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After graduating from Mississippi State University in 1976, Di Rushing and her husband, Sam, found themselves back on their family farm near Merigold, Mississippi, with 350 acres and no real clue what to do. The couple decided to open the first winery in Mississippi, and with it, a successful business was born. Six years later, a small restaurant joined the Delta winery. Both businesses were thriving by 1990, with eight national award-winning wines, a beautiful vineyard, and a successful restaurant. But in March of 1990, a series of unforeseen events rocked the operation. After the Rushings discovered one of the tour guides, Ray Russell, selling drugs in the winery parking lot, they fired him. He responded with a terrorizing vengeance that persisted over the next nine months. In the early morning hours, the former guide broke into the winery, crept into the wine cellar, and released the entire inventory—nearly a quarter of a million dollars’ worth—down the drain. Fortunately, his incompetence thwarted his most destructive intention to blow up the restaurant. In his rampage, he broke all the windows, which allowed the gas from the kitchen oven to escape, sparing the premises. Though the Rushings rebuilt with the help of their community, Russell continued to stalk and threaten the young family. As his menacing behavior continued to escalate, the Rushings closed their business of fourteen years and moved to Ouray, Colorado, where they began rebuilding their lives. Culminating in the sudden, violent murders of Russell, his wife, and his father twenty-five years later, this book tells a story of both shock and resilience, charting Mississippi history in the process. Intertwined with the true crime narrative, The Delta in the Rearview Mirror: The Life and Death of Mississippi’s First Winery details author Di Rushing’s life in and out of Mississippi, including growing up in 1960s Greenville, attending university, traveling overseas, and the relationships she cultivated along the way.
A firsthand account of the splendid rise and frightening fall of Mississippi's first winery
The stunning true story of a murder that rocked the Mississippi Delta and forever shaped one author’s life and perception of home. “Mix together a bloody murder in a privileged white family, a false accusation against a Black man, a suspicious town, a sensational trial with colorful lawyers, and a punishment that didn’t fit the crime, and you have the best of southern gothic fiction. But the very best part is that the story is true.” —John Grisham In 1948, in the most stubbornly Dixiefied corner of the Jim Crow south, society matron Idella Thompson was viciously murdered in her own home: stabbed at least 150 times and left facedown in one of the bathrooms. Her daughter, Ruth Dickins, was the only other person in the house. She told authorities a Black man she didn’t recognize had fled the scene, but no evidence of the man's presence was uncovered. When Dickins herself was convicted and sentenced to life in prison, the community exploded. Petitions pleading for her release were drafted, signed, and circulated, and after only six years, the governor of Mississippi granted Ruth Dickins an indefinite suspension of her sentence and she was set free. In Deer Creek Drive, Beverly Lowry—who was ten at the time of the murder and lived mere miles from the Thompsons’ home—tells a story of white privilege that still has ramifications today, and reflects on the brutal crime, its aftermath, and the ways it clarified her own upbringing in Mississippi.
A Good Morning America Book Club Pick! • A bighearted novel with technicolor characters, plenty of Texas swagger, and a powder keg of a plot in which marriages struggle, rivalries flare, and secrets explode, all with a clever wink toward classical mythology. For fans of Madeline Miller's Circe: "The Iliad meets Friday Night Lights in this muscular, captivating debut" (Oprah Daily). The Briscoe family is once again the talk of their small town when March returns to East Texas two years after he was caught having an affair with his brother's wife. His mother, June, hardly welcomes him back with open arms. Her husband's own past affairs have made her tired of being the long-suffering spouse. Is it, perhaps, time for a change? Within days of March's arrival, someone is dead, marriages are upended, and even the strongest of alliances are shattered. In the end, the ties that hold them together might be exactly what drag them all down. An expansive tour de force, Olympus, Texas cleverly weaves elements of classical mythology into a thoroughly modern family saga, rich in drama and psychological complexity. After all, at some point, don't we all wonder: What good is this destructive force we call love?
Slow L was marked by death at a young age when his stepfather is murdered and mother shot down in front of him. Eight years passed and still trying to outdistance this tragedy but haunted by it every step of the way. Lack of trust made him jump off the porch a little sooner than most kids. Once he learned the Milwaukee streets had real people that acted in the form of animals and orangutans among the living, he knew then he needed to adapt to the Mil-jungle, or get peeled, or eaten alive. Nobody was to be trusted—not a priest, not the police, not his childhood friends, or closest relatives. They made him a gangsta with no explanation as to why.
Jack Branch, the last son of an aristocratic Old South family, has returned to his hometown, taking on the job of teacher at the local high school. When he sets his students a paper entitled 'The Most Evil Person', he expects essays on historical tyrants and literary villains. He doesn't expect Eddie Miller's choice - his own father. Throughout his life, Eddie has been known as 'The Coed Killer's Son', because when Eddie was eight years old, his father killed a local college student, dismembered her body, and buried the pieces in a local forest. Eddie's investigation of his own father's dark secrets steadily widens until, ultimately, it encompasses the whole town.
New photographs from the beloved creator of Delta Land
In the late nineteenth century, black musicians in the lower Mississippi Valley, chafing under the social, legal, and economic restrictions of Jim Crow, responded with a new musical form -- the blues. In Jim Crow's Counterculture, R. A. Lawson offers a cultural history of blues musicians in the segregation era, explaining how by both accommodating and resisting Jim Crow life, blues musicians created a counterculture to incubate and nurture ideas of black individuality and citizenship. These individuals, Lawson shows, collectively demonstrate the African American struggle during the early twentieth century. Derived from the music of the black working class and popularized by commercially successful songwriter W. C. Handy, early blues provided a counterpoint to white supremacy by focusing on an anti-work ethic that promoted a culture of individual escapism -- even hedonism -- and by celebrating the very culture of sex, drugs, and violence that whites feared. According to Lawson, blues musicians such as Charley Patton and Muddy Waters drew on traditions of southern black music, including call and response forms, but they didn't merely sing of a folk past. Instead, musicians saw blues as a way out of economic subservience. Lawson chronicles the major historical developments that changed the Jim Crow South and thus the attitudes of the working-class blacks who labored in that society. The Great Migration, the Great Depression and New Deal, and two World Wars, he explains, shaped a new consciousness among southern blacks as they moved north, fought overseas, and gained better-paid employment. The "me"-centered mentality of the early blues musicians increasingly became "we"-centered as these musicians sought to enter mainstream American life by promoting hard work and patriotism. Originally drawing the attention of only a few folklorists and music promoters, popular black musicians in the 1940s such as Huddie Ledbetter and Big Bill Broonzy played music that increasingly reached across racial lines, and in the process gained what segregationists had attempted to deny them: the identity of American citizenship. By uncovering the stories of artists who expressed much in their music but left little record in traditional historical sources, Jim Crow's Counterculture offers a fresh perspective on the historical experiences of black Americans and provides a new understanding of the blues: a shared music that offered a message of personal freedom to repressed citizens.