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Fiction. "DEEP ELLUM is a novel of beauty and power, about family and transcending family, lives unwinding even as they tangle together. Brandon Hobson writes luminescent prose of hard-edged, quiet intensity. His narrator owns a voice at once mysterious and intimate, like a long-lost, slightly suspect friend returning to tell you how the world really is. In a mere 120 pages, Hobson fashions a universe so vivid you can read it in one sitting and stagger back to the world entranced." Jerry Stahl "Both dreamy and gritty, bleak and oblique, DEEP ELLUM treads the sketchy margins of Dallas, following one young man as he tries to reconnect with his family and reconcile his mystifying past with his uncertain present. Brandon Hobson's mordant portrait of the lost and damaged among us recalls the estranged, drifting world of Denis Johnson's Jesus' Son." Stewart O'Nan"
Police Detective Ted Hinton has a murder to solve, but is unsure that the suspect they have in custody is the killer. But, how to prove it, especially, when an angry mob shows up at the City Jail to take his prisoner out and hang him for the crime? Thats when an old friend, Texas Ranger Sergeant A.J. Morales shows up. Morales is a former Dallas cop who left the force to join the Marines during the First World War. Returning to a heros welcome he was offered a job as a Texas Ranger, and he accepted. Ten years of chasing banditos through the Rio Grande Valley, or putting corrupt officials behind bars has produced a man tough as nails and good with a gun. Morales has survived being shot, stabbed, or clubbed a dozen times and is unafraid to face the mob. He is even less afraid to take on the real killers who committed MURDER IN DEEP ELLUM. But, can he do so before his star witness is murdered? And, can he overcome the treachery he will face in the city he used to serve? Set against the backdrop of Prohibition and the Great Depression, MURDER IN DEEP ELLUM takes place in Dallas, Texas in early 1930. It is a story that pits good versus evil in a town where some people think they can get away with anything, even murder.
With his single mother in jail, Sequoyah, a 15-year-old Cherokee boy, is placed in foster care with the Troutt family. Literally and figuratively scarred by his unstable upbringing, Sequoyah has spent years mostly keeping to himself, living with his emotions pressed deep below the surface - that is, until he meets 17-year-old Rosemary, another youth staying with the Troutts. Sequoyah and Rosemary bond over their shared Native American background and tumultuous paths through the foster care system, but as Sequoyah's feelings towards Rosemary deepen, the precariousness of their lives and the scars of their pasts threaten to undo them both.
A new edition of the biography of Dallas' own Deep Ellum. Just outside of downtown Dallas lies a section of the city called Deep Ellum, where graffiti and murals decorate the walls of trendy shops, loft apartments, restaurants, nightclubs, art galleries, and tattoo studios. The area has been home to a remarkable array of businesses, creatives, and artistic practices since its birth 150 years ago as a Black center of business. Because of the area’s long association with blues and jazz musicians, Deep Ellum has been shrouded in myth and misconceptions which obscure its actual history. Alan Govenar and Jay Brakefield—using oral histories, old newspapers and photographs, city directories and maps, as well as more traditional public records and secondary sources—reveal another side of Deep Ellum which includes Central Track (formerly called Central Avenue), an area lined with Black-owned businesses which served both Black and white patrons during its heyday in the 1920s and 30s. In the Deep Ellum and Central Track areas, African Americans and whites, primarily Eastern European Jews, operated businesses from the late 19th to the mid-20th centuries, creating a unique social climate where cultural interaction took place. Much of the information in the book is presented through the stories of remarkable individuals, including professionals, pawnbrokers and other merchants, police officers, criminals, and the blues and jazz musicians who had a lasting impact on American popular music.
Texas Blues allows artists to speak in their own words, revealing the dynamics of blues, from its beginnings in cotton fields and shotgun shacks to its migration across boundaries of age and race to seize the musical imagination of the entire world. Fully illustrated with 495 dramatic, high-quality color and black-and-white photographs—many never before published—Texas Blues provides comprehensive and authoritative documentation of a musical tradition that has changed contemporary music. Award-winning documentary filmmaker and author Alan Govenar here builds on his previous groundbreaking work documenting these musicians and their style with the stories of 110 of the most influential artists and their times. From Blind Lemon Jefferson and Aaron “T-Bone” Walker of Dallas, to Delbert McClinton in Fort Worth, Sam “Lightnin’” Hopkins in East Texas, Baldemar (Freddie Fender) Huerta in South Texas, and Stevie Ray Vaughan in Austin, Texas Blues shows the who, what, where, and how of blues in the Lone Star State.
