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The Heartbreak of Aaron Burr

Audiobook
1 of 1 copy available
1 of 1 copy available
One of the nation's most respected historians and a two-time finalist for the Pulitzer Prize, H.W. Brands has the rare gift of investing historical narrative with unmatched verve and insight. The Heartbreak of Aaron Burr sheds light on the life of the third vice president of the United States, a man who is perhaps best known for killing Alexander Hamilton in a duel.
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    • AudioFile Magazine
      Aaron Burr is best remembered as the man who shot Alexander Hamilton, but he was far more complex. He believed in the equality of women--including their right to vote--long before it surfaced as a national issue. He was intellectually and politically deep. Yet he was tried for treason over an ill-conceived plot to wrest Mexico from Spain. The author captures his complexity well, relying heavily on Burr's letters to his daughter, Theodosia. Narrator Chris Sorensen offers a lively reading of these passages, along with speeches and other documentary sources. The letters, especially, sound like the conversations they really are as Sorensen raises his pitch or alters the tone of his voice to express surprise, humor, or even regret. The remainder of the book he reads with an even but inviting tone. R.C.G. © AudioFile 2012, Portland, Maine
    • Publisher's Weekly

      April 2, 2012
      The relationship of Aaron Burr and his daughter Theodosia Burr Alston is one of the most affecting bonds in the history of major American political figures. Each cherished and doted on the other after the death of Burr’s wife when their daughter was 11. And more tragedy was to come: after the death of Theodosia’s son, she herself drowned at sea in 1813, aged 29, thus leaving two crushed men, her husband and her father. University of Texas–Austin historian Brands (The First American: The Life and Times of Benjamin Franklin) brings alive this story largely through the affectionate letters between father and child. But it’s a slight, curious work. Written in the present tense, which gives it a formal, Gallic tone, it’s all narrative and takes us nowhere into character. The history it rehearses has long been known, and it introduces not a single idea. Burr’s enigmatic politics and schemes are warp and woof of all written history of the era. But Theodosia? Here, Brands lets us down. For example, it’s clear from her letters that she abetted
      her father by egging him on in many of his schemes instead of cautioning him against acting unwisely. What could have been an insightful dual portrait is instead an insubstantial, if pleasing, work. Illus.

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