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50 years after The Lonely Doll, Dare Wright's only adult book is a tribute to her favorite place: Ocracoke, NC.
Half a century after the publication of The Lonely Doll, Dare Wright remains a subject of fascination. A strikingly attractive woman-child--a model and fashion photographer who always saw the world through the eyes of a girl--she was the author of nineteen children's books that are still remembered fondly by a legion of fans. Ocracoke in the Fifties, now in print for the first time, is Dare Wright's only book for adults. First and foremost, it is a tribute to one of Dare's favorite places. It is also a time capsule of a unique island culture just past the midpoint of the twentieth century. And surprisingly, it is a testament to the timelessness of Ocracoke--which would please Dare immensely. Ocracoke has seen its share of changes, to be sure, but readers will have no trouble recognizing the durable little island off the North Carolina coast.
A lonely doll named Edith finally finds friendship with two visiting teddy bears.
North Carolina's Ocracoke island has produced a remarkably cohesive community of islanders. For more than two centuries, these Ocracokers lived in relative isolation, enjoying the beauty and battling the destructive forces of the Atlantic. In the past two decades, tourists discovered this "unique fishing village by the sea," and the tiny island was forever altered. Alarmed at the dramatic changes in the island's character over the past generation, Alton Ballance set out to capture the story of Ocracoke and its people from the unique perspective of a native. Ballance accompanies the people of Ocracoke on their everyday activities--fishing, hunting, boating--all the time recording their stories about events and people that have shaped the island's history. They have lived through hurricanes, and they remember their ancestors talking of the shipwrecks and daring rescues that occurred off the treacherous coast. During the many years when no doctor resided on the island, Ocracokers delivered each other's babies and attended to their own illnesses, sometimes with local cures. When Ballance was growing up on Ocracoke in the 1960s and 1970s, the number of year-round residents hovered around 500. Now Ocracoke is a major tourist attraction visited by hundreds of thousands of people each year. As tourism has flourished, the island has become less isolated, and Ballance discusses the consequences of this development for both islander and visitor. The modernization that accompanies tourism has provided many benefits for the island, among them better health care and schooling and more jobs. Nonetheless, the Ocracoke of old is rapidly disappearing. This book is a tribute to that Ocracoke and her people.
Collects excerpts from the personal travel journal sketchbooks of forty-three artists, illustrators, and designers.
From James Agee to W. G. Sebald, there has been an explosion of modern documentary narratives and fiction combining text and photography in complex and fascinating ways. However, these contemporary experiments are part of a tradition that stretches back to the early years of photography. Writers have been integrating photographs into their work for as long as photographs have existed, producing rich, multilayered creations; and photographers have always made images that incorporate, respond to, or function as writing. On Writing with Photography explores what happens to texts—and images—when they are brought together. From the mid-nineteenth century to the present, this collection addresses a wide range of genres and media, including graphic novels, children’s books, photo-essays, films, diaries, newspapers, and art installations. Examining the works of Herman Melville, Don DeLillo, Claude McKay, Man Ray, Dare Wright, Guy Debord, Zhang Ailing, and Roland Barthes, among others, the essays trace the relationship between photographs and “reality” and describe the imaginary worlds constructed by both, discussing how this production can turn into testimony of personal and collective history, memory and trauma, gender and sexuality, and ethnicity. Together, these essays help explain how writers and photographers—past and present—have served as powerful creative resources for each other. Contributors: Stuart Burrows, Brown U; Roderick Coover, Temple U; Adrian Daub, Stanford U; Marcy J. Dinius, DePaul U; Marianne Hirsch, Columbia U; Daniel H. Magilow, U of Tennessee, Knoxville; Janine Mileaf; Tyrus Miller, U of California, Santa Cruz; Leah Rosenberg, U of Florida; Xiaojue Wang, U of Pennsylvania.