"Acknowledgement is the first step in the journey of unpacking the ways our cities are built with systems of power and erasure. True reconciliation requires acknowledgement and acceptance of past injustice. In that journey, we are only at the beginning." Paved A Way tells the stories of five neighborhoods in Dallas and how they were shaped by racism and economic oppression. The communities of North Dallas, Deep Ellum, Little Mexico, Tenth Street, and Fair Park look nothing like what they did during their prime, and author Collin Yarbrough argues that their respective declines were intentional-that their foundations were chipped away over time. Systemic oppression is not contained within Dallas-it can be found throughout the United States. As Collin Yarbrough writes in his introduction, "Dallas is its own city, and Dallas is every city." With this book, readers throughout the United States will learn to see how nearby cities were shaped by injustice, and how they can play a role in reversing the process.
Gritty all-new crime stories set in the bustling Texas city, by Ben Fountain, Kathleen Kent, James Hime, and many more. In a country with so many interesting cities, Dallas is often overlooked—except on November 22 every year. On that day in 1963, Dallas became American noir. This collection of crime stories takes its inspiration from the darker corners of everyday life in a city that many associate only with a historic assassination—or a glitzy TV show about oil fortunes and family feuds. Featuring brand-new stories by Kathleen Kent, Ben Fountain, James Hime, Harry Hunsicker, Matt Bondurant, Merritt Tierce, Daniel J. Hale, Emma Rathbone, Jonathan Woods, Oscar C. Peña, Clay Reynolds, Lauren Davis, Fran Hillyer, Catherine Cuellar, David Haynes, and J. Suzanne Frank.
When Luke O’Neil isn’t angry, he’s asleep. When he’s awake, he gives vent to some of the most heartfelt, political and anger-fueled prose to power its way to the public sphere since Hunter S. Thompson smashed a typewriter’s keys. Welcome to Hell World is an unexpurgated selection of Luke O’Neil’s finest rants, near-poetic rhapsodies, and investigatory journalism. Racism, sexism, immigration, unemployment, Marcus Aurelius, opioid addiction, Iraq: all are processed through the O’Neil grinder. He details failings in his own life and in those he observes around him: and the result is a book that is at once intensely confessional and an energetic, unforgettable condemnation of American mores. Welcome to Hell World is, in the author’s words, a “fever dream nightmare of reporting and personal essays from one of the lowest periods in our country in recent memory.” It is also a burning example of some of the best writing you’re likely to read anywhere.
Winner of the 1993 National Book Critics Circle Award for nonfiction, this mususical and cultural exploration of the rich, sorrow-laden birth of the blues is an intimate and respectful look at an integral part of African American culture--a master work that has been 60 years in the making. Photos.
A novel “about a [Cherokee] family’s reckoning with loss and injustice...spirited, droll, and as quietly devastating as rain lifting from earth to sky” (Tommy Orange, New York Times–bestselling author of There, There). Steeped in Cherokee myths and history, a novel about a family fractured by loss—from National Book Award finalist Brandon Hobson In the fifteen years since their teenage son, Ray-Ray, was killed in a police shooting, the Echota family has been suspended in private grief. The mother, Maria, increasingly struggles to manage the onset of Alzheimer’s in her husband, Ernest. Their adult daughter, Sonja, leads a life of solitude, punctuated only by spells of dizzying romantic obsession. And their son, Edgar, fled home long ago, turning to drugs to mute his feelings of alienation. With the family’s annual bonfire approaching—an occasion marking both the Cherokee National Holiday and Ray-Ray’s death—Maria attempts to call the family together once more. But as the reunion draws near, each of them feels a strange blurring of the boundary between normal life and the spirit world. “Rich in Cherokee folklore” (San Francisco Chronicle) The Removed is “a moving meditation on family, home, and ancestral trauma” (Harper’s Bazaar). “A marvel. With a few sly gestures, a humble array of piercingly real characters...Brandon Hobson delivers an act of regeneration and solace. You won’t forget it.” —Jonathan Lethem, bestselling author of The Feral Detective “Multilayered, emotionally radiant...Highly recommended.” —Library Journal, starred review “Mesmerizing.” —Kirkus Reviews, starred review “Hobson is a master storyteller. . . . This will stay long in readers’ minds.” —Publishers Weekly, starred review