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Tag: jackie kennedy

  • A New And Musical Telling Of A Fiery Love Story

    It was the talk of the world, an epic love story now being given magnificent musical treatment

    It was the talk of the world, an epic love story now being given a magnificent musical treatment, a new and musical telling of a fiery love story. The scandalous love affair between global opera superstar Maria Callas and billionaire shipping tycoon Aristotle Onassis was a global sensation. The grand and tragic  love story has been turned into an opera. Elizabeth Coppinger, a pioneering woman who made a name for herself in tech turned her talents and composed her first. The legendary tragic tale which eventually became a triangle with Jackie Kennedy Onassis is a saga for the ages. She decided this story needs to be framed in the grand, dramatic setting of opera to allow it to be memorialized in the perfect setting.

    Maria Callas and Aristotle Onassis shared one of the 20th century’s most passionate and tragic love affairs. Callas, the world’s reigning opera diva, met the Greek shipping magnate in 1957, and their magnetic connection defied their respective marriages. For over a decade, they lived a glamorous, tempestuous romance filled with luxury, jealousy, and devotion. Onassis was the love of Callas’s life, though he ultimately married Jacqueline Kennedy in 1968—a betrayal that shattered her. Despite this, Callas never stopped loving him. Their affair remains legendary—a tale of power, passion, and heartbreak between two icons who burned too brightly to last.

    Maria Callas, born in New York and raised in Greece, was one of the most celebrated and influential opera singers of the 20th century, Think Taylor Swift famous. Her extraordinary voice, dramatic intensity, and command of bel canto roles transformed opera performance. She rose to fame in the late 1940s and 1950s with triumphs at La Scala in Milan, the Metropolitan Opera in New York, and Covent Garden in London. Known for roles in Norma, Tosca, and Lucia di Lammermoor, she redefined operatic artistry. After her affair with Onassis, her career declined amid vocal struggles and emotional turmoil, yet her legend and recordings endure timelessly.

    Experience the first act of La Callas at performances in Seattle December 5th and 7th to celebrate the famed diva’s birthday. The performance will be followed by an intermission with a special cake and champagne toast La Divina on her birthday week and a performance of bel canto and verismo arias made famous by Callas herself.  The event is at

    Sarah Johns

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  • The Timeless Advice Queen Elizabeth II Shared With Jackie Kennedy

    It’s easy to imagine cutlery clinking, chandeliers sparkling and two icons staring at each other. On June 5, 1961, John F. Kennedy and Jackie Kennedy dined with Queen Elizabeth II and the Duke of Edinburgh at Buckingham Palace. It wasn’t a state banquet, but instead a highly formal dinner in the midst of a European tour. All accounts agree on one thing: the evening was anything but carefree, with extraneous guests shunned and personal sensitivities ruffled. In his book Q: A Voyage Around the Queen, British journalist Craig Brown meticulously recounted the waltz of the evening that Camelot came to Buckingham.

    According to Brown, Jackie Kennedy had requested the presence of her sister, Lee Radziwill, and her brother-in-law, Polish Prince Stanislaw Albrecht Radziwill, at the dinner. Initially considered undesirable because the former had already been divorced once and the latter twice, Elizabeth II finally relented and extended the invitations after “much hesitation.” However, the sovereign’s strong position enabled her to exact revenge in her own way. According to writer Gore Vidal, a close friend of Jackie Kennedy, the monarch deliberately withheld invitations from Princess Margaret and Princess Marina of Greece and Denmark, whom the American first lady had expressly asked to meet. The result, Brown wrote, was an evening of “dreary platitude” that left the first lady unimpressed. “No Margaret, no Marina, no one but every Commonwealth agriculture minister they could find,” she was quoted as saying.

    Yet it was in the midst of this staid ceremony that a moment of connivance between the two women is said to have arisen. The Queen is said to have asked Jackie Kennedy about her recent tour of Canada, leading the first lady to confide how “exhausting” it was to perform for hours on end, and Elizabeth II, “looking conspiratorial,” according to Brown, replied: “With time, you become astute, you learn to take it easy.” The line alone sums up a royal philosophy of public survival: Allowing yourself a side exit, a detour, an airlock—in short, keeping your breath to last. According to Vidal, Jackie found the exchange with the sovereign “rather laborious.” When Vidal later reported the phrase to Princess Margaret, she reportedly retorted, with acid phlegm: “But that’s why she’s here.”

