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How America’s First Banned Book Survived and Became an Anti-Authoritarian Icon
THE PURITANS OUTLAWED THOMAS MORTON’S “NEW ENGLISH CANAAN” BECAUSE IT WAS CRITICAL OF THE SOCIETY THEY WERE BUILDING IN NEW ENGLAND
In 1627, Morton constructed a maypole in the town square and invited anyone to join him in drinking and dancing around the pole. This incited his neighbors, who were already fed up with him for trading guns to Native Americans. When Morton repeated the event the following year, Bradford ordered his arrest. Recounting the scene in New English Canaan, Morton wrote, “The Separatists, envying the prosperity and hope of the plantation at Ma-re Mount (which they perceived began to come forward and to be in a good way for gain in the beaver trade), conspired against mine host —Morton’s nickname for himself— and made up a party against him and mustered up what aid they could, accounting of him as of a great monster.” Morton was subsequently exiled to an island off the coast of Maine, where he was picked up by an English ship and taken back to his home country. By the time he returned to New England the following year, his maypole had been chopped down to use as firewood, and Merrymount’s supplies had been raided. In 1633, Morton attempted to publish the first edition of New English Canaan in England, but the printing was stopped by “agents for those of New-England,” according to a petition written by a contemporary bookseller.
When the Puritans set sail for New England in 1630, they likened themselves to ancient Israelites settling in the promised land. Liberated from the Church of England, which they viewed as too Catholic, they sought to reform the church and establish a new Christian commonwealth guided by their covenant with God. “We must consider that we shall be as a city upon a hill,” John Winthrop, governor of the Massachusetts Bay Colony, famously proclaimed on the journey over from England. “The eyes of all people are upon us, so that if we shall deal falsely with our God in this work we have undertaken and so cause him to withdraw his present help from us, we shall be made a story and a byword through the world.” Just seven years after the Puritans’ arrival, an Anglican lawyer named Thomas Morton published a book that threatened the young colony and its residents’ covenant with God. New English Canaan, a three-part text published in Amsterdam in 1637, is mostly filled with detailed observations about the region’s Indigenous people and descriptions of plants, animals and natural resources that could be commodified by white settlers. But a brief section at the end offers a withering critique of the Puritans and the society they were building, including their treatment of Native Americans. Members of the Mss Bay Colony —known to be a tightly controlled society— adhered to strict beliefs about how to live and worship. Women and children were taught to read so they could learn directly from the Bible, but few other books were imported and read by the puritans. Public entertainment wasn’t allowed except for church services and other related activities. Cursing was punishable by law. Despite harsh winters and conflicts with Native Americans, the Puritans believed their colony would survive if they obeyed God, and they were constantly on the lookout for signs from above. Shortly after New English Canaan’s publication, the Puritans outlawed the text in their colonies, committing what historians consider the first act of book banning in the present-day United States. Fewer than twenty five of the original copies from Amsterdam survive today, but far from disappearing, the book has cropped up continuously over the last four centuries in other works of literature and history. And Morton, who was once ridiculed by other colonists and nicknamed the “lord of misrule” by Plymouth Colony Governor William Bradford, became an anti-authoritarian symbol celebrated for his defiance.
Chiswick
ParkⓂ⮋*
LINES
① Central
② Northern
③ Jubilee
④ Piccadilly
⑤ District
⑥ Victoria
⑦ Circle
⑧ HammerSm
⑨ Bakerloo
OPENED
1900 › Red
1890 › Black
1979 › Grey
1906 › Dark Blue
1868 › Green
1968 › Light Blue
1871 › Yellow
1864 › Pink
1906 › Brown
STATIONS
④⑨ 74.0 km
⑤② 58.0 km
②⑦ 36.2 km
⑤③ 71.0 km
⑥⓪ 64.1 km
①⑥ 21.0 km
③⑥ 27.2 km
②⑨ 25.5 km
②⑤ 23.2 km
↓ RIDERS
260.916 m
252.310 m
213.554 m
210.169 m
208.162 m
199.988 m
114.745 m
114.614 m
111.136 m
A History of the Underground Logo & Typeface designed by Edward Johnston in 1913
The typeface was created a century ago for London Underground by Edward Johnston. Since its introduction, this lettering has come to represent not just London’s transport but the idea of London itself. Edward Johnston, the son of Scottish settlers, was born on their remote ranch in the province of San José, Uruguay. The family returned to England when Johnston was three years old. A creative child, he was absorbed by the popular Victorian hobby of ‘illuminations’, the copying of texts in the manner of a mediaeval manuscript.
In 1913, Johnston met Frank Pick, Commercial Manager of the London Underground Group. This meeting ultimately resulted in the commissioning of Johnston’s Standard Block Lettering for the Underground and the London Underground ‘bullseye’ symbol. Pick’s immediate objective was to drive up fare income. He set about making the Underground more attractive to passengers by publicising it more effectively, by making its stations easier to identify, as well as by making the system easier to use and to navigate in order to encourage repeat business. It was with these principles in mind that Johnston submitted the first examples of Johnston Capital letter block letter type to Pick, in February 1916. The first use of the Johnston typeface was in wooden block prints for posters. The sans serif type, characterised by the absence of little strokes (serifs) around individual letters, was soon used in signage in the development of the new Tube extensions and station refurbishments in the 1920s and 1930s. At the turn of 1916-17 Pick asked Johnston to redesign the trademarks for the Underground Group including the bullseye logo that Pick had first initiated in 1908. Johnston refined this to the now familiar branding of the bar and circle we still see today, which is recognised the world over. In the 1970s, London Transport examined the suitability of continuing to use Johnston’s san serif or replacing it. In 1979, Eiichi Kono, a young Japanese designer working for Banks and Miles, revised the original Johnston with slight changes to the proportions to some of the letters and created bold and italic fonts. In 2016, a new version was commissioned focusing on revising the iconic lettering in light of digital developments and additional symbols that have become commonplace in the 21st century. The result has been rolled out by TfL since 2016.
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ⒷⒸⒹ Blocks
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Giftshop
Rooms 31-41
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Glyphs
RST Libertad is a humanist sans-serif typeface designed with legibility and efficiency as primary goals. Designed for a wide range of applications such as wayfinding, editorial, web, packaging, and branding. The typeface pays tribute to the works of 16th-century figures: Nicola Jenson, Claude Garamond, and Aldus Manutius, shaping its letterforms, proportions, and italics.
One of the most distinctive features is the striking contrast between regular and italic shapes, which provide a distinct voice and personality. Its low-contrast strokes and ample counters ensure clarity and legibility, making it an excellent choice for wayfinding. Its short proportions make it an efficient and space-saving solution for text-heavy applications and ideal for web design, where vertical space is limited. Libertad's variable capacities allows designers to adjust its weight to fit specific needs, making it an ideal choice for digital design applications that require responsive design to fit different screen sizes and resolutions.
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