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The son of former slaves, Paul Laurence Dunbar was one of the most prominent and publicly recognized figures in American literature at the turn of the twentieth century. Thirty-three years old at the time of his death in 1906, he had published four novels, four collections of short stories, and fourteen books of poetry, not to mention numerous songs, plays, and essays in newspapers and magazines around the world. In the century following his death, Dunbar slipped into relative obscurity, remembered mainly for his dialect poetry or as a footnote to other more canonical figures from the period. The Complete Stories of Paul Laurence Dunbar showcases his gifts as a writer of short fiction and provides key insights into the tensions and themes of Dunbar's literary achievement. Through examining the 104 stories written by Dunbar between 1890 and 1905, readers will be able to better understand Dunbar's specific attempts to maintain his artistic integrity while struggling with America's racist stereotypes. His work interrogated the color-line that informed American life and dictated his role as an artist in American letters. Editors Gene Jarrett and Thomas Morgan identify major themes and implications in Dunbar's work. Available in one convenient, comprehensive, and definitive volume for the first time, The Complete Stories of Paul Laurence Dunbar illustrates the complexity of his literary life and legacy. ABOUT THE EDITORS---Gene Jarrett is an assistant professor of English at the University of Maryland, College Park. He is co-editor (with Henry Louis Gates Jr.) of a forthcoming anthology, New Negro Criticism: Essays on Race, Representation, and African American Culture.Thomas Morgan is a lecturer at the University of Tennessee, Knoxville. His research and teaching interests focus on critical race theory in late-nineteenth century American and African American literature, specifically as it applies to the politics of narrative form.
A remarkable debut from the author of The Saints of Swallow Hill, composed in a voice as sure and resonant as that of The Secret Life of Bees. This story about mothers and daughters, the guilt and pain that pass between generations, and the truths that are impossible to hide, especially from ourselves, will take readers on a heartfelt and heartbreaking journey. "Young Dixie Dupree is an indomitable spirit in this coming-of-age novel that is a heartbreaking and honest witness to the resilience of human nature and the fighting spirit and courage residing in all of us." —The Huffington Post, Kim Michele Richardson, author of The Book Woman of Troublesome Creek "An important novel, beautifully written, this is a story to cherish." —Susan Wiggs, # 1 New York Times bestselling author IndieNext Pick In 1969, Dixie Dupree is eleven years old and already an expert liar. Sometimes the lies are for her mama, Evie’s sake—to explain away a bruise brought on by her quick-as-lightning temper. And sometimes the lies are to spite Evie, who longs to leave her unhappy marriage in Perry County, Alabama, and return to her beloved New Hampshire. But for Dixie and her brother, Alabama is home, a place of pine-scented breezes and hot, languid afternoons. Though Dixie is learning that the family she once believed was happy has deep fractures, even her vivid imagination couldn’t concoct the events about to unfold. Dixie records everything in her diary—her parents’ fights, her father’s drinking and his unexplained departure, and the arrival of Uncle Ray. Only when Dixie desperately needs help and is met with disbelief does she realize how much damage her past lies have done. But she has courage and a spirit that may yet prevail, forcing secrets into the open and allowing her to forgive and become whole again.
"The best sort of introductory study... packed with enlightening information." -- The Times Literary Supplement Poor whites have been isolated from mainstream white Southern culture and have been in turn stereotyped as rednecks and Holy Rollers, discriminated against, and misunderstood. In their isolation, they have developed a unique subculture and defended it with a tenacity and pride that puzzles and confuses the larger society. Written 25 years ago, this book was one scholar's attempt to understand these people and their culture. For this new edition, Wayne Flynt has provided a new retrospective introduction and an up-to-date bibliography.
In 'Ruth Fielding Down in Dixie; Or, Great Times in the Land of Cotton' by Alice B. Emerson, readers are taken on a captivating journey through the American South. The book is written in a descriptive and engaging style that transports the reader to the vivid world of the characters. Set against the backdrop of the cotton fields and plantations, the novel delves into themes of friendship, adventure, and facing societal challenges. Emerson excellently captures the spirit of the Southern culture of the time, providing readers with a glimpse into a bygone era. The narrative is rich in detail, showcasing the author's keen observation and storytelling skills. Fans of historical fiction will appreciate the authenticity and depth of the story. Alice B. Emerson, a prolific writer of the early 20th century, was known for her popular Ruth Fielding series, which followed the adventures of a young girl in various settings. It is likely that Emerson's own experiences and interest in the American landscape inspired her to write 'Ruth Fielding Down in Dixie'. Her ability to create relatable and endearing characters has endeared her to generations of readers. I recommend 'Ruth Fielding Down in Dixie; Or, Great Times in the Land of Cotton' to readers who enjoy immersive historical fiction and compelling coming-of-age stories. Emerson's masterful storytelling and vivid descriptions make this book a delightful and enlightening read for those interested in exploring the American South and its rich cultural heritage.
A revisionist history of the radical transformation of the American South during the Civil War examines the economic, social and political deconstruction and rebuilding of Southern institutions as experienced by everyday people. By the award-winning author of Confederate Emancipation.