    Queen Elizabeth II and Jacqueline Kennedy on June 5, 1961 at Buckingham Palace

    Bettmann / GettyImages

    This little sound bite says a lot about the era and the contrast the two iconic women embodied. On the one hand, there was Jacqueline Kennedy-Onassis, who had then only recently moved into the White House and was astonishingly modern. On the other, a monarch in a woolen suit, crown on her head, who had reigned over traditions for the past decade. Should this be seen as a rivalry? Not necessarily, as their relationship continued without public drama. Jackie Kennedy returned to see the Queen in 1962, and after JFK’s assassination, Elizabeth II honored the late President’s memory in the presence of Jackie and the children. But Elizabeth’s simple advice has endured through the ages, applicable to many public figures, precisely because it sheds light on the intimate mechanics of charisma. Grace isn’t just magnetism, it’s also technique. And at Buckingham, as at the White House, it’s an essential survival skill.

    Originally published in Vanity Fair France.

    Eléa Guilleminault-Bauer

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  • This Epic Love Story Is Being Set To Music

    This Epic Love Story Is Being Set To Music

    It was a love story which kept tongues wagging and the media in a frenzy – now it is being made into an opera.

    The tempestuous love affair between global opera superstar Maria Callas and billionaire shipping tycoon Aristotle Onassis is coming to New York City. The epic love story is being set to music. The legendary tragic tale which eventually became a triangle with Jackie Kennedy Onassis is a saga for the ages. Now, new opera writer Elizabeth Coppinger has transformed it into an opera. After a career in technology and community activities, she decided this story needs to be framed in the grand, dramatic setting of opera to allow it to be memorialized in the perfect setting.

    The story tells of Maria Callas and her scandalous relationship with Aristotle Onassis, then one of the world’s richest men. Tragically, their ill-fated affair collapsed in betrayal and heartbreak with Onassis’ surprise marriage to Jacqueline Kennedy in 1968. Their romance was during the height of the glamorous “jet set” and played across the world in locations like Rome, Athens, London, and New York.  This was the era when large yachts, titled guests, private planes and more were all new, and set the very rich apart. The papers ate it up and broke Callas heart.
    In a clever twist, Coppinger tells the timeless tale via the Greek gods, Zeus and Hera.  They mythical couple are also the main stars in the new Netflix series Kaos starring Jeff Goldblum and Janet McTeer.

    This new English-language opera by award-winning composer, Clint Borzoni, and new librettist Coppinger, is being workshopped in NYC.  Borzoni has created for La Callas a lush, melodic score evoking the sweeping passion and drama of Callas’ legendary life and career. Her story is contemporary. The story highlights the diva’s struggle with society’s bias against strong women and she was cast by the press as an egotistical diva rather than the dedicated and brilliant artist like her male contemporaries. She was expected to choose between her career and personal happiness, still a familiar dilemma for women today. The new film, Maria, starring Angelina Jolie, and the recent worldwide centenary celebrations of Callas’ birth show the public’s continuing fascination with Callas’ life and legacy.

    The Act I workshop performance of La Callas will be on Thursday, October 10, 2024, at the Kaufman Music Center’s Merkin Hall in New York City.   Tickets are available from the Merkin Hall Ticket Office.

    Sarah Johns

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  • This Epic Love Story Is Being Set To Music

    This Epic Love Story Is Being Set To Music

    It was a love story which kept tongues wagging and the media in a frenzy – now it is being made into an opera.

    The tempestuous love affair between global opera superstar Maria Callas and billionaire shipping tycoon Aristotle Onassis is coming to New York City. The epic love story is being set to music. The legendary tragic tale which eventually became a triangle with Jackie Kennedy Onassis is a saga for the ages. Now, new opera writer Elizabeth Coppinger has transformed it into an opera. After a career in technology and community activities, she decided this story needs to be framed in the grand, dramatic setting of opera to allow it to be memorialized in the perfect setting.

    The story tells of Maria Callas and her scandalous relationship with Aristotle Onassis, then one of the world’s richest men. Tragically, their ill-fated affair collapsed in betrayal and heartbreak with Onassis’ surprise marriage to Jacqueline Kennedy in 1968. Their romance was during the height of the glamorous “jet set” and played across the world in locations like Rome, Athens, London, and New York.  This was the era when large yachts, titled guests, private planes and more were all new, and set the very rich apart. The papers ate it up and broke Callas heart.
    In a clever twist, Coppinger tells the timeless tale via the Greek gods, Zeus and Hera.  They mythical couple are also the main stars in the new Netflix series Kaos starring Jeff Goldblum and Janet McTeer.

