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During the last years of World War II a young paratrooper—lost and scared in the Belgian forest—has little to rely on buy his memories . . . memories of his boyhood growing up poor in the cotton fields of Georgia, surrounded by the warmth and love of family and friends. Working hard, playing hard, watching out for five brothers and sisters and a girl named Ruthie, it is clear that the boy who becomes a soldier has learned to listen to his heart. Told in a flowing Southern vernacular and in strong and beautiful paintings that contrast the harshness of war with the beauty of the rural South, Peggy Mercer and Ron Mazellan have created a tale that is heart-piercing and haunting in turns—but unfailingly reminds us that we share a basic humanity.
The astonishing, powerful debut by the winner of a 2016 Whiting Writers' Award WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota therein the question: What did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics. —from “WHEREAS Statements” WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.
The Golden Warrior and the bravest man I ever knew. When Dave and I fought together, no matter how severe the action, he would put his hand on my shoulder, and it gave me a calming effect. He was as fi erce in battle as he was gentle in friendship. Charles E. Eckman, 101st Airborne Screaming Eagles Holtwood, Pennsylvania I remember David as a kind, soft-spoken man and was intrigued that he was also Colonel Michaelis radio operator. All of these men were larger than life! Little is known about Michealis because he was in command of the 502nd for such a short, yet important, time. Peter J. K. Hendrikx, author of Orange is the Color of the Day Pictorial history of the 101st Airborne Liberation of Holland www.heroesatmargraten.com Madame Rolle, owner of Chateau Rollea castle located in Champs outside of Bastogne, Belgium, and was designated as the headquarter command post for the 502nd Parachute Infantry Regiment when she was a young girlremembered our father operating his radio in her foyer, and said, He was a nice young fellow who kept talking to someone named Roger. Madame Rolle This collection of letters, written by a young 101st Airborne paratrooper soldier to his sweetheart from 1943-1945, is so personal and matter-offact that I almost forgot that David Clinton Tharp was only one of millions of heroes made by World War II. David Tharp certainly deserves a book like this in his honor, and it deserves to be read and praised. It is a mustread for every American, and especially for veterans of war. Palmetto Review
A profoundly moving childhood memoir by one of the most widely acclaimed Black American writers of her generation Captured with astonishing beauty, through the eyes of a child, Soldier paints the battleground of June Jordan’s youth as the gifted daughter of Jamaican immigrants, struggling under the humiliations of racism, sexism, and poverty in 1940s New York. “There was a war on against colored people, against poor people,” Jordan writes, and she watches her mother turn inward in her suffering, her father lashing out, often violently, against his own daughter. She learns to harden herself, to be a “soldier,” while preserving a deep capacity for love and wonder. Poignantly exploring the nature of memory, imagination, and familial as well as social responsibility, Jordan re-creates the vivid world in which her identity as a social and artistic revolutionary was forged.