A Jehovah's Witness is stabbed in her home by a stranger she once allowed in. A homeless woman masturbates on a park bench. A statue of the Virgin Mary, "plaster receptacle of petitions and foolish pleas," is found in a dump, a missing hand suggesting the sound of a one-handed rosary. Through images brutally honest and disarmingly off-center, Dixie Salazar explores the hidden lives of everyday people, objects, and experiencesÑand their transformation in the hidden realms of the heart. Charting furious descents into the darkest crevices of our souls, Salazar paints for us a lost city that exists below our mundane consciousness. Blood Mysteries is a tribute to lost souls, from a suicidal mental patient who doesn't believe she existsÑ"melting out of a landscape spotted with shadows, washing her hands in an empty basin of light"Ñto Marilyn Monroe, victim even in the morgue. In finely tuned lyricism showing an uncanny grasp of frayed lives, she gives flesh and vitality to women normally encountered only as statistics. The incarcerated, the homeless, the hopeless. Missing young girls who turn up violated and murdered. Salazar presents us with blood mysteries not only of women, but of family as well. In poems invoking her dual heritage, she explores the identity crises brought on by having a Spanish father and a mother from the deep South, leaving her a product of American meltdown with a predisposition to check "other" for race on applications. "Other can be a place," she reminds us, "a residence for those of us without / papers, where halos of lightning bugs / swarm the rickety family tree." Salazar writes with toughness and grit "for all the shipwrecked saints / and wretches among us." But beneath the surface of words sometimes gritty, sometimes playful, lies a testament to the power of empathy, giving voice to those whose voices have been stifled and offering hope for those who have found none. Blood Mysteries is a forceful prayer for the disenfranchised that offers not merely hope, but transcendence.
Rock & roll has transformed American culture more profoundly than any other art form. During the 1960s, it defined a generation of young people as political and social idealists, helped end the Vietnam War, and ushered in the sexual revolution. In Dixie Lullaby, veteran music journalist Mark Kemp shows that rock also renewed the identity of a generation of white southerners who came of age in the decade after segregation -- the heyday of disco, Jimmy Carter, and Saturday Night Live. Growing up in North Carolina in the 1970s, Kemp experienced pain, confusion, and shame as a result of the South's residual civil rights battles. His elementary school was integrated in 1968, the year Kemp reached third grade; his aunts, uncles, and grandparents held outdated racist views that were typical of the time; his parents, however, believed blacks should be extended the same treatment as whites, but also counseled their children to respect their elder relatives. "I loved the land that surrounded me but hated the history that haunted that land," Kemp writes. When rock music, specifically southern rock, entered his life, he began to see a new way to identify himself, beyond the legacy of racism and stereotypes of southern small-mindedness that had marked his early childhood. Well into adulthood Kemp struggled with the self-loathing familiar to many white southerners. But the seeds of forgiveness were planted in adolescence when he first heard Duane Allman and Ronnie Van Zant pour their feelings into their songs. In the tradition of music historians such as Nick Tosches and Peter Guralnick, Kemp masterfully blends into his narrative the stories of southern rock bands --from heavy hitters such as the Allman Brothers Band, Lynyrd Skynyrd, and R.E.M. to influential but less-known groups such as Drive-By Truckers -- as well as the personal experiences of their fans. In dozens of interviews, he charts the course of southern rock & roll. Before civil rights, the popular music of the South was a small, often racially integrated world, but after Martin Luther King Jr.'s assassination, black musicians struck out on their own. Their white counterparts were left to their own devices, and thus southern rock was born: a mix of popular southern styles that arose when predominantly white rockers combined rural folk, country, and rockabilly with the blues and jazz of African-American culture. This down-home, flannel-wearing, ass-kicking brand of rock took the nation by storm in the 1970s. The music gave southern kids who emulated these musicians a newfound voice. Kemp and his peers now had something they could be proud of: southern rock united them and gave them a new identity that went beyond outside perceptions of the South as one big racist backwater. Kemp offers a lyrical, thought-provoking, searingly intimate, and utterly original journey through the South of the 1960s, '70s, '80s, and '90s, viewed through the prism of rock & roll. With brilliant insight, he reveals the curative and unifying impact of rock on southerners who came of age under its influence in the chaotic years following desegregation. Dixie Lullaby fairly resonates with redemption.
In 1891, when coal companies in eastern Tennessee brought in cheap convict labor to take over their jobs, workers responded by storming the stockades, freeing the prisoners, and loading them onto freight trains. Over the next year, tactics escalated to include burning company property and looting company stores. This was one of the largest insurrections in US working-class history. It happened at the same time as the widely publicized northern labor war in Homestead, Pennsylvania. And it was largely ignored, then and now. Dixie Be Damned engages seven similarly "hidden" insurrectionary episodes in Southern history to demonstrate the region's long arc of revolt. Countering images of the South as pacified and conservative, this adventurous retelling presents history in the rough. Not the image of the South many expect, this is the South of maroon rebellion, wildcat strikes, and Robert F. Williams's book Negroes with Guns, a South where the dispossessed refuse to quietly suffer their fate. This is people's history at its best: slave revolts, multiracial banditry, labor battles, prison uprisings, urban riots, and more. Neal Shirley grew up in Winston-Salem, North Carolina, and now lives in Durham, NC, where he is involved in several anti-prison initiatives and runs a small publishing project called the North Carolina Piece Corps. Saralee Stafford was born in the Piedmont of North Carolina. Her recent political work has focused on connecting the struggles of street organizations with those of anarchists in the area. She teaches gender-related health in Durham, North Carolina.