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The stories in this volume were written simply because of my interest in the stories themselves and because of a whimsical fondness for the people of that Race to whom God has given two supreme gifts,—Music and Laughter. For the benefit of the curious, I may say that many of the incidents in these tales are true and many of the characters and places mentioned actually exist. The Hen-Scratch saloon derived its name from the fact that many of its colored habitués played “craps” on the ground under the chinaberry trees until the soil was marked by their scratching finger-nails like a chicken-yard. The name Tickfall is fictitious, but the locality will be easily recognized by the true names of the negro settlements, Dirty-Six, Hell’s-Half-Acre, Shiny, Tinrow,—lying in the sand around that rich and aristocratic little town like pigs around their dam and drawing their sustenance therefrom. Skeeter Butts’s real name is Perique. Perique is also the name of Louisiana’s famous homegrown tobacco, and as Skeeter is too diminutive to be named after a whole cigar, his white friends have always called him Butts. Vinegar Atts is a well-known colored preacher of north Louisiana, whose “swing-tail prancin’-albert coat” has been seen in many pulpits, and whose “stove-pipe, preachin’ hat” has been the target of many a stone thrown from a mischievous white boy’s hand. Hitch Diamond is known at every landing place on the Mississippi River as “Big Sandy.” When these tales were first published in the All Story Weekly, many readers declared that they were humorous. Nevertheless, I hold that a story containing dialect must necessarily have many depressing and melancholy features. But dialect does not consist of perverted pronunciations and phonetic orthography. True dialect is a picture in cold type of the manifold peculiarities of the mind and temperament. In its form, I have attempted to give merely a flavor of the negro dialect; but I have made a sincere attempt to preserve the essence of dialect by making these stories contain a true idea of the negro’s shrewd observations, curious retorts, quaint comments, humorous philosophy, and his unique point of view on everything that comes to his attention. The Folk Tales of Joel Chandler Harris are imperishable pictures of plantation life in the South before the Civil War and of the negro slave who echoed all his master’s prejudice of caste and pride of family in the old times that are no more. The negroes of this volume are the sons of the old slaves. Millions of them live to-day in the small Southern villages, and as these stories indicate, many changes of character, mind, and temperament have taken place in the last half-century through the modifications of freedom and education. This type also is passing. In a brief time, the negro who lives in these pages will be a memory, like Uncle Remus. “Ethiopia is stretching out her hands” after art, science, literature, and wealth, and when the sable sons of laughter and song grasp these treasures, all that remains of the Southern village negro of to-day will be a few faint sketches in Fiction’s beautiful temple of dreams....FROM THE BOOKS.
This book is a collection of stories, which were written because of the author's interest in the stories themselves and because of a whimsical fondness for the people of that race to whom God has given two supreme gifts, - music and laughter. The author was deeply inspired by reality. Many of the events in this book were real, and many of the characters and places mentioned did exist.
The Advanced Study Institute (ASI) on "Linking the Gaseous and Condensed Phases of Matter: The Behavior of Slow Electrons" was held at Patras, Greece, September 5-18, 1993. The organizers of the Patras ASI felt that the study of the electronic properties of matter in various states of aggregation has advanced to a point where further progress required the interfacing of the phases of matter in order to find out and to understand how the microscopic and macroscopic properties of materials and processes change as we go from low pressure gas to the condensed phase. This approach is of foremost significance both from the point of view of basic research and of applications. Linking the electronic properties of the gaseous and condensed phases of matter is a fascinating new frontier of science embracing scientists not only from physics and chemistry but also from the life sciences and engineering. The Patras ASI brought together some of the world's foremost experts who work in the field of electronic properties of molecular gases, clusters, liquids, and solids. The thirty five lectures given at the meeting as well as the twenty nine poster papers presented and the formal and informal discussions that took place focused largely on the behavior of slow electrons in matter.
The Revelation is a uniquely relevant book. It was written from a pastor’s heart for a pastoral purpose. John wrote to prepare the saints for the gathering storm as they await the inevitable coming of the Lord. The Revelation is the story of His Day when the Son of Man will appear in heaven like a flash of lighting for all to see. It is the day that God spoke to His prophets about from the foundation of the world. The Revelation is a book filled with allusions and symbols. God did not leave their meaning to guess work. This commentary will challenge the reader to compare his assumptions about the coming of that day with the prophets who wrote about it prolifically. The basic premise of the Reformers was that the Scripture is the best interpreter of Scripture. This commentary was written to demonstrate that comparing Scripture with Scripture is the best way to understand the Revelation. I have deliberately avoided the jargon of the diverse systems of eschatology to allow the reader to focus on the text and let the Scripture speak for its. I have the profound conviction that the believers to whom John wrote understood what he meant. May the blessing promised to those who read and obey this book be yours.
Originally published in 1984. The Sage in Harlem establishes H. L. Mencken as a catalyst for the blossoming of black literary culture in the 1920s and chronicles the intensely productive exchange of ideas between Mencken and two generations of black writers: the Old Guard who pioneered the Harlem Renaissance and the Young Wits who sought to reshape it a decade later. From his readings of unpublished letters and articles from black publications of the time, Charles Scruggs argues that black writers saw usefulness in Mencken's critique of American culture, his advocacy of literary realism, and his satire of America. They understood that realism could free them from the pernicious stereotypes that had hounded past efforts at honest portraiture, and that satire could be the means whereby the white man might be paid back in his own coin. Scruggs contends that the content of Mencken's observations, whether ludicrously narrow or dazzlingly astute, was of secondary importance to the Harlem intellectuals. It was the honesty, precision, and fearlessness of his expression that proved irresistible to a generation of artists desperate to be taken seriously. The writers of the Harlem Renaissance turned to Mencken as an uncompromising—and uncondescending—commentator whose criticisms were informed by deep interest in African American life but guided by the same standards he applied to all literature, whatever its source. The Sage in Harlem demonstrates how Mencken, through the example of his own work, his power as editor of the American Mercury, and his dedication to literary quality, was able to nurture the developing talents of black authors from James Weldon Johnson to Richard Wright.