Summary

James F. Muirhead The Land of Contrasts: A Briton's View of His American Kin

An Englishman never means the natives of the United States when he speaks of "foreigners;" he reserves that epithet for non-English-speaking races. In this respect it would seem as if the Briton, for once, took the wider, the more genial and human, point of view; as if he had the keener appreciation of the ties of race and language. It is as if he cherished continually a sub-dominant consciousness of the fact that the occupation of the North American continent by the Anglo-Saxons is one of the greatest events in English history—that America is peopled by Englishmen.
Source: Gutenberg

James F. Muirhead The Land of Contrasts: A Briton's View of His American Kin

Architecture struck me as, perhaps, the one art in which America, so far as modern times are concerned, could reasonably claim to be on a par with, if not ahead of, any European country whatsoever. I say this with a full realisation of the many artistic nightmares that oppress the soil from the Atlantic to the Pacific, with a perfect recollection of the acres of petty, monotonous, and mean structures in almost every great city of the Union, with a keen appreciation of the witty saying that the American architect often "shows no more self-restraint than a bunch of fire-crackers."
Source: Gutenberg

James F. Muirhead The Land of Contrasts: A Briton's View of His American Kin

The American girl is, however, born into an atmosphere of unconsciousness of all this, and, unless she belongs to a very narrow coterie, does not reach this point of view either as believer or antagonist. This endues her, at her best, with a sweet and subtle fragrance of humanity that is, perhaps, unique. Free from any sense of inherited or conventional superiority or inferiority, as devoid of the brutality of condescension as of the meanness of toadyism, she combines in a strangely attractive way the charm of eternal womanliness with the latest aroma of a progressive century.
Source: Gutenberg

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