    This new English-language opera by award-winning composer, Clint Borzoni, and new librettist Coppinger, is being workshopped in NYC.  Borzoni has created for La Callas a lush, melodic score evoking the sweeping passion and drama of Callas’ legendary life and career. Her story is contemporary. The story highlights the diva’s struggle with society’s bias against strong women and she was cast by the press as an egotistical diva rather than the dedicated and brilliant artist like her male contemporaries. She was expected to choose between her career and personal happiness, still a familiar dilemma for women today. The new film, Maria, starring Angelina Jolie, and the recent worldwide centenary celebrations of Callas’ birth show the public’s continuing fascination with Callas’ life and legacy.

    The Act I workshop performance of La Callas will be on Thursday, October 10, 2024, at the Kaufman Music Center’s Merkin Hall in New York City.   Tickets are available from the Merkin Hall Ticket Office.

    Sarah Johns

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  • How John F. Kennedy Fell for the Lost Cause

    How John F. Kennedy Fell for the Lost Cause

    John F. Kennedy took George Plimpton by surprise after a dinner party one evening when he pulled his friend aside for a word in the Oval Office. The president had Reconstruction on his mind—really, though, he wanted to discuss Plimpton’s grandmother.

    Plimpton was lanky and lordly, famous for his patrician accent and his forays into professional sports. The Paris Review founder did everything and knew everyone. He might edit literary criticism one day and try his hand at football or boxing the next. Plimpton had known Jackie Kennedy for years, and he had been friends with Robert F. Kennedy since their Harvard days.

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    He also had another, and very different, Kennedy connection. Plimpton’s great-grandfather Adelbert Ames, a New Englander, had been a Civil War general and Mississippi governor during Reconstruction. He was an ardent supporter of Black suffrage. Kennedy had soiled Ames’s reputation in his best-selling 1956 book, Profiles in Courage, which had won the Pulitzer Prize for Biography the following year. The book ushered the junior senator from Massachusetts onto the national stage, effectively launching his bid for the presidency.

    Kennedy’s book presented a pantheon of past U.S. senators as models of courageous compromise and political pragmatism. One such man, Kennedy claimed, was Ames’s racist Democratic rival, Lucius Quintus Cincinnatus Lamar II. A slaveholder, drafter of the Mississippi Ordinance of Secession, and Confederate colonel, Lamar later became the first ex-Confederate appointed to the Supreme Court after the Civil War.

    Lamar and Ames were the preeminent politicians of Mississippi Reconstruction. They hated each other. (At one point, Lamar threatened to lynch Ames.) Profiles in Courage had relied heavily on the work of influential Dunning School historians—disciples of the Columbia University professor William A. Dunning, who scorned Black suffrage and promoted the mythology of the Lost Cause. Kennedy may have been genuinely misled by these historians, but he also aspired to higher office and needed to appeal to white southern voters. His book denounced Reconstruction, casting Ames as a corrupt, carpetbagging villain and Lamar as a heroic southern statesman.

    Ames’s daughter Blanche—Plimpton’s grandmother—was incensed. She sent meticulously researched letters to Kennedy, demanding that he correct his book. Some of the letters had footnotes. Some had appendixes. Blanche would not let up, chasing Kennedy from the Senate to the presidency.

    In Plimpton’s telling, as Kennedy took his guests on an informal tour of the White House that evening, he motioned to Plimpton for a word. “George,” he said, as Plimpton would recall, “I’d like to talk to you about your grandmother.” Kennedy begged him to persuade Blanche Ames to stop writing, complaining that her correspondence “was cutting into the work of government.”

    Plimpton promised to try, but he knew it would be no use. “My grandmother was a Massachusetts woman,” he later explained, and when Kennedy refused to amend Profiles, Blanche “did what any sensible Massachusetts woman would do: she sat down and wrote her own book.”

    Blanche Ames was born in Massachusetts in 1878, the year after Reconstruction ended in a political deal that awarded Rutherford B. Hayes, a Republican, the disputed presidential election in exchange for withdrawing federal troops from the South. Blanche had the Civil War in her blood. Benjamin F. Butler, a Union general, was her maternal grandfather; he had commanded Fort Monroe, in Virginia, and had designated fugitive slaves as “contraband of war,” using a legal loophole that allowed refugees to seek protection behind Union lines. He later became governor of Massachusetts. Adelbert Ames, her father, won the Medal of Honor at First Bull Run and fought at Antietam and Gettysburg. After serving as the military governor of Mississippi, Ames became the state’s senator and then its civilian governor. He was a champion of racial rights, embracing a personal “Mission with a large M ” to support Black citizens.

