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Here is a poet's true evocation of time, of the fact that we all are destined to live in the puzzling, enticing tragi-comedy of our cultural and personal origins. David Roderick has imagined that destiny in a memorable new way. --Robert Pinsky.
An aged Indian chief fears that white strangers who have visited his village will return to destroy the Indian way of life.
While spending the summer in Williamsburg, young photographer Kelly Brennan becomes intrigued by mysterious events at her Aunt Alma's spooky old house.
Like cotton, indigo has defied its humble origins. Left alone it might have been a regional plant with minimal reach, a localized way of dyeing textiles, paper, and other goods with a bit of blue. But when blue became the most popular color for the textiles that Britain turned out in large quantities in the eighteenth century, the South Carolina indigo that colored most of this cloth became a major component in transatlantic commodity chains. In Red, White, and Black Make Blue, Andrea Feeser tells the stories of all the peoples who made indigo a key part of the colonial South Carolina experience as she explores indigo's relationships to land use, slave labor, textile production and use, sartorial expression, and fortune building. In the eighteenth century, indigo played a central role in the development of South Carolina. The popularity of the color blue among the upper and lower classes ensured a high demand for indigo, and the climate in the region proved sound for its cultivation. Cheap labor by slaves—both black and Native American—made commoditization of indigo possible. And due to land grabs by colonists from the enslaved or expelled indigenous peoples, the expansion into the backcountry made plenty of land available on which to cultivate the crop. Feeser recounts specific histories—uncovered for the first time during her research—of how the Native Americans and African slaves made the success of indigo in South Carolina possible. She also emphasizes the material culture around particular objects, including maps, prints, paintings, and clothing. Red, White, and Black Make Blue is a fraught and compelling history of both exploitation and empowerment, revealing the legacy of a modest plant with an outsized impact.
In The Colonial Politics of Global Health, Jessica Lynne Pearson explores the collision between imperial and international visions of health and development in French Africa as decolonization movements gained strength. After World War II, French officials viewed health improvements as a way to forge a more equitable union between France and its overseas territories. Through new hospitals, better medicines, and improved public health, French subjects could reimagine themselves as French citizens. The politics of health also proved vital to the United Nations, however, and conflicts arose when French officials perceived international development programs sponsored by the UN as a threat to their colonial authority. French diplomats also feared that anticolonial delegations to the United Nations would use shortcomings in health, education, and social development to expose the broader structures of colonial inequality. In the face of mounting criticism, they did what they could to keep UN agencies and international health personnel out of Africa, limiting the access Africans had to global health programs. French personnel marginalized their African colleagues as they mapped out the continent’s sanitary future and negotiated the new rights and responsibilities of French citizenship. The health disparities that resulted offered compelling evidence that the imperial system of governance should come to an end. Pearson’s work links health and medicine to postwar debates over sovereignty, empire, and human rights in the developing world. The consequences of putting politics above public health continue to play out in constraints placed on international health organizations half a century later.