Louisa Adams - portrait


A participant on Quora asked recently for “interesting facts” about John Quincy Adams—the sixth president of these United States and the son of the second president. When I last checked, none of the respondents had mentioned JQ’s wife, Louisa, who was at least as interesting as he was.

Louisa Adams’ story is raised from undeserved obscurity in a biography by namesake Louisa Thomas. Louisa Johnson was born in London in 1775, to an American father, a merchant, and a British mother to whom her father was not married. She was the first spouse-of-a-president who was not born either in the United States or in one of the original thirteen colonies. The next such spouse was Melania Trump.

Louisa Adams - JQ portrait


Louisa’s father, Joshua, moved his family to Europe during the American Revolution, handling the affairs of his trade business from that end while a partner tended to matters in Maryland. While Louisa along with six sisters and a brother lived comfortably for a time, Joshua Johnson was eventually ruined and carted most of his brood back to the States, leaving Louisa behind, virtually penniless, in the care of Quincy Adams—at the time the American ambassador to the Netherlands. Thereafter, she would almost constantly feel the chill of an insufficiency of funds, even when she was hobnobbing in the glittering courts of Europe.

Louisa Adams.jpg

$10 gold coin commemorating Louisa Adams

Louisa and Quincy Adams met when he became a frequent visitor at her family’s home, the visits prompted by the fact that Thomas Johnson was serving as U.S. consul-general. Although his wife was English, Johnson was determined that his daughters should marry Americans, who were in relatively short supply in London. This biography includes some entertaining accounts of the emotions and machinations this situation inspired among the Johnson daughters when the unattached Quincy Adams came to call. Ultimately, John Quincy and Louisa married in 1797, and her parents beat it back to America shortly thereafter. It’s worth nothing that Adams’ parents, John and Abigail, were reluctant to bless the match because Louisa, though an American, had been reared in England.

Louisa Adams - CFA


Louisa’s life thereafter was disrupted by frequent and sometimes serious illnesses and, in addition, by several miscarriages. The couple would have four children, including the noted diplomat and writer Charles Francis Adams and a girl, Louisa Catherine, whose death in Russia when she was only a year old haunted the mother for the rest of her life.

When the elder Adams became president in 1797, he appointed Quincy ambassador to Prussia. President Adams lost the election of 1800, so Quincy and Louisa and their family relocated again, this time to Massachusetts. Quincy practiced law, which was not the love of his life, and in 1803 he was elected to the U.S. Senate where he served until he resigned in 1807. In 1809, President James Madison appointed him minister to Russia and that was a pivotal occasion in Louisa’s life. At her husband’s insistence, she had to leave their two older sons behind in Massachusetts, and she was never reconciled to that separation.

Louisa Adams - Tsar Alexander


Although Louisa became a favorite of Tsar Alexander I, life in St. Petersburg was a trial, not only because of the death of her daughter, but also due to the weather, her own poor health, and her struggle to keep up with the glitter of the Russian court on the limited means she had.

In 1814, President Madison appointed Adams head of a delegation to negotiate a treaty to formally end the War of 1812 between the United States and Great Britain. The British wouldn’t accept Russia as a mediator, so the negotiations moved first to Ghent in Belgium and then to London. This move set the stage for the most dramatic and daring episode on Louisa Adams’ life, as her husband told her to come west with their son, but left her on her own to manage the trip.

And she did manage the trip, arranging for a carriage, driver, guard, and supplies, and traveling for forty days over frozen ground, through forests, past vagrants and bandits, among the bodies on spent battlefields, arriving intact with her little boy.

The family remained in London for two years until President James Monroe appointed Quincy Adams secretary of state. The move to Washington was a mixed bag for Louisa. She was very successful as a hostess, and she liked to poke her nose into the nasty political discourse of that period, but she also suffered from depression and physical ailments.

The family returned to Massachusetts when Quincy was not reelected, but in 1831 he became the only former president ever elected to the House of Representatives, and he served there for 17 years until he died at the Capitol building. Louisa died in Washington in 1852, and her death marked the first time both houses of Congress adjourned to acknowledge the death of a woman.

In telling this story, Louisa Thomas vividly portrays the contradictory personalities of the Adams couple.