    Blanche, too, was a principled fighter, willing to risk her social privilege for the causes that she championed. Adelbert encouraged his daughters to attend college. Blanche went to Smith, where she became class president. At commencement, she delivered a forceful address promoting women’s suffrage, with President William McKinley in the audience. Blanche helped spearhead the Massachusetts women’s-suffrage movement, working as a political cartoonist for Woman’s Journal. She founded the Massachusetts Birth Control League. Once, Blanche sauntered onto Boston’s Commonwealth Avenue carrying a hand-carved wooden penis to demonstrate proper condom use; she was arrested, but police released her after realizing she was the daughter of one governor and the granddaughter of another. “If she was a man,” one historian has observed, “there would be five books” about her already.

    Blanche Ames Ames acquired her distinctive, double-barreled name upon marrying the prominent Harvard botanist Oakes Ames, who came from an unrelated dynastic strand of Ameses. A talented painter, Blanche illustrated some of Oakes’s books about orchids. The Ames mansion at Borderland, their 1,200-acre estate outside Boston, was built entirely of stone to ensure that the library—the filming location for the 2019 movie Knives Out—would be fireproof. Adelbert Ames’s and Benjamin Butler’s Civil War–era swords can still be seen in the foyer. George Plimpton once used one to cut a cake at an anniversary party.

    Profiles in Courage roused Blanche from her Borderland retirement. Eight decades had elapsed since the end of Reconstruction. The modern civil-rights movement was gaining momentum, with its promise of a second Reconstruction. Kennedy was not only taking the wrong side, but he was doing so by maligning Blanche’s father:

    No state suffered more from carpetbag rule than Mississippi. Adelbert Ames, first Senator and then Governor … [admitted] that only his election to the Senate prompted him to take up his residence in Mississippi. He was chosen Governor by a majority composed of freed slaves and radical Republicans, sustained and nourished by Federal bayonets … Taxes increased to a level fourteen times as high as normal in order to support the extravagances of the reconstruction government.

    Lamar, meanwhile, was cast as a “statesman” for whom “no partisan, personal or sectional considerations could outweigh his devotion to the national interest and to the truth”—a selfless patriot who had helped reconcile the nation.

    The truth of the matter was very different. Reconstruction-era Mississippi under Ames’s leadership arguably held more political promise for newly enfranchised Black people than any other southern state. Before the Civil War, Mississippi had contained some of the richest counties in the nation, but most Mississippians—some 55 percent—were enslaved. After the war, Mississippi was the poorest state in the Union. But the new state constitution worked to overturn the Black Codes—laws designed to limit the rights of newly freed African Americans—and Mississippi’s Hiram Revels and Blanche K. Bruce became the country’s first Black senators. Ames himself shared his gubernatorial ticket with three Black candidates.

    Democrats swept the 1874 national midterm elections in what the historian Eric Foner has called a “repudiation of Reconstruction.” Mississippi Democrats saw an opportunity: By seizing control of the legislature in upcoming state elections, they could pass measures that would essentially end Black suffrage. The year 1875 became a struggle between Ames, the elected governor, and Lamar, who was then in Congress. Ames’s administration had the support of Black voters. Lamar, meanwhile, embraced the so-called Mississippi Plan, which aimed to disrupt a legitimate election, by force if necessary. Lamar insisted that the Democrats had to win control of the state legislature to ensure the “supremacy of the unconquered and unconquerable Saxon race.” On Election Day, paramilitary terrorists called White Liners obstructed polling places, destroyed ballot boxes, and threatened to kill Black citizens who voted, as the journalist Nicholas Lemann has written in Redemption: The Last Battle of the Civil War. Counties that were once overwhelmingly Republican saw the Republican vote drop to single digits. “A revolution has taken place,” Ames wrote to his wife, prophesying a bleak future for Mississippi. “A race are disenfranchised—they are to be returned to … an era of second slavery.”

    Democrats, elected by terrorism and led by Lamar, now threatened Ames with impeachment. They accused him of financial impropriety—including the high taxes that Profiles decried—despite his administration’s relative frugality. To avoid impeachment, Ames resigned and fled the state. A U.S. Senate committee investigated the Mississippi elections and produced a 2,000-page document known as the “Boutwell Report.” It concluded that Ames was blameless and that his resignation had been forced “by measures unauthorized by law.” No matter: Ames’s reputation lay in tatters.

