Plimoth Plantation: An Interpreter's Tale
Yankee Classic from November 1983
Read about a 2008 visit to Plimoth Plantation.
View a slide show of today’s Plimoth Plantation interpreters.
The little village hugged the cleared hillside under the crude wooden fortress and the one heavy artillery piece that faced seaward across the salt marshes. The defensive position told the visitor that this was wartime. The lone street was a long, unpaved rut of clay and stones between unpainted wooden thatched huts dark with dampness and lichen.
Inside one of the dark huts, fire crackled under an iron kettle, and a young woman crouched, daubing the cracks in the rough wall with a gray clay mixture to keep out the winds. From the beams hung brittle gray branches of dried herbs to ward off sickness and keep evil influences at bay. The woman looked up at the visitor and smiled. Under the white linen cap, her hair was fine and gray-blonde. “And how are you faring this day?” she asked.
From April through November, nine to five, she is Mistress Brigid Fuller, wife of Plimoth Plantation’s surgeon in the year of Our Lord 1627. In Plymouth, Massachusetts, in 1983, she is Pat Baker, mother of a three-year-old, wife of Plimoth Plantation historian Jim Baker, and caretaker of two goats and a flock of chickens. In season, like the other “interpreters” at the reconstructed Pilgrim settlement not far from the actual Mayflower landing site, she does whatever her 17th-century character would have done during the day, even down to cooking with contemporary recipes (interpreters are not, however, required to eat what they cook and can brown-bag it in the lounge and workshop 30 yards from the village). But the bulk of her time is spent answering questions from camera-waving tourists, schoolchildren, and — just before Thanksgiving — newspaper reporters. Though Thanksgiving is still one of the biggest weekends, every year the Plantation’s public relations office and the 15 or 20 interpreters on duty must explain that there was no Thanksgiving at Plimoth in November 1627. The Pilgrims’ harvest festival would have been held in October, as it still is in England.
Although Plimoth Plantation is now a year-round operation with a budget of about $2.5 million and a work force of close to 150 (making it, after the Pilgrim I nuclear power plant, one of the town’s largest employers), the village began as a small, open-air local history museum and still has no endowment or big financial backers. The land, whose topography closely resembles the original site (now downtown Plymouth), was donated by the Ralph Hornblower family, and construction of the village began in 1957 to coincide with the arrival from England of the Mayflower replica now anchored near Plymouth Rock. The year 1627 was chosen because the settlers, who had been operating as a communal farm, divided up their property in the “cattle division” that year, and in the process, took a complete inventory of all their possessions.
“We started out with costumed wax dummies in the houses,” Rosemary Carroll, the Plantation’s public relations director, explained, “then costumed guides. Then the guides became more experienced, and we went to first-person interpretation, in which the interpreter actually plays the role of a specific person. We were the first museum to do this on a grand scale, and, more than anything else, it is what has given us a national reputation. This and our realism, which still shocks people,” she smiled. “But they seem to be getting over it.”
Jim Baker, a young man with longish gray hair and leather sandals over his thick socks, looks as though he could easily function as an interpreter in the village, but he is now one of the official historians. A Mayflower descendant and Plymouth native, Baker has been to England eight times to do research on what 17th-century English men and women spent their lives doing. “The Pilgrims left a great many records of their thoughts about theology, but unfortunately they didn’t give much indication of such mundane matters as what they ate, how they dressed, where they washed or went to the bathroom,” Baker explained. Most of the information used to create the present Plantation came from Dutch genre paintings, local records, and contemporary English diaries and letters.