In the dead of an unassuming January night in 1883, Milwaukee’s Newhall House hotel was set on fire. Two hours later, the building—once among the tallest in the nation—lay in ruins and over seventy people were dead. It was a tragedy that brought global notice to Milwaukee, with daring escapes and rescues and heart-wrenching tales of victims burned to death or killed as they leapt from the burning building. From the great horror emerged an even greater string of mysteries: Who had set the fire and who was to blame for the staggering loss of life? The Newhall’s hard-luck barkeeper? A gentleman arsonist? What of the many other unexplained fires at the hotel? Had the Newhall’s management neglected fire safety to boost their profits? 
 
Damn the Old Tinderbox! is the gripping tale of one of the Gilded Age’s forgotten calamities, a fire that remains among the deadliest unsolved arsons in American history, and a significant chapter in both the history of Milwaukee and the Midwest. 

 

Joseph Sobol is one of a select few contemporary scholar-practitioners to chart the evolution of storytelling from traditional foundations to its current multifarious presence in American life. The years since his classic The Storytellers’ Journey: An American Revival (1999), have brought seismic shifts in storytelling circles. Essays gathered here move between cultural history, critical analysis, and personal narratives to showcase the efforts of traditional and contemporary storytellers to make their presence felt in the world.

The book begins with an account of recent changes in the storytelling landscape, including the growth of a new generation of urban personal storytelling venues sparked by The Moth. Next is a suite of essays on Appalachian Jack tales, the best-known cycle of traditional American wonder tales, and an account of its most celebrated practitioners, including close encounters with the traditional master, Ray Hicks. The next set examines frames through which storytellers capture truth—historical, legendary, literary, oral traditional, and personal. Stylistic differences between northern and southern tellers are affectionately portrayed, with a special look at the late, much-loved Alabaman Kathryn Tucker Windham.

The final section makes the case for informed critical writing on storytelling performance, through a survey of notable contemporary storytellers’ work, a look at the ethics of storytelling genres, and a nuanced probe of truth and fiction in storytelling settings. A tapestry of personal stories, social criticism, and artistic illuminations, Liars, Damn Liars, and Storytellers is valuable not only to scholars and students in performance, folklore, cultural studies, and theater, but also to general readers with a love for the storytelling art.