    The following year, during the presidential deadlock, Lamar helped broker the Compromise of 1877, which gave Hayes the presidency over Samuel Tilden in exchange for the return of “home rule”—rule by white-supremacist Democrats—to the South, effectively destroying national Reconstruction.

    Profiles in Courage evades easy categorization. It is a historical work, written by a political team, heavily assisted by historians, and published for political gain. The book features eight senators, strategically distributed across time, space, and party. Five of the profiles focus on questions of slavery, the Civil War, or Reconstruction, and none of the featured senators took a progressive approach to Black rights. Three, including Lamar, were slaveholders. Questions about authorship arose early: Kennedy’s speechwriter Theodore Sorensen was rumored to be the true author. (He did, in fact, write most of the book.) Archival drafts reveal that the Georgetown University history professor Jules Davids helped overhaul the Mississippi chapter. The book’s historical vision, though, came from Kennedy.

    Historians in recent years have acknowledged that the real problem with Profiles is not authorship but substance. As a critic, Blanche Ames got there first. Her personal copy of the book, a first edition, overflows with annotations. She drew arrows and corkscrew question marks around the paragraph about her father, her anger visible on the page. When Kennedy insisted that Lamar had written Mississippi’s Ordinance of Secession only after losing hope that “the South could obtain justice in the Federal Union,” Blanche thundered in the margins: “Lamar had sown the seed in 1861. He was sowing it again in 1874.”

    In June 1956, Blanche sent a nine-page letter to Senator Kennedy, introducing herself as his friend Plimpton’s grandmother and urging “corrections of errata for your own sake as well as mine.” She recognized diplomatically that, “in a work as ambitious as ‘Profiles in Courage’ … there are bound to be some viewpoints to arouse controversy.” Nevertheless, she argued, ambition did not excuse historical inaccuracy.

    Kennedy replied the next month. He was cordial, admitting that Reconstruction was “one of the most difficult sections” to write, not because of lack of material, but because of an abundance of “emotion-packed and strongly partisan” readings. It was a politician’s apology, suffused with qualifiers. He insisted that he had relied on “reputable authorities,” but granted that “it is possible, of course, that in so doing a particular individual or incident is slighted or inadequately or inaccurately described.” He added, “If such is the case in connection with my mention of your father … I am indeed sorry.” He assured Blanche that her message “succeeded in stimulating me to further research,” but warned that he did not expect Profiles to be reprinted, so there would be no correction.

    Kennedy did, in fact, do further research. According to Plimpton, during that Oval Office conversation after the dinner party, Kennedy asked Plimpton what he knew about his great-grandfather, apparently eager to demonstrate his own knowledge. He reenacted how Ames would inspect his Civil War soldiers and shout “For God’s sake, draw up your bowels!,” causing White House personnel to burst in, worried by the uproar. The president had found this obscure detail in an equally obscure book, The Twentieth Maine, which was published a year after Profiles.

    But between 1956 and 1963, Profiles was reprinted more than 30 times. Kennedy did not change his account of Adelbert Ames and L. Q. C. Lamar.

    Kennedy’s intransigence only fueled Blanche’s campaign. She forwarded her letters to Harper & Brothers, giving the publisher “the first opportunity” to rectify where Profiles in Courage “falls short of the Code of Historians.” The publisher declined, claiming that too much time had elapsed for readers to be able to understand any corrections. Blanche combed through Kennedy’s acknowledgments and wrote to the professors who assisted with drafting or editing Profiles, hoping that the historians might put pressure on him.

    They did not. There is no evidence that Davids, architect of the Lamar chapter, ever bothered to reply. Allan Nevins, at Columbia, backpedaled, claiming that the introduction he had written for Profiles “carried no endorsement of all details … I am sure the Senator will make correction where correction is proper.” Arthur Holcombe, at Harvard, patronizingly suggested that Blanche had “misunderstood Senator Kennedy’s meaning.” Some of these academic historians may simply not have taken Blanche seriously: She was old, she was a woman, and she lacked scholarly credentials.

