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In 1935 a fledging government agency embarked on a project to photograph Americans hit hardest by the Great Depression. Over the next eight years, the photographers of the Farm Security Administration captured nearly a quarter-million images of tenant farmers and sharecroppers in the South, migrant workers in California, and laborers in northern industries and urban slums. Of the roughly one thousand FSA photographs taken in Arkansas, approximately two hundred have been selected for inclusion in this volume. Portraying workers picking cotton for five cents an hour, families evicted from homes for their connection with the Southern Tenant Farmers Union, and the effects of flood and drought that cruelly exacerbated the impact of economic disaster, these remarkable black-and-white images from Ben Shahn, Arthur Rothstein, Dorothea Lange, Walker Evans, Russell Lee, and other acclaimed photographers illustrate the extreme hardships that so many Arkansans endured throughout this era. These powerful photographs continue to resonate, providing a glimpse of life in Arkansas that will captivate readers as they connect to a shared past.
A parody of Gone with the wind, this novel tells the story of Cynara, the mulatto half-sister born into slavery who eventually triumphs.
Set in the Smoky Mountains of East Tennessee, Haun's stories of Appalachian life capture the forceful simplicity of the legends and ballads that still live in the rural hollows.
In one of the greatest American classics, Baldwin chronicles a fourteen-year-old boy's discovery of the terms of his identity—told “with vivid imagery, with lavish attention to details ... [a] feverish story" (The New York Times). Baldwin's rendering of his protagonist's spiritual, sexual, and moral struggle of self-invention opened new possibilities in the American language and in the way Americans understand themselves. With lyrical precision, psychological directness, resonating symbolic power, and a rage that is at once unrelenting and compassionate, Baldwin tells the story of the stepson of the minister of a storefront Pentecostal church in Harlem one Saturday in March of 1935. Originally published in 1953, Baldwin said of his first novel, "Mountain is the book I had to write if I was ever going to write anything else."
A propane truck falls from an overpass, killing dozens on the freeway below. When Robert Herrick, a respected trial lawyer, agrees to represent the families of the dead, a bizarre chain of events goes into motion to threaten his career, family--even his life. Facing the ruthless lawyer Jimmy Coleman, and stalked by a psychopath, Herrick can't win even if he wins. Realistic law drama, Texas size.
The Fool's Progress, the "fat masterpiece" as Edward Abbey labeled it, is his most important piece of writing: it reveals the complete Ed Abbey, from the green grass of his memory as a child in Appalachia to his approaching death in Tuscon at age sixty two. When his third wife abandons him in Tucson, boozing, misanthropic anarchist Henry Holyoak Lightcap shoots his refrigerator and sets off in a battered pick-up truck for his ancestral home in West Virginia. Accompanied only by his dying dog and his memories, the irascible warhorse (a stand-in for the "real" Abbey) begins a bizarre cross-country odyssey--determined to make peace with his past--and to wage one last war against the ravages of "progress." "A profane, wildly funny, brash, overbearing, exquisite tour de force." -- The Chicago Tribune
This volume is a study of eight major novels from the postwar period (1945-65) in conjunction with the films made from them during a later period of a little less than three decades straddling the millennium (1985-2012). The comparison of these novels (by Ken Kesey, Paul Bowles, Carson McCullers, Jack Kerouac, James Baldwin, Alexander Trocchi, William Burroughs, and Peter Matthiessen) with their film adaptations offers the opportunity for a historical reassessment not only of the novels themselves but also of the global counterculture of the years 1965-75, which they prefigure in a variety of ways. Appearing more than a decade after the waning of the counterculture and in some cases as much as fifty years after the novels on which they are based, the films display significant revisions and omissions prompted by the historical and cultural changes of the intervening years. Whereas these changes are nowadays often interpreted in purely political terms, this book argues that the religious theme of mystery and its decline is central to the novels and films and is a key feature of the period of cultural transformation that they bookend. At once a work of literary criticism, film studies, and cultural history, this text has the potential to reach both an academic audience and the broader readership that has long existed for these novels as well as the even broader one interested in reappraising the period of the global counterculture—among the most important of the influences that have shaped the contemporary world.
California on the Breadlines is the compelling account of how Dorothea Lange, the Great Depression’s most famous photographer, and Paul Taylor, her labor economist husband, forged a relationship that was private—they both divorced spouses to be together—collaborative, and richly productive. Lange and Taylor poured their considerable energies into the decade-long project of documenting the plight of California’s dispossessed, which in 1939 culminated in the publication of their landmark book, American Exodus: A Record of Human Erosion. Jan Goggans blends biography, literature, and history to retrace the paths that brought Lange and Taylor together. She shows how American Exodus set forth a new way of understanding those in crisis during the economic disaster in California and ultimately informed the way we think about the Great Depression itself.
A memoir of a husband and father’s recovery from alcohol and drugs reveals how being alcohol-free has made his life richer. Many people struggle with substance abuse in the shadows feeling ashamed, alone, and inadequate. You are not alone. Many of us keep up appearances while at the same time kicking ourselves every time we stumble into bed drunk out of our minds. Many of us say, “never again,” only to drink again at 5:00pm. You are not alone. There is a way out of this. After Party is the story of how one person, Drew Charles, dug his way out of the spiral of drug and alcohol excess. While doing so, he discovered that sobriety is not the impossibly boring state of living so many of us fear but is filled with joy and excitement in ways we can’t predict when we are stuck in the loop of drinking and drug taking. After Party is the honest account of Drew’s first year of sobriety, how he did it, and more importantly, why he did it. Drew’s hope is that anyone who battles with alcohol and drugs, or just feels curious about sobriety, can take solace in knowing that life not only exists beyond alcohol, but that it sings with a clarity and depth of emotion many of us would never have thought possible.
The texts included in this anthology illustrate the wide range of possibilities that abolitionist writings offered to American children during the first half of the nineteenth century. Composing their works under the wings of the antislavery movement, authors responded to the unequal and controversial development of abolitionist politics during the decades that led up to the outbreak of the Civil War. These writers struggled to teach children “to feel right,” and attempted to instruct them to actively respond to the injustice of the slavery system as rendered visible by a harrowing visual archive of suffering bodies compiled by both English and American antislavery promoters. Reading was equated with knowledge and knowledge was equated with moral responsibility, and therefore reading about “the abominations of slavery” became an act of emotional personal transformation. Children were thus turned into powerful agents of political change and potential activists to spread the abolitionist message. Invited to comply with a higher law that entailed the breaking of their nation’s edicts, they were morally rewarded by the Christian God and approvingly applauded by their elders for their violation of these same American regulations. These texts enclosed immeasurable value for young nineteenth-century Americans to fulfill a more democratic and egalitarian role in their future. Undoubtedly, abolitionist writings for children took away American children’s innocence and transformed them into juvenile abolitionists and empowered compassionate citizens.