Thank you!
Your support is sustaining the future of local news in our communities.

William Kinsolving reimagines the Rhinelander Affair

William Kinsolving reimagines the Rhinelander Affair

Author William Kinsolving explores race, class and privilege in his new historical novel, “Black and White and Read All Over.”

Andrew Bavis
What historical fiction allows is [to imagine] what’s between the lines of history, what the historian is forbidden to do.
— William Kinsolving

A century ago, the infamous case of Rhinelander v. Rhinelander, also known as the Rhinelander Affair, shook American society. The trial pitted mixed-race maid Alice Jones against the Rhinelanders, one of New York’s oldest and most powerful old-money families, drawing national attention. Now, 100 years later, the trial and the lives of those involved are brought back into focus in new ways in William Kinsolving’s latest novel, “Black and White and Read All Over.”

The book explores the dynamics of power and privilege within a deeply racist and classist society through the lens of what the author describes as “a uniquely American Cinderella love story done in by money and family power.”

It’s important to note that this book is not a biographical account of the Rhinelander Affair, nor does it pretend to be. Instead, it is openly and proudly a work of historical fiction that, rather than being restricted by the historical facts of the events it covers, integrates them into a story focused on the imagined emotions and inner lives of Alice Jones and her family. When asked about this creative decision, Kinsolving said that “what historical fiction allows is [to imagine] what’s between the lines of history, what the historian is forbidden to do.”

The book uses fiction to fill the gaps that court records and New York Times articles do not cover, and in doing so breathes new life into this slice of history. The result is a compelling love story between two people brought together by chance and torn apart by forces of race, class and power beyond their control, alongside a moving portrait of a family’s resilience in the face of a legal system designed to work against them.

One of the core aspects of “Black and White and Read All Over” is its examination of the racism and class politics that defined the period in which the book is set. Because of its subject matter, the book’s central conflict is inherently intertwined with the society of the early 20th century, a time when old-money families held enormous influence in New York and the now-infamous one-drop rule — which classified anyone with African ancestry as Black — shaped racial identity and social standing. The novel leans into this reality, making the Jones family’s status as a working-class, mixed-race household a prominent aspect of their identity and contrasting them with the white, aristocratic Rhinelander family, who serve as embodiments of the privileges and prejudices that dominated society.

The book uses Alice’s experiences, as well as those of her family, to show firsthand the realities of living in a white supremacist society and under a legal system dominated by wealth — realities that will likely resonate with many readers a century later.

Ultimately, “Black and White and Read All Over” is an engaging and thought-provoking novel that uses a tragic love story rooted in history to examine the enduring roles of race, class and power in American society.

For more about the author and to order the book, visit williamkinsolving.com

Latest News

‘So Little to Do,’ so much to discover at James Barron Art

Curator Deborah Goodman Davis reads the Emily Dickinson poem “The Grass So Little Has to Do.” Spencer Finch’s “Following Three Bees (Zinnias)” buzzes in the background.

Photo by Natalia Zukerman

“The Grass Has So Little to Do,” on view at James Barron Art in Kent, takes its title from Emily Dickinson’s poem “The Grass So Little Has to Do,” written in 1862:

“The Grass so little has to do—
A Sphere of simple Green—
With only Butterflies to brood
And Bees to entertain—”

Keep ReadingShow less
Marina Kotchoubey is taking care of business

Marina Kotchoubey at the Ian Ingersoll Cabinetmakers showroom in West Cornwall.

Photo by D.H. Callahan

After 40-something years navigating the world of custom fine furniture, Ian Ingersoll was getting ready to retire. Starting off with a little dovetail stool that he sold at a shop in West Cornwall in the 1970s, he’d grown his skill and his business into something he — and the whole town — could be proud of. Shutting down that business was not an option.

Ingersoll built Ian Ingersoll Cabinetmakers, which produced mainly classical Shaker furniture, on passion: the passion he had to make a living through creative challenges and the passion of his employees, who all seem deeply in love with their craft.

Keep ReadingShow less
A legacy of giving at Norfolk Chamber Music Festival

One hundred and twenty years ago, Carl and Ellen Stoeckel commissioned New York architect E.K. Rossiter to design The Music Shed in Norfolk, Connecticut. After nearly a decade of entertaining their friends and neighbors with the finest music of the day, they built a permanent home for their beloved Litchfield County Choral Union.

The commission and full funding of the construction was not unheard of in an era when great fortunes led to public enrichment. Railroad tycoon John D. Rockefeller was instrumental in funding institutes of higher education. Steel baron Andrew Carnegie was building libraries all over the country, and famously said that a man who dies rich is a disgrace, challenging his peers to give their fortunes back to the people.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

Two unique exhibitions at Geary Gallery

Henry Klimowicz with his sculpture, “Partial Pillar 1”

Photo by D.H. Callahan

On Saturday, Aug. 1, Geary Gallery opened its doors in Salisbury for two unique shows in its first- and second-floor gallery spaces. Art lovers flooded both floors over the course of the afternoon, giving the events a vibrant feeling that enhanced the importance of the art.

On the first floor is a show by Chicago-born, Colorado-based photographer Summers Moore, titled “Lobitos: Pueblo Fantasma,” or “Lobitos: Ghost Town.” The work centers around her daughter’s current hometown in Peru. Moore herself found a home away from home in Colorado in the mid-1980s and encouraged her children to seek out new places outside of their comfort zones.

Keep ReadingShow less

Writer’s retreat in the woods

Writer’s retreat in the woods

Participants in a 2024 Great Mountain Forest Woodland Academy workshop at Yale Camp.

Photo by Mike Zarfos

Great Mountain Forest (GMF) will host its first Nature Writing Retreat at the historic Yale Camp in Falls Village from Aug. 7-9, 2026. Writers of all levels are invited to draw inspiration from one of New England’s most notable forest landscapes. GMF envisions the retreat becoming an annual event celebrating writing, conservation and the relationship between people and forests.

This immersive three-day retreat reflects on the legacy of Hal Borland, the American writer and New York Times nature columnist whose work was deeply connected to this landscape. The retreat explores how wilderness shapes language, strengthens close observation and fosters environmental consciousness.

Keep ReadingShow less
From Cornwall to Rome, Adam Van Doren at Berkshire Botanical Garden

Artist Adam Van Doren and curator Donna Hassler talk to a group of visitors at the Berkshire Botanical Garden. A Stephen Proctor vessel sits to their left.

Photo by Natalia Zukerman

This summer, the Berkshire Botanical Garden in Stockbridge has hosted “Grounded in Nature: Paintings by Adam Van Doren,” an exhibition exploring the intimate relationship between architecture and the natural world.

On view for only a few more weeks in the Leonhardt Galleries, the exhibition features more than 35 watercolor and oil paintings by the New York-based artist, architect, author and Yale professor, curated by art historian Donna Hassler, director emerita of Chesterwood. The works span three distinct places that have shaped Van Doren’s artistic practice: New York City, Cornwall, Connecticut, and his travels throughout Europe.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.