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Isaac Hyde's life is in flux. He has a wonderful wife and children, but necessity has taken him away for a year. Suddenly transplanted from familiar environs into a unique cultural arena of America, Isaac must adjust to an unfamiliar pace of life and form relationships with different individuals who become intertwined in his journey. What transpires during the next nine whirlwind months reawakens his sense of purpose and reminds him what matters most.
Sylacauga—Alabama’s “Marble City”—is blessed with an abundant natural resource that nurtures both its economy and its cultural heritage. Thirty-five miles long, at least four hundred feet deep, and more than a mile wide, the Sylacauga Marble Belt yields crystalline white marble frequently compared to the Parian marble treasured by Greek sculptors and the Italian Carrara marble often chosen by Michelangelo. Artisans have quarried Sylacauga marble for tombstones since the early 1800s, and architects prized it for years as dimension stone for buildings like the United States Supreme Court. In the early 1900s, Giuseppe Moretti and Gutzon Borglum both chose this marble for magnificent sculptures. When granite, better able to withstand industrial pollution, overtook marble as the preferred architectural stone in the 1930s, Sylacauga’s quarry owners shifted their focus to the production of ground calcium carbonate (GCC), a fundamental ingredient in manufactured products from toothpaste, foodstuffs, and disposable diapers to paints, caulks, and sealants. Many cringe at the idea of blasting and grinding marble into fine powder, but GCC is a vital factor in the local economy. Thankfully, the Magic of Marble Festival, first held in 2009, has revitalized interest in the artistic value of Sylacauga marble, inspiring sculptors from across the United States and masters from Italy to apply their skills to cream-white blocks of this beautiful stone and share their creativity with thousands of residents and visitors each year. This is the story of quarry pioneers, investors, artists, and artisans. It's also the story of their families, who fondly remember their lives along the edge of “the hole” that provided for them.
Conceived in 1853 as a canny real-estate scheme by two young investors expecting to get rich off the idea, Market Square came to be Knoxville's most public spot, a marketplace familiar to every man, woman, and child in the area. By the 1860s, it was the busiest place in a burgeoning city, a place to shop, work, play, eat, drink, and live. In a town that became bitterly divided by politics, race, and background, Market Square became a rare common ground: a place to buy all sorts of local produce, but also a place to experience new things, including the grandiose Market House itself, considered a model in a progressive era. Beset by urban blight by the mid-1900s, Market Square had become more of a curiosity than a point of municipal pride, and the neighborhood declined. After years of fevered controversy, the city razed the Market House and struggled to modernize the old Square itself. Through a combination of public and private efforts in the 21st century, Market Square seems to be returning to its original diverse spirit. Market Square details the colorful history of this wonderfully eccentric place, a place that is once again familiar to the whole community, suggesting why, on a good day, Market Square can resemble--as a reporter described it in 1900--"the most democratic place on earth." Jack Neely is the award-winning Secret History columnist for Metro Pulse, Knoxville's weekly newspaper. He is the author of From the Shadow Side and Other Stories about Knoxville, Tennessee, and, with Aaron Jay, of The Marble City: A Photographic Tour of Knoxville's Graveyards.
"From 1501 to 1505, Leonardo da Vinci and Michelangelo Buonarroti both lived and worked in Florence. Leonardo was a charming, handsome fifty year-old at the peak of his career. Michelangelo was a temperamental sculptor in his mid-twenties, desperate to make a name for himself. The two despise each other."--Front jacket flap.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Time and the Gods (1906) is a short story collection by Lord Dunsany. Published at the beginning of his career, Time and the Gods, a sequel to The Gods of Pegāna (1905), would influence such writers as J. R. R. Tolkein, Ursula K. Le Guin, and H. P. Lovecraft. Recognized as a pioneering author of fantasy and science fiction, Dunsany is a man whose work, in the words of Lovecraft, remains “unexcelled in the sorcery of crystalline singing prose, and supreme in the creation of a gorgeous and languorous world of incandescently exotic vision.” “Once when the gods were young and only Their swarthy servant Time was without age, the gods lay sleeping by a broad river upon earth. There in a valley that from all the earth the gods had set apart for Their repose the gods dreamed marble dreams.” Time and the Gods, Dunsany’s second collection of stories, contains some of his finest tales of fantasy and adventure. From their “marble dreams” arose a city fit for the gods, a sweeping expanse of towers, terraces, lawns, and fountains known as Sardathrion. Protected by mountains and a vast desert, safe in the heart of a fertile valley, the city of the gods is a place to which few humans go, and from which none can return. Dunsany’s tales of high fantasy continue to delight over a century after they first appeared in print. With a beautifully designed cover and professionally typeset manuscript, this edition of Lord Dunsany’s Time and the Gods is a classic of Irish fantasy fiction reimagined for modern readers.
A new edition of the Fantasy Tales that inspired J.R.R. Tolkien and H.P. Lovecraft A pioneer in the realm of imaginative literature, Lord Dunsany has gained a cult following for his influence on modern fantasy literature, including such authors as J.R.R. Tolkien and H. P. Lovecraft. This unique collection of short stories ranges over five decades of work. Liberal selections of earlier tales—including the entire Gods of Pegana as well as such notable works as "Idle Days of the Yann" and "The Fortress Unvanquishable, Save for Sacnoth"—are followed by memorable later tales, including several about the garrulous traveler Joseph Jorkens and the outrageous murder tale "The Two Bottles of Relish." Throughout, the stories are united by Dunsany's cosmic vision, his impeccable and mellifluous prose, and his distinctively Irish sense of whimsy. Here published for the first time by Penguin Classics, this edition is the only annotated version of Dunsany's short stories. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.