    Blanche contacted a second circle of scholars, seeking a historian “free from bias” who might serve as an impartial biographer of Adelbert Ames. She steeped herself in the historiography of Reconstruction, coming to understand how closely Profiles followed the neo-Confederate historians Wirt Armistead Cate and Edward Mayes. “Cate copies Mayes and Kennedy copies Cate,” she wrote to the eminent Harvard historian Samuel Eliot Morison. “Now, unless corrected, modern and future historians may copy Kennedy! This method of writing history leads around in circles of quotations of half-truths. It is a false method.”

    Morison suggested a few military scholars as potential Ames biographers, but mainly recommended “Negro historians” such as John Hope Franklin, Rayford Logan, and Alrutheus Ambush Taylor. “Adelbert Ames’ career as Governor was, I believe, more important than his military career,” Morison reasoned, “and he was the champion of the Negroes.” Blanche contacted a host of prominent academics, including C. Vann Woodward, whose books had criticized the Dunning School and challenged the myth that Reconstruction governments with Black elected officials were simply incompetent or ignorant. The Profiles team had paid no attention to this scholarship. Despite her efforts, no historian would commit to the project. So Blanche resolved to write a biography of Adelbert Ames herself.

    Borderland became Blanche’s archive and fortress while she spent six years—1957 to 1963—researching and writing. When her granddaughter Olivia Hoblitzelle visited Borderland, she marveled at the piles of Civil War maps and books in the library. On one trip, Hoblitzelle recalled, her father asked, “How long is it now?” “Five hundred pages,” Blanche replied. When Hoblitzelle’s father asked, “Isn’t that enough?,” Blanche “looked him straight in the eye, and said, ‘Well, if Tolstoy could do it, so can I.’ ” When she finished, she was 86 years old.

    Blanche’s research drew significantly on the work of Black historians, who had been publishing trenchant studies of Reconstruction for decades. White historians had largely ignored this work, dismissing it as second-class scholarship. Blanche thought otherwise. Her bibliography cited W. E. B. Du Bois’s Black Reconstruction in America, Franklin’s The Militant South, John Lynch’s The Facts of Reconstruction, Merl Eppse’s The Negro, Too, in American History, and George Washington Williams’s History of the Negro Race in America. Kennedy, meanwhile, had not cited a single Black author on Mississippi Reconstruction.

    The stakes, Blanche believed, included not only her father’s reputation but the very meaning of Reconstruction. Her final chapter, “Integrity and History,” is a scathing condemnation of the traditional Reconstruction historiography Kennedy had parroted. Throughout the book, she linked Adelbert Ames’s promotion of racial rights in the 1870s with the modern civil-rights movement—the second Reconstruction:

    In this fateful year of 1963, our Congress has a unique opportunity with its overwhelming Democratic majorities … Congress seems to hold the practical power to do away with the disgraceful suppression of Negro suffrage rights … A hundred years has been too long to wait for application of these long-standing laws of equity.

    Blanche Ames’s book was published at the worst possible moment. In September 1963, she finished correcting page proofs for Adelbert Ames, 1835–1933: General, Senator, Governor. The book was lovingly bound in Sundour cloth and stamped in gold. It sold for $12.50, about $120 today—an old-fashioned, costly volume. Kennedy’s mass-produced paperback, meanwhile, sold for less than a dollar. On November 22, 1963, as Blanche’s book was going to press, Lee Harvey Oswald shot and killed Kennedy in Dallas.

    With the president’s tragic death, Profiles in Courage got a second life, landing back on the New York Times best-seller list. As Americans evaluated Kennedy’s legacy, his prizewinning book seemed a natural place to start. A televised adaptation of Profiles had been in production at NBC before Kennedy’s death. At that time, Blanche had urged Kennedy to use television as an opportunity to “bring your views into accord with the trend of modern historical interpretation of the Reconstruction Period.” After the assassination, the network pressed ahead, framing the series as “one of the finest living memorials to President Kennedy.” But Blanche may have gotten through to Kennedy’s team in the end, at least as far as the television series: When it premiered, a year after Kennedy’s death, the planned segment on Lamar had been quietly dropped. It was the only original profile not to be featured on television.

    But there was still the book. Blanche wrote to Sorensen in early 1964, trying to strike a tone of mutual interest: “Must we not find a way of correcting these obvious misstatements inadvertently restated by President Kennedy? Otherwise they will be perpetuated with greater force than ever, and I do not believe that he would have wished this. Do you?” There is no record that Sorensen replied.

