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This story is about those Eastern Kentucky hills in which I grew up; a story of the love and admiration for those who influenced me the most. This book is a compilation of those events in my life that I either lived or was passed on to me by those around me. They are told from the perspective of having experienced them, or from the point of view of those who were telling them. They tell of the lives of those closest to me, or those who genetically passed on to me all those things that make up my character and my being. I realize that it is a very much over used cliché, and has been written time and again, but this account of life in the hills truly was “The best of times and the worst of times.” These anecdotes cover the life of one hill boy who grew up in the head of a holler, who lived life and enjoyed the ride. In this story, I attempt to outline the life of this particular blessed young boy, who grew from a small kid who worked for his Grandfather for twenty-five cents an hour, attended a one room school second through seventh grade, and on to a small rural high school; worked his way through college by everything from sawmills, to construction, to pumping gas, and many things in between; finally finishing his career as an educator. (Teacher, principal, and assistant to the superintendent) Extensive use of humor is used in relating the story and gives the reader a glimpse of the boy in many of us. Even when the subject is sometimes sad or serious, the author attempts to relate the point in a humorous manner. The story is real, the people are real, the humor is real, and the sadness is real. It is the hope of the author that the reader will get a bird’s eye view of the life of a hill boy growing up in the 50’s & 60’s. I believe this book will invoke memories and nostalgia of those earlier years for the reader, whether you are from the city or a true Appalachian child.. REVIEWS: Alice Welty: I thoroughly enjoyed it. I could not put it down. Very funny. I could relate to a lot of the stories. Joanne Lawson: I really enjoyed it. A lot of people I know could definitely relate to it. I laughed a lot. Nonda Alexander: I don’t know how you are alive. You did so many crazy things. I thought it was very good and awfully funny. Barry Welty: I wish I could have read this while I was in your class. I believe I could have used it to get a better grade in physics. Funny. Bro. Tom Starks: Very funny but I had one problem. Having known you for only a little over a year, all I could do was to picture your big adult head on that little boy’s body, hot rodding around in all those stories. Eldon Bowling: Phone message: Great book! I would read awhile and cry awhile, then cry awhile and read awhile. Russell Young: I would read awhile and cry awhile. It was so close to the way I grew up. I loved it. Jim Cantrel: It was a great read. I have passed it around to my friends and they really like it. It has been passed around so much, I hope to get it back sometime.
Ah wuz a fiel' han' fo' Ah sailed de sea, Wisht Ah wuz a fiel' han' now. Dis konk'rin' hero business don' make no hit wid me- Wisht Ah wuz a fiel' han' now. "Gimme back a nickel! How come coffee ten cents? Gimme back 'at nickel befo' bofe ob us is on de same side ob de lunch counter." "You an' a policeman, you means. Ca'm yo'se'f. If dis wah keeps up, coffee g'wine cost fifteen cents nex' week." "How come wah? Wah finished a yeah back. Me an' Cap'n Jack wuz de fust men in de wah. Wah's done. Ah knows. Gimme back 'at nickel." "Mebbe de wah is done, but de Democrats ain't. Git out ob heah wid dat goat, fo' you ruins mah trade." The Wildcat picked up Captain Jack's bed-roll from the floor beside the lunch counter in the Memphis station. He accumulated Lily from where the travelworn mascot goat was tethered to an adjoining stool. Together they walked from the lunch room in which he had sought refreshment after an arduous ride from San Francisco to Memphis.
"Wildcat and Lily make their eventful way back to Memphis and return to domestic service." Cf. Hanna, A. Mirror for the nation
“Swanson has done a crucial public service by exposing the barbarous side of the Rangers.” —The New York Times Book Review A twenty-first century reckoning with the legendary Texas Rangers that does justice to their heroic moments while also documenting atrocities, brutality, oppression, and corruption The Texas Rangers came to life in 1823, when Texas was still part of Mexico. Nearly 200 years later, the Rangers are still going--one of the most famous of all law enforcement agencies. In Cult of Glory, Doug J. Swanson has written a sweeping account of the Rangers that chronicles their epic, daring escapades while showing how the white and propertied power structures of Texas used them as enforcers, protectors and officially sanctioned killers. Cult of Glory begins with the Rangers' emergence as conquerors of the wild and violent Texas frontier. They fought the fierce Comanches, chased outlaws, and served in the U.S. Army during the Mexican War. As Texas developed, the Rangers were called upon to catch rustlers, tame oil boomtowns, and patrol the perilous Texas-Mexico border. In the 1930s they began their transformation into a professionally trained police force. Countless movies, television shows, and pulp novels have celebrated the Rangers as Wild West supermen. In many cases, they deserve their plaudits. But often the truth has been obliterated. Swanson demonstrates how the Rangers and their supporters have operated a propaganda machine that turned agency disasters and misdeeds into fables of triumph, transformed murderous rampages--including the killing of scores of Mexican civilians--into valorous feats, and elevated scoundrels to sainthood. Cult of Glory sets the record straight. Beginning with the Texas Indian wars, Cult of Glory embraces the great, majestic arc of Lone Star history. It tells of border battles, range disputes, gunslingers, massacres, slavery, political intrigue, race riots, labor strife, and the dangerous lure of celebrity. And it reveals how legends of the American West--the real and the false--are truly made.
The Oxford Anthology of the Brazilian Short Story contains a selection of short stories by the best-known authors in Brazilian literature from the late nineteenth century to the present. With few exceptions, these stories have appeared in English translation, although widely separated in time and often published in obscure journals. Here they are united in a coherent edition representing Brazil's modern, vibrant literature and culture. J.M. Machado de Assis, who first perfected the genre, wrote at least sixty stories considered to be masterpieces of world literature. Ten of his stories are included here, and are accompanied by strong and diverse representations of the contemporary story in Brazil, featuring nine stories by Clarice Lispector and seven by João Guimarães Rosa. The remaining 34 authors include Mário de Andrade, Graciliano Ramos, Osman Lins, Dalton Trevisan, and other major names whose stories in translation exhibit profound artistry. The anthology is divided into four major periods, "Tropical Belle-Époque," "Modernism," "Modernism at Mid-Century," and "Contemporary Views." There is a general introduction to Brazilian literary culture and introductions to each of the four sections, with descriptions of the authors and a general bibliography on Brazil and Brazilian literature in English. It includes stories of innovation (Mário de Andrade), psychological suspense (Graciliano Ramos), satire and perversion (Dalton Trevisan), altered realities and perceptions (Murilo Rubião), repression and sexuality (Hilda Hilst, Autran Dourado), myth (Nélida Piñón), urban life (Lygia Fagundes Telles, Rubem Fonescal), the oral tale (Jorge Amado, Rachel de Queiroz) and other overarching themes and issues of Brazilian culture. The anthology concludes with a haunting story set in the opera theater in Manaus by one of Brazil's most recently successful writers, Milton Hatoum.
The Oxford Anthology of the Brazilian Short Story contains a selection of short stories by the best-known authors in Brazilian literature from the late nineteenth century to the present. With few exceptions, these stories have appeared in English translation, although widely separated in time and often published in obscure journals. Here they are united in a coherent edition representing Brazil's modern, vibrant literature and culture. J.M. Machado de Assis, who first perfected the genre, wrote at least sixty stories considered to be masterpieces of world literature. Ten of his stories are included here, and are accompanied by strong and diverse representations of the contemporary story in Brazil, featuring nine stories by Clarice Lispector and seven by Joao Guimaraes Rosa. The remaining 34 authors include Mario de Andrade, Graciliano Ramos, Osman Lins, Dalton Trevisan, and other major names whose stories in translation exhibit profound artistry. The anthology is divided into four major periods, "Tropical Belle-Epoque," "Modernism," "Modernism at Mid-Century," and "Contemporary Views." There is a general introduction to Brazilian literary culture and introductions to each of the four sections, with descriptions of the authors and a general bibliography on Brazil and Brazilian literature in English. It includes stories of innovation (Mario de Andrade), psychological suspense (Graciliano Ramos), satire and perversion (Dalton Trevisan), altered realities and perceptions (Murilo Rubiao), repression and sexuality (Hilda Hilst, Autran Dourado), myth (Nelida Pinon), urban life (Lygia Fagundes Telles, Rubem Fonescal), the oral tale (Jorge Amado, Rachel de Queiroz) and other overarching themes and issues of Brazilian culture. The anthology concludes with a haunting story set in the opera theater in Manaus by one of Brazil's most recently successful writers, Milton Hatoum.