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By Eugenia Kaledin

Marian Hooper Adams―Clover, as her buddies known as her―was an entire photographer and a witty, irreverent unfastened spirit who moved simply in the cultural circles of nineteenth-century Boston. Why, then, in 1882, on the age of forty-two, did she swallow a deadly dose of potassium cyanide? And why did her husband of 13 years fail even to say her in his autobiography, The schooling of Henry Adams?

These and different questions are explored during this first paperback version of Eugenia Kaledin's pathbreaking biography. The e-book re-creates the serious highbrow, cultural, and ethical lifetime of Boston and New England prior to, in the course of, and after the Civil warfare and is helping us to appreciate what may possibly force this kind of proficient, clever, and privileged girl to take her personal lifestyles. incorporated is a portfolio of Adams's images of her husband and his well-known circle.

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I have tried to clarify the ideas that she represented by showing to what extent her world and her experiences growing up were quite different from Henry's. I have Page xii tried to underline the importance of her connections with the Transcendental community that encouraged the idealism that Henry Adams, while he pretended to be scientific, could never bring himself entirely to reject. When he later wrote, in the story of his own education, that he had once approached the Transcendental world of Concord "in much the same spirit as he would have entered a Gothic Cathedral," he seemed to outline precisely the form his personal spiritual search had taken; the Gothic cathedral came to represent for him that unobtainable Utopian vision connected with an entire community's awareness of non-rational values.

3 We do know that Hooper had a well-developed social conscience, for, in spite of his loyalty to England, he refused a British appointment because he thought to accept it would be unjust to his fellow colonists. Moreover, this ''king" outlived four wives, worked for the General Court, supported a school for poor children, and had his portrait painted by John Singleton Copley. Another set of Clover's ancestors, William and Hannah Reed, were also prosperous enough to patronize the best portraitist of their day, Gilbert Stuart.

3 But whether he was really so different from the Bostonians who thought that "sex was a species of crime" remains a question. "4 He wanted to be different, to be more alive than his rigid New England companions, but he knew well that, in his time, only Walt Whitman, the uninhibited New Yorker, had been able to absorb the vitality of sexual energy into his literary personality: Adams began to ponder, asking himself whether he knew of any American artist who had ever insisted on the power of sex, as every classic had always done; but he could only think of Walt Whitman; Bret Harte, as far as the Page 5 magazines would let him venture; and one or two painters, for the flesh tones.

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