    Blanche lived to see the passage of the Civil Rights Act of 1964 and the Voting Rights Act of 1965. Born a year after the end of the first Reconstruction, she was able to witness the start of the second. But when she died at Borderland, in 1969, a belittling New York Times headline read: “MRS. OAKES AMES, BOTANIST’S WIDOW; Illustrator of Her Husband’s Works on Orchids Dies.” Despite Blanche’s best efforts, her book sold only a few thousand copies.

    In 2010, a few years before efforts to remove Confederate monuments gained traction across the country, a life-size statue of Lamar was erected outside his former home in Oxford, Mississippi. The L. Q. C. Lamar House Museum’s public-outreach efforts generally commemorate Lamar not as a white supremacist or an architect of the Mississippi Plan, but as the embodiment of Kennedy’s redemptive arc: “Southern secessionist to American statesman,” as the museum describes it. Ames is not mentioned at all; Profiles is highlighted throughout the museum.

    In 1980, George Plimpton donated a copy of Blanche’s book to the John F. Kennedy Presidential Library and Museum, in Boston. “President Kennedy would know,” he said, “that a Massachusetts woman will eventually have her way.” But Blanche Ames Ames has not had her way quite yet. At the library’s gift shop, visitors can buy a 50th-anniversary edition of Profiles in Courage, published in 2006, with an introduction by Caroline Kennedy. The book has never been corrected.


    This article appears in the December 2023 print edition with the headline “Kennedy and the Lost Cause.” When you buy a book using a link on this page, we receive a commission. Thank you for supporting The Atlantic.

    Jordan Virtue

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  • A New JFK Assassination Revelation Could Upend the Long-Held “Lone Gunman” Theory

    A New JFK Assassination Revelation Could Upend the Long-Held “Lone Gunman” Theory

    The provenance of the bullet is also important in supporting or refuting Paul Landis’s purported memory. How was that bullet found? And how did it make its way to the FBI lab in Washington, DC, on the night of the assassination?

    Landis’s recollection, as stated above, is that he found the undeformed bullet on top of the back seat of the limousine. “It was resting in a seam where the tufted leather padding ended against the car’s metal body,” he writes. When Jackie Kennedy stood up to follow her husband into the hospital, he saw it. He picked up the bullet, worried that souvenir seekers or others might take it or move it.

    Upon arriving inside the emergency room, as stated above, he was jammed in with the first lady and a gathering horde of doctors and nurses. Standing near the feet of the president’s body, Landis left the bullet on his stretcher, as he believed it was crucial evidence and needed for the autopsy, which, under Texas law, should have taken place in Dallas.

    But then a new chain of events overtook the gruesome sequence surrounding the assassination. A decision was made to transfer the president’s body, along with the first lady, Vice President Johnson, and others, back to Air Force One at Love Field. And with new tasks taking precedence for Landis—and the overwhelming national shock of the first assassination of an American president in 62 years (since the death of William McKinley in 1901)—the special agent simply never gave the bullet a second thought, he says. He had left it where someone would find it.

    Landis didn’t make reference to the bullet in either of the two reports he submitted, hastily written in the turbulent days following the assassination. One short file, written two days after the funeral, didn’t even mention Parkland Memorial Hospital. A second, typed three days later—a day after Life magazine journalist Theodore White interviewed Jackie at the Kennedy compound in Hyannis Port, in what became known, famously, as the “Camelot” interview—was drafted during a time of deep shock and trauma.

    That Thanksgiving, November 28—three days after the state funeral at which world leaders marched behind Mrs. Kennedy in the streets of Washington, DC—Landis and Hill traveled to Hyannis Port in a security capacity, protecting Jackie and her children. The agents had no time off to regroup or get their bearings. Sleep had eluded them. Landis had been up for practically four days straight. In the months after Lyndon Johnson was sworn in and assumed the presidential reins, Landis’s role switched from being part of the overall White House protection group to working full time for the former first lady. (Congress passed an act to authorize this service.) With this change of responsibilities, he found it hard to think of much beyond the weeks ahead. And if his thoughts did migrate back to November 22, he dwelled on the horrific scenes of the assassination, and rarely on what he says he considered a minor detail: the fact that he had picked up a bullet and placed it next to the president’s body.

    The evidence from 1963 makes it fully plausible that the stretcher on which the bullet was found could have been President Kennedy’s. How so? A Parkland Memorial Hospital engineer, Darrell Tomlinson, was asked on November 22, before the president’s remains had been taken from the hospital to travel back north, to set the controls of the elevator in the emergency area—the one that had taken the wounded Governor Connally up to the second floor for surgery—so that the elevator would only be operable manually. The security team had determined that only people with official clearance would be allowed access; Tomlinson was instructed to control who got on the elevator and where they would go.

    When he pushed the button to open the elevator, he later recalled, there was a stretcher in the elevator—one that the Warren Commission presumed was Governor Connally’s stretcher, returned from the surgery floor. Tomlinson testified that the stretcher had some sheets on it and a white covering on the pad, but no bullet. He moved the stretcher out of the elevator and placed it against a wall.

    However, Tomlinson testified that there was another stretcher already in the hall, which had been placed in front of a men’s restroom in the corner. That stretcher had bloody sheets and some used medical paraphernalia on it.

    Tomlinson said that sometime later, “an intern or doctor,” in order to use the bathroom, pushed the stretcher out of the way but failed to return it to its spot against the wall after leaving. Tomlinson roughly pushed it back against the wall, and when he did so, he claimed, a bullet rolled out from under the mat. This was clearly not Connally’s stretcher.

    James Robenalt

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  • Jackie’s First Trip to the Kennedy Family Compound

    Jackie’s First Trip to the Kennedy Family Compound

    The tide broke at the end of the property on Marchant Avenue. Bubbling white caps of saltwater rushed in and out. As the sun slowly rose, the dark sand inched up, wave by wave, and piles of spongy seaweed dotted the shrinking swath of sand. Nantucket Sound was empty and quiet. 

    Inside the Big House the nice china sat stacked in the white windowed cabinet in the dining room. Dark, delicately carved wooden dining room chairs were pushed under the matching glass-topped table. Fresh flowers filled a glass bowl sitting on top of a round mirror in the middle of the table. A matching bouquet sat on a tall console table in the foyer. The first floor was bathed in the early-morning light. It was a quiet morning—until the black phone in the living room vibrated with its tinny, shrill ring, which continued throughout the day. 

    When did Jack propose? And how?

    Who’s the girl?

    Are they coming back to Hyannis Port?

    How long will they be here?

    Will they sit for an interview?

    What about photos?

    It was June 25, 1953, and in that day’s Barnstable Patriot there was a two-inch story headlined: “Senator Kennedy Engaged to Girl From Newport.” The article read, simply, “The marriage of the 23-year-old heiress to ‘the most eligible bachelor of Capital society’ will take place September 12 in Newport.” Just two weeks before, thirty-six-year-old Jack had been featured in the Saturday Evening Post. Under the headline “The Senate’s Gay Young Bachelor,” Jack was pictured sailing on the Potomac and laughing with groups of young women. Journalist Paul F. Healy had written: “Many women have hopefully concluded that Kennedy needs looking after. In their opinion, he is, as a young millionaire senator, just about the most eligible bachelor in the United States—and the least justifiable one.”

    Jack was already engaged to twenty-three-year-old Jacqueline Bouvier by the time the article came out, but the couple had delayed the announcement, so nobody knew it yet. The engagement notice drew huge curiosity about the mysterious fiancée of the Senate’s most eligible bachelor. Over the next twenty-four hours, news spread that the couple would be coming back home to Hyannis Port the following weekend to celebrate their engagement with a party at the Hyannisport Club. 

    As Rose and the staff readied the house, Jack sat by himself at LaGuardia Airport, waiting for Jackie. They’d made plans to meet at the New York airport to fly together to the Cape. As Jack waited and waited, waves of travelers hauled their bags to the terminal he faced. In the crowd, Jack recognized a young sports photographer named Hy Peskin, who was a fixture on the sidelines of the biggest sports events of the early 1950s, running up and down the court nearly as quickly as the players but with a heavy camera in his hands. As Peskin stepped up to the gate to check in, Jack walked up, hand extended to introduce himself. 

    “I’m Jack Kennedy. I’m meeting my new fiancée here—she should be here any minute—we’re on our way back home for the Fourth,” he said, flashing a toothy smile. “We’d love some photos, what do you think about coming back with us?”

    Peskin, who knew of the young senator, hadn’t photographed politicians, but he knew this was a big opportunity and agreed to do it. He found a pay phone to call his boss at Sports Illustrated. His boss told his counterpart at their sister publication, Life magazine. And within a few hours, they’d arranged for a writer to fly to the Cape to meet Peskin and the couple. Jack invited Peskin to stay at the Big House. There was always room on the second floor for an extra guest. 

    Bettmann/Getty Images. 

    Kate Storey

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