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This anniversary edition of Black Powder, White Lace, Margaret Mulrooney's history of the community of Irish immigrant workers at the du Pont powder yards, is being published to remind readers of the rich materials on the du Pont workers now publicly available through the Hagley Library and Museum, and of Mulrooney's powerful conclusions about immigrant communities in America.
A revealing work of public history that shows how communities remember their pasts in different ways to fit specific narratives, Race, Place, and Memory charts the ebb and flow of racial violence in Wilmington, North Carolina, from the 1730s to the present day.  Margaret Mulrooney argues that white elites have employed public spaces, memorials, and celebrations to maintain the status quo. The port city has long celebrated its white colonial revolutionary origins, memorialized Decoration Day, and hosted Klan parades. Other events, such as the Azalea Festival, have attempted to present a false picture of racial harmony to attract tourists. And yet, the revolutionary acts of Wilmington’s African American citizens—who also demanded freedom, first from slavery and later from Jim Crow discrimination—have gone unrecognized. As a result, beneath the surface of daily life, collective memories of violence and alienation linger among the city’s black population.  Mulrooney describes her own experiences as a public historian involved in the centennial commemoration of the so-called Wilmington Race Riot of 1898, which perpetuated racial conflicts in the city throughout the twentieth century. She shows how, despite organizers’ best efforts, a white-authored narrative of the riot’s contested origins remains. Mulrooney makes a case for public history projects that recognize the history-making authority of all community members and prompts us to reconsider the memories we inherit.  A volume in the series Cultural Heritage Studies, edited by Paul A. Shackel  Publication of the paperback edition made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.
This vivid portrait of France on the eve of the Revolution is also a touching tale of two friends torn apart by class and the powerful political force of democratic freedom.
*A Boston Globe Bestseller!* *An Outside Magazine Book Club Pick!* *Winner of the International Ski Association's Ullr Book Award!* "A sparkling account."—Wall Street Journal An electrifying adventure into the rich history of skiing and the modern heart of ski-bum culture, from one of America's most preeminent ski journalists The story of skiing is, in many ways, the story of America itself. Blossoming from the Tenth Mountain Division in World War II, the sport took hold across the country, driven by adventurers seeking the rush of freedom that only cold mountain air could provide. As skiing gained in popularity, mom-and-pop backcountry hills gave way to groomed trails and eventually the megaresorts of today. Along the way, the pioneers and diehards—the ski bums—remained the beating heart of the scene. Veteran ski journalist and former ski bum Heather Hansman takes readers on an exhilarating journey into the hidden history of American skiing, offering a glimpse into an underexplored subculture from the perspective of a true insider. Hopping from Vermont to Colorado, Montana to West Virginia, Hansman profiles the people who have built their lives around a cold-weather obsession. Along the way she reckons with skiing's problematic elements and investigates how the sport is evolving in the face of the existential threat of climate change.
"A tribute to a time when style -- and maybe even life -- felt more straightforward, and however arbitrary, there were definitive answers." -- Sadie Stein, Paris Review As a glance down any street in America quickly reveals, American women have forgotten how to dress. We lack the fashion know-how we need to dress professionally and beautifully. In The Lost Art of Dress, historian and dressmaker Linda Przybyszewski reveals that this wasn't always true. In the first half of the twentieth century, a remarkable group of women -- the so-called Dress Doctors -- taught American women that knowledge, not money, was key to a beautiful wardrobe. They empowered women to design, make, and choose clothing for both the workplace and the home. Armed with the Dress Doctors' simple design principles -- harmony, proportion, balance, rhythm, emphasis -- modern American women from all classes learned to dress for all occasions in ways that made them confident, engaged members of society. A captivating and beautifully illustrated look at the world of the Dress Doctors, The Lost Art of Dress introduces a new audience to their timeless rules of fashion and beauty -- rules which, with a little help, we can certainly learn again.
Presents an account, first published in 1622, of the Pilgrim's journey to the new world.
After all the green beer has been poured and the ubiquitous shamrocks fade away, what does it mean to be Irish American besides St. Patrick’s Day? Who’s Your Paddy traces the evolution of “Irish” as a race-based identity in the U.S. from the 19th century to the present day. Exploring how the Irish have been and continue to be socialized around race, Jennifer Nugent Duffy argues that Irish identity must be understood within the context of generational tensions between different waves of Irish immigrants as well as the Irish community’s interaction with other racial minorities. Using historic and ethnographic research, Duffy sifts through the many racial, class, and gendered dimensions of Irish-American identity by examining three distinct Irish cohorts in Greater New York: assimilated descendants of nineteenth-century immigrants; “white flighters” who immigrated to postwar America and fled places like the Bronx for white suburbs like Yonkers in the 1960s and 1970s; and the newer, largely undocumented migrants who began to arrive in the 1990s. What results is a portrait of Irishness as a dynamic, complex force in the history of American racial consciousness, pertinent not only to contemporary immigration debates but also to the larger questions of what it means to belong, what it means to be American.
In 1845, British engineer John Adolphus Etzler invented machines to transform the division of labour and sent Londoners to form a utopian community in Trinidad. One recruit is a young boy, Willy, who helps build the society's future home in a remote swamp. Far from realising Etzler's dream of paradise, most are stricken with the 'Black Vomit'. Willy and his father make a final attempt to fix a wrecked boat, but Willy's father falls ill and dies. Willy must decide whether return home with Marguerite, who he loves, or become the head of his family in their new home.
Explores the history of the Irish in America, offering an overview of Irish history, immigration to the United States, and the transition of the Irish from the working class to all levels of society.
Crap. We all have it. Filling drawers. Overflowing bins and baskets. Proudly displayed or stuffed in boxes in basements and garages. Big and small. Metal, fabric, and a whole lot of plastic. So much crap. Abundant cheap stuff is about as American as it gets. And it turns out these seemingly unimportant consumer goods offer unique insights into ourselves—our values and our desires. In Crap: A History of Cheap Stuff in America, Wendy A. Woloson takes seriously the history of objects that are often cynically-made and easy to dismiss: things not made to last; things we don't really need; things we often don't even really want. Woloson does not mock these ordinary, everyday possessions but seeks to understand them as a way to understand aspects of ourselves, socially, culturally, and economically: Why do we—as individuals and as a culture—possess these things? Where do they come from? Why do we want them? And what is the true cost of owning them? Woloson tells the history of crap from the late eighteenth century up through today, exploring its many categories: gadgets, knickknacks, novelty goods, mass-produced collectibles, giftware, variety store merchandise. As Woloson shows, not all crap is crappy in the same way—bric-a-brac is crappy in a different way from, say, advertising giveaways, which are differently crappy from commemorative plates. Taking on the full brilliant and depressing array of crappy material goods, the book explores the overlooked corners of the American market and mindset, revealing the complexity of our relationship with commodity culture over time. By studying crap rather than finely made material objects, Woloson shows us a new way to truly understand ourselves, our national character, and our collective psyche. For all its problems, and despite its disposability, our crap is us.