He was a social misfit; she was a charming hostess and a skilled gossip.

“He was tender with Louisa, and she felt it,” Thomas writes at one point. “Still, there were distances between Louisa and John Quincy that were difficult to bridge. She wanted to be needed; he wanted to be alone, She could be flighty, he could be intransigent or remote. She had once called herself ‘the spoilt child of indulgence.’ He had been schooled by his parents in stoicism—although his strong feelings sometimes opened a vent, with eruptions of anger and frustration.”

Quincy Adams let on to his wife in various ways that he wanted her to know her place. For her part, she wrote, “When my husband married me, he made a great mistake if he thought I only intended to play an echo.” There were plenty of contradictions: She claimed to have no part in her husband’s career, but she listened to his speeches and gave him advice about what to cut. She resented his obsession with his responsibilities and felt useless and neglected, but when he mused that he might give up public life, she urged him not to—knowing at last, perhaps, that it was what kept his heart beating.

Louisa was smart, witty, and well-read, and she often felt that her life was pointless; she titled an autobiography “The Adventures of a Nobody.”





Sally Field - 1 - Simon & Schuster -

SALLY FIELD/In Pieces/Simon & Schuster

“Why is it easier for me to write about the times in my life that felt humiliating or shameful? Is it because those are the things that still haunt me?”

Sally Field asks those questions in her remarkable memoir, In Pieces, and they imply that the distinguished actress is, in her interior life, a work in progress at 72.

“Do I hold on to those dark times as a badge of honor,” she asks, “or are they my identity? The moments of triumph stay with me but speak so softly that they’re hard to hear—and even harder to talk about.”

Sally Field - 2 - Mary Lincoln

SALLY FIELD as Mary Todd Lincoln

We know all about the moments of triumph: Sally Field has won two Oscars, three Emmys, two Golden Globe Awards, and a Screen Actors Guild Award, and she has been nominated for a Tony Award. Not many can make that claim. She has starred in some of the finest properties available, including the television miniseries Sybil; the motion pictures Norma Rae, Places in the Heart, Absence of Malice, Steel Magnolias, Forrest Gump and Lincoln; the Broadway revival of The Glass Menagerie, and others.

But until Field published this memoir, we did not know about the punishing life she led away from the stage and the cameras—a lonely childhood; sexual and emotional abuse at the hands of her stepfather; sexual exploitation at the hands of others; a fraught but enduring relationship with her mother—who did nothing to prevent the abuse of her child; troubled alliances with men—including Burt Reynolds, and a long struggle to be taken seriously as an actor. Field has discussed many of the details in print and broadcast interviews concerning this book.

For Field, the result of these experiences was a fractured sense of identity—hence the title—and it took her decades to even begin to assemble the fragments into a recognizable whole.

Sally Field - 3 - Margaret Morlan


Field wrote this book herself—I think it took her three years; having spent the past fifty-three years as a writer, editor, and teacher of writing, I appreciate her literary skills, including her use of wry humor in a dark story and her offbeat imagery:

The most important figure in this book beside Field herself is her mother—a once stunning actress born Margaret Morlan. In one passage concerning their later life together, Field writes, “The combination of vodka and swallowed emotions had thickened her body and bloated her delicate face, making her look like a biscuit rising in the oven.”

Fields describes a complicated relationship with Reynolds, who, she writes, often tried to run her life. On one occasion, she was dressed to attend an awards ceremony, and he decided that she was too pale and insisted on slathering her with a Max Factor makeup known as Dark Egyptian.

Sally Field - 4 - npr.org


“(W)hen I think of that moment,” she writes, “standing nervously before a wall of mirrors as Burt carefully painted my exposed body, I realize that I’d take his Earl Scheib job over the finest hair and makeup artist anytime. True, I ended up looking like Sacagawea with very curly hair, but it was what he had to give. And it made me smile.”

This book will attract some voyeurs, but it is a serious and important work, not a Hollywood tell-all. Recent events, including the sexual-abuse scandals in the Catholic Church and the wave of abuse accusations against high-profile men have brought to public attention the lifelong suffering of victims and the folly of assuming that the face a person shows the world is an accurate reflection of her inner being.

It took extraordinary courage for Field to undertake this enterprise, which required her to revisit painful, shaming, and confusing episodes—an exercise in introspection that many of us might hesitate to pursue. The result is not a broadside against everyone who has ever harmed her, but rather a nuanced examination of the often conflicting emotions that have colored her life so far. And by having the strength of character to tell her story to us, she reminds us that how we treat others has consequences that can reverberate for a lifetime.





It may not be possible to dislike Carole King.

What’s not to like? She has written some of the best pop and rock songs of the past five decades, she has a record of social responsibility, and she’s a nice person.

In a way, her memoir, A Natural Woman, is similar: What’s not to like? It’s a conversational account of a remarkable American life; in some ways, it would be hard to believe if one didn’t already know that it’s true. King (Carol Klein) is a Brooklyn native who found herself in awkward straits in school because her mother enrolled her early, and then she skipped a grade — so she was perennially younger than her classmates and felt out of place.

She showed early signs of a bent for entertaining, and she was writing songs in her teens. In fact, she was only 18 when she and her husband, Gerry Goffin, wrote “Will You Still Love Me Tomorrow” for the Shirelles. She also became a mother for the first of four times  at around the same time. Among the songs she has written since then, either on her own or with a collaborator, are “Where You Lead, I Will follow”; “I’m Into Something Good”; “It’s Too Late, Baby”; “The Loco-Motion”; “Take Good Care of My Baby”; “Go Away, Little  Girl”; “I Feel the Earth Move;” “You’ve Got a Friend,” and “Natural Woman.’’



For a long time, King saw herself as a writer and “sideman” — that is, one of the musicians playing and even singing behind a lead performer. By King’s account, James Taylor changed that single-handedly. It occurred in 1970 while Taylor was touring to promote his album “Sweet Baby James.” King was to play piano for Taylor at a performance at Queens College, which was her alma mater. As the show was about to begin, Taylor told King he wanted her to sing lead that night on “Up on the Roof,” a song she had written with Goffin and a favorite of Taylor’s (and mine, not that it matters).

King writes that she was taken aback by this request but had no time to talk Taylor out of it. When that spot in the set came around, Taylor introduced King to the audience as an alumna of the college and a co-writer of the song and, without rehearsal, she took her first turn as a lead singer. In time, of course, she become a good enough lead that her album Tapestry become one of the best selling collections of all time.



King devotes a lot of space in this book to a  personal life that is difficult for an outsider to fully understand. She married Goffin when she was 17, and the pair, barely more than children, settled into suburban life in West Orange. But Gerry got restless, he fooled around with drugs, he eventually plunged into serious depression. The marriage ended, but King and Goffin continued to be friends and collaborators. King had three more marriages, none of which, based on her own accounts, seem to have been well thought out. Two ended in divorce and one ended when her husband — who she says struck her on several occasions — died as a result of a drug overdose.

King emphasizes in this book that she didn’t like touring and that she didn’t seek stardom because of the baggage that came with it. She had a yen for a simple life, particularly as compared to life in the New York City and Los Angeles areas. From both a cultural and environmental point of view, she carried that quest to its logical extreme by buying a ranch in Idaho. Before she picked the spot, in fact, she and her fourth husband, Rick Sorensen, and her two youngest children lived for three years in a cabin that had no electricity, running water, or heat.

When King first decided to make Idaho her principal residence, her oldest child, Louise, then 17, declined to make the move, and she stayed behind in Los Angeles. Eventually, all of King’s children would wind up in California. All of those children apparently have had fruitful lives, but King’s priorities are still a little hard to grasp.

I found it disconcerting, too, that she devoted a chapter to her decision to practice yoga, remarking that the discipline helped her find her “center.” She presents this as a life-shaping event, but she never explains what she means by finding her center, and except for one glancing reference, she never mentions yoga again.

Perhaps because she is such a nice person, King chooses her words carefully when she’s describing her interactions with other people, even the husband who brutalized her. While it wouldn’t necessarily be useful for her to share any rancor she might be harboring, her approach is tentative enough to make a reader wonder what else she chose to withhold.

King mentions an editor  in the acknowledgments, but I was happy to find that it seemed as if this book was largely King’s own work. It has the feel of a kitchen-table conversation. Apparently it is as much as King wanted to share, so it will  have to do for now.