walls of a colonial jail that in 1763 witnessed the massacre of the last surviving Conestoga Indians. Those same walls later served to incarcerate fugitive slaves. Staging Ground explores these tragic events and their enduring resonance in a building that later became a town hall, theater, and movie house—the site of minstrel shows, productions of Uncle Tom’s Cabin, oratory by the likes of Thaddeus Stevens and Mark Twain, performances by Buffalo Bill and his troupe of “Wild Indians,” Hollywood Westerns, and twenty-first-century musicals. Interweaving past and present, private anecdote and public record, Stainton unfolds the story of this emblematic space, where for more than 250 years Americans scripted and rescripted their history. Staging Ground sheds light on issues that continue to form us as a people: the evolution of American culture and faith, the immigrant experience, the growth of cities, the emergence of women in art and society, the spread of advertising, the flowering of transportation and technology, and the abiding paradox of a nation founded on the principle of equality for “all men,” yet engaged in the slave trade and in the systematic oppression of the American Indian.

With a rare blend of grace, warmth, and scholarship, Leslie Stainton raises the stakes of our appreciation for the greatest of Spain''s modern poets, Federico Garca Lorca. Drawing on fourteen years of research; more than a hundred letters unknown to prior biographers; exclusive interviews with Lorca''s friends, family, and acquaintances; and dozens of newly discovered archival material, Stainton has brought her subject to life as few writers can. She describes his carefree childhood in rural Andalusia; his residencies in Madrid and Granada, then in New York, Havana, and Buenos Aires; his potent interaction with other Spanish artists, such as Salvador Dal, Luis Buuel, and the composer Manuel de Falla; and, finally, Stainton shows how Lorca''s marginal political activity during the Spanish Civil War still cost him his life. Throughout, Stainton meticulously but unobtrusively relates the oeuvre to the life. Her biography is quickly becoming the standard one-volume work on the poet.

A sixth-generation descendant of the Scarlett family of Georgia, Leslie Stainton grew up hearing about her heroic ancestors and their tragic plunge from wealth to poverty in the wake of the Civil War-and about the Scarlett O’Hara of novel and movie fame who made their name known. But when Stainton set out to learn the truth about her enslaving forebears, she discovered the lurid facts behind Gone with the Wind’s Lost Cause fantasy. The centuries-long story of the real-life Scarletts is one of cruelty, greed, misogyny, rape, kidnapping, and theft, culminating in the legally sanctioned execution of an eighteen-year-old Black man in 1901-and in the 2020 murder of Ahmaud Arbery on a former Scarlett plantation. If novelist Margaret Mitchell had chosen to tell the truth about an enslaving Scarlett, this is the story she might have written.At its core is the riddle of Stainton’s Georgia-born grandmother, Mary “Mamie” King Hilsman Pettigrew, who embraced the Lost Cause of the Confederacy but was tormented lifelong by her suspicion that Scarlett men had engaged in racial violence in the twentieth century. Mamie gave Stainton her copies of Gone with the Wind and Fanny Kemble’s 1863 Journal of a Resistance on a Georgia Plantation, one of the most explosive indictments of American slavery ever written. These books informed Stainton’s quest to discover the truth about her Scarlett ancestors and her grandmother’s nightmare vision of racial violence involving her family.By threading the stories of Margaret Mitchell and Fanny Kemble through the narrative of her Scarlett forebears, Stainton raises critical questions about the choices Americans have made, then and now, that have cemented the nation’s complicity in slavery’s persistent legacy.