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Poetry. Renowned American poet Dave Oliphant celebrates his home state in this unique collection of poetry. Oliphant consciously began this series in the autumn of 1974 and finished it twenty-five years later in the fall of 1999. Containing thirty sections, each devoted to a different town, MEMORIES OF TEXAS TOWNS & CITIES brings together a wide ranging picture of Texas through the places, people, and poetry one man remembers and celebrates. Also featuring glorious full color illustrations by Mary Lou Williams.
The first major autobiography by a Texas poet, this noteworthy account traces the life and times of a poet, publisher, critic, and teacher from his childhood to the present day. This remarkable life is examined through the works it produced--25 books in the fields of poetry, fiction, translation, jazz history, and book reviewing. Proving that the literary and intellectual life in Texas far surpasses the state's stereotypes, this record shows how the poet was instrumental in connecting Texas with many Latin American writers as well as with a wide world of music.
And, of course, one poem about Texas that is magnificent in its awfulness, "Lasca," with memorable lines like "Scratches don't count/In Texas down by the Rio Grande."".
A creative cultural history of Dallas through the lens of its defining twentieth century event: JFK's assassination. The assassination of John F. Kennedy on November 22, 1963, shocked America. Instantly, Dallas was blamed for the killing, labeled “the City of Hate.” In the half century since the president’s murder, this city’s artists and writers have produced important, if often overlooked, work that speaks to the difficult burden of our civic shaming. Here are the works of poetry, theater, journalism, art, the actions of our citizens and political leaders, all the fragments of our cultural life that address this tortured local history. The City That Killed the President is a fitful discourse offering a window into Dallas itself, a city reluctant to grapple with its past.
Dave Oliphant is widely considered the finest poetry critic ever produced by Texas. This volume brings together some 40 years of essays, articles, and reviews on the topic of Texas poetry -- its history as well as addressing individual poets and their books. Only one other book in the last two decades addressed the topic, and GENERATIONS OF TEXAS POETS is larger, more comprehensive, and of superior literary quality. In 1971, Larry McMurtry famously descried the lack of good Texas poetry; Oliphant has spent a lifetime nurturing it, publishing it, and has become its best critic.
As the magazine of the Texas Exes, The Alcalde has united alumni and friends of The University of Texas at Austin for nearly 100 years. The Alcalde serves as an intellectual crossroads where UT's luminaries - artists, engineers, executives, musicians, attorneys, journalists, lawmakers, and professors among them - meet bimonthly to exchange ideas. Its pages also offer a place for Texas Exes to swap stories and share memories of Austin and their alma mater. The magazine's unique name is Spanish for "mayor" or "chief magistrate"; the nickname of the governor who signed UT into existence was "The Old Alcalde."
Poetry by Texas poets.
Every year from April to October, the Sánchez family traveled—crowded in the back of trucks, camping in converted barns, tending and harvesting crops across the breadth of the United States. Although hoeing sugar beets with a short hoe was their specialty, they also picked oranges in California, apples in Washington, cucumbers in Michigan, onions and potatoes in Wisconsin, and tomatoes in Iowa. Winters they returned home to the Winter Garden region of South Texas. In 1951, Saúl Sánchez began to contribute to his family’s survival by helping to weed onions in Wind Lake, Wisconsin. He was eight years old. Rows of Memory tells his story and the story of his family and other migrant farm laborers like them, people who endured dangerous, dirty conditions and low pay, surviving because they took care of each other. Facing racism both on the road and at home, they lived a largely segregated life only occasionally breached by friendly employers. Despite starting school late and leaving early every year and having to learn English on the fly, young Saúl succeeded academically. At the same time that Mexican Americans in South Texas upended the Anglo-dominated social order by voting their own leaders into local government, he upended his family’s order by deciding to go to college. Like many migrant children, he knew that his decision to pursue an education meant he would no longer be able to help feed and clothe the rest of his family. Nevertheless, with his parents’ support, he went to college, graduating in 1967 and, after a final display of his skill with a short hoe for his new friends, abandoned migrant labor for teaching. In looking back at his youth, Sánchez invites us to appreciate the largely unrecognized and poorly rewarded strength and skill of the laborers who harvest the fruits and vegetables we eat. A first-person portrait of life on the bottom rung of the food system, this coming-of-age tale illuminates both the history