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Abandoned photography captures the beauty in urban ruins left behind, giving the viewer an exhilarating look at our past. With over 200 years of history, there is no shortage of fascinating abandoned places across Alabama. In Abandoned Alabama: Exploring the Heart of Dixie, photographer and historian Leland Kent showcases eleven of his favorite abandoned locations from across the state. Among the locations are several forgotten historic homes, plus a one-of-a-kind mid-century masterpiece built by a famous architect. Discover the incredible history behind one of Alabama's oldest and most historic abandoned sites, Searcy Hospital, which has been closed since 2012. Each chapter gives a detailed narrative about these breathtaking places accompanied by stunning imagery. You can find more of Leland's work at www.abandonedsoutheast.com.
Founded in 1871 after the Civil War, Birmingham rapidly grew as an industrial enterprise due to the abundance of the three raw materials used in making steel--iron ore, coal, and limestone. Birmingham's rapid growth was due to the booming iron and steel industries giving it the nickname "Magic City" and "Pittsburgh of the South." The city was named after Birmingham, England, as a nod to the major industrial powerhouse. The iron and steel industries began to dry up by the early 1970s, leaving behind dozens of abandoned structures that now dot the city's landscape. In the last several years, Birmingham has begun to experience a rebirth. Money has been invested in reconstructing the historic downtown area into a pedestrian-friendly mixed-use district. In Abandoned Birmingham, photographer Leland Kent gives the reader an in-depth look at the forgotten buildings and factories throughout the city.
The first of six Jeffrey ghost story books centers on Jeffrey's favorite 13 ghostly tales set in Alabama.
Series statement from publisher's website.
In The Politics of White Rights, Joseph Bagley recounts the history of school desegregation litigation in Alabama, focusing on the malleability and durability of white resistance. He argues that the litigious battles of 1954–73 taught Alabama’s segregationists how to fashion a more subtle defense of white privilege, placing them in the vanguard of a new conservatism oriented toward the Sunbelt, not the South. Scholars have recently begun uncovering the ways in which segregationists abandoned violent backlash and overt economic reprisal and learned how to rearticulate their resistance and blind others to their racial motivations. Bagley is most interested in a creedal commitment to maintaining “law and order,” which lay at the heart of this transition. Before it was a buzz phrase meant to conjure up fears of urban black violence, “law and order” represented a politics that allowed self-styled white moderates to begrudgingly accept token desegregation and to begin to stake their own claims to constitutional rights without forcing them to repudiate segregation or white supremacy. Federal courts have, as recently as 2014, agreed that Alabama’s property tax system is crippling black education. Bagley argues that this is because, in the late 1960s, the politics of law and order became a politics of white rights, which supported not only white flight to suburbs and private schools but also nominally color-blind changes in the state’s tax code. These changes were designed to shield white money from the needs of increasingly black public education. Activists and courts have been powerless to do anything about them, because twenty years of desperate litigious combat finally taught Alabama lawmakers how to erect constitutional bulwarks that could withstand a legal assault.
Primary series statement taken from "America through time" publisher's website.
This “superbly written true-crime story” (Michael Lewis, The New York Times Book Review) masterfully brings together the tales of a serial killer in 1970s Alabama and of Harper Lee, the beloved author of To Kill a Mockingbird, who tried to write his story. Reverend Willie Maxwell was a rural preacher accused of murdering five of his family members, but with the help of a savvy lawyer, he escaped justice for years until a relative assassinated him at the funeral of his last victim. Despite hundreds of witnesses, Maxwell’s murderer was acquitted—thanks to the same attorney who had previously defended the reverend himself. Sitting in the audience during the vigilante’s trial was Harper Lee, who spent a year in town reporting on the Maxwell case and many more trying to finish the book she called The Reverend. Cep brings this remarkable story to life, from the horrifying murders to the courtroom drama to the racial politics of the Deep South, while offering a deeply moving portrait of one of our most revered writers.
For over ten years, fine art photographer Keith Dotson has explored and photographed abandoned places in black and white. His first photo book, "Unloved and Forgotten: Fine Art Photographs of Abandoned Places," features a selection of the most intriguing and beautiful locations he found in his travels. It includes richly reproduced photographs of abandoned houses, schools, churches, barns, storefronts, and even entire abandoned towns.The book highlights fascinating locations like Adams, Tennessee (home of the infamous Bell Witch legend), and Cairo, Illinois, which has rapidly depopulated and is in the process of becoming abandoned. He offers concise backstories of several locations -- a deserted mining town in Arkansas, a forsaken 1952 Plymouth found crashed against a tree on a steep hillside in the woods, and a derelict high school building with a historic graveyard on its property. Included is a brief history of George L. Mesker and Company, the mail order business that sold ornate, prefabricated ironwork storefronts to small towns across America starting in the 1880s. Mesker storefronts can still be seen on many abandoned (and preserved) buildings. The 48-page book is lavishly illustrated throughout with Dotson's black and white photographs.
On a warm summer’s night in Athens, Georgia, Patrik Keim stuck a pistol into his mouth and pulled the trigger. Keim was an artist, and the room in which he died was an assemblage of the tools of his particular trade: the floor and table were covered with images, while a pair of large scissors, glue, electrical tape, and some dentures shared space with a pile of old medical journals, butcher knives, and various other small objects. Keim had cleared a space on the floor, and the wall directly behind him was bare. His body completed the tableau. Art and artists often end in tragedy and obscurity, but Keim’s story doesn’t end with his death. A few years later, 180 miles away from Keim’s grave, a bulldozer operator uncovered a pine coffin in an old beaver swamp down the road from Allen C. Shelton’s farm. He quickly reburied it, but Shelton, a friend of Keim’s who had a suitcase of his unfinished projects, became convinced that his friend wasn’t dead and fixed in the ground, but moving between this world and the next in a traveling coffin in search of his incomplete work. In Where the North Sea Touches Alabama, Shelton ushers us into realms of fantasy, revelation, and reflection, paced with a slow unfurling of magical correspondences. Though he is trained as a sociologist, this is a genre-crossing work of literature, a two-sided ethnography: one from the world of the living and the other from the world of the dead. What follows isn’t a ghost story but an exciting and extraordinary kind of narrative. The psycho-sociological landscape that Shelton constructs for his reader is as evocative of Kafka, Bataille, and Benjamin as it is of Weber, Foucault, and Marx. Where the North Sea Touches Alabama is a work of sociological fictocriticism that explores not only the author’s relationship to the artist but his physical, historical, and social relationship to northeastern Alabama, in rare style.