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A New York Times Notable Book of the Year From a genuine hero of the American short story comes a luminous collection that reveals the seams of hurt, courage, and tenderness that run through the bedrock of contemporary American life. In these fourteen stories, Dubus depicts ordinary men and women confronting injury and loneliness, the lack of love and the terror of actually having it. Out of his characters' struggles and small failures--and their unexpected moments of redemption--Dubus creates fiction that bears comparison to the short story's greatest creators--Chekhov, Raymond Carver, Flannery O'Connor.
When record men first traveled from Chicago or invited musicians to studios in New York, these entrepreneurs had no conception how their technology would change the dynamics of what constituted a musical performance. 78 Blues: Folksongs and Phonographs in the American South covers a revolution in artist performance and audience perception through close examination of hundreds of key “hillbilly” and “race” records released between the 1920s and World War II. In the postwar period, regional strains recorded on pioneering 78 r.p.m. discs exploded into urban blues and R&B, honky-tonk and western swing, gospel, soul, and rock 'n' roll. These old-time records preserve the work of some of America's greatest musical geniuses such as Jimmie Rodgers, Robert Johnson, Charlie Poole, and Blind Lemon Jefferson. They are also crucial mile markers in the course of American popular music and the growth of the modern recording industry. When these records first circulated, the very notion of recorded music was still a novelty. All music had been created live and tied to particular, intimate occasions. How were listeners to understand an impersonal technology like the phonograph record as a musical event? How could they reconcile firsthand interactions and traditional customs with technological innovations and mass media? The records themselves, several hundred of which are explored fully in this book, offer answers in scores of spoken commentaries and skits, in song lyrics and monologues, or other more subtle means.
Now more than ever, Southwestern food is a hugely popular trend. As ingredients are becoming more readily available to at-home cooks, there is a great demand for simple, delicious, and authentic recipes that bring Mexican and Southwestern food to our own tables. In their James Beard Book Award-winning cookbook, authors Cheryl Alters Jamison and Bill Jamison combine the best of Mexican and Southwest cooking, bringing together this large region's Native American, Spanish, Mexican, and Anglo culinary roots into one big, exuberant book - The Border Cookbook. In over 300 recipes they explore the common elements and regional differences of border cooking. They offer classic and new recipes that typify cuisines known as Tex-Mex, New Mexican, Sonoran, Cal-Mex, traditional Mexican, Gulf cuisine, and Native American; and their easy-to-follow recipes are suitable for every meal, every day of the week.
Winner 2002 Gourmand World Cookbook Award for Best Photography/Illustration! Professional ballerina and Le Cordon Bleu chef Linda Hymes marries the culinary and performing arts with over 100 easy to prepare recipes. Clear and concise step-by-step instructions create casual yet elegant meals that rely on healthy ingredients and vibrant spices. This unique book is a must for every cookbook lover!
"From the editors of Cook's Illustrated"--Dust jacket.
"Like Bubba Gump and his shrimp, I have a million ways to cook pork because I love it so much. If I had only one animal to eat forevermore, I would eat pigs. You could have a pork chop one day, pulled pork another, and cured bacon the next day, and they’d all taste completely different. You can't do that with chicken. Chicken tastes like chicken no matter what part of the animal you eat. And I love beef and lamb, but they don't have the amazing versatility of pork. Pork can be the star of the show or a background flavor. But no matter where it shows up, pork is always welcome on my table." ---from the introduction, Kiss a Pig On Bravo TV's season six of Top Chef, Kevin Gillespie became known for his love of pork. He literally wears it on his sleeve with his forearm tatoo. His first book, Fire in My Belly, a James Beard Award finalist, included his famous Bacon Jam. Now he shares his passion and love of pork in a book devoted entirely to the subject. Pure Pork Awesomeness celebrates pork's delicious versatility with more than 100 easy-to-follow recipes. Dig into everything from Bacon Popcorn and Bourbon Street Pork Chops to Korean Barbecued Pork Bulgogi, Vietnamese Spareribs with Chile and Lemongrass, and Banoffee Trifle with Candied Bacon. Organized like the pig itself, recipes use every cut of pork from shoulder and tenderloin to pork belly and ham. Find out how to buy the best-tasting pork available, differences among heritage breeds of pigs, and what to do with new cuts like "ribeye of pork". . . all from a witty, talented chef who knows the ins and outs of cooking pork at home.
As a child, my house was always filled with the smells of Jamaica. I lived with my mom and grandparents who were born in St. Anne’s. My grandfather would make breakfast for me four times a week. Fanny would make breakfast the other days. I always knew what was for breakfast by the music playing; I loved when I woke up to Bob Marley, an instant smile spread across my face. Why? Because that meant that, it was Cornmeal Porridge day or my Fanny’s famous oatmeal. That recipe was brought down by Nana, affectionately known in St. Anne’s as Aunt Mim. When we heard Garnett Silk, it was Ackee and Salt fish for breakfast. So much music, so much food!
Named for a popular local fiddle tune, The Crooked Stovepipe is a rollicking, detailed, first-ever study of the indigenous fiddle music and social dancing enjoyed by the Gwich'in Athapaskan Indians and other tribal groups in northeast Alaska, the Yukon, and the northwest territories. Though the music has obvious roots in the British Isles, French Canada, and the American South, the Gwich'in have used it in shaping their own aesthetic, which is apparent in their choice of fiddle tunings, bowing techniques, foot clogging, and a distinctively stratified tune repertoire. Craig Mishler treats this rural subarctic artistic tradition as a distinctive regional style akin to Cajun, bluegrass, or string-band music. He uses convergence theory as the framework for showing how this aesthetic came about. His skillful use of personal anecdotes, interviews, music examples, dance diagrams, and photographs will appeal to general readers interested in folk music and dance, as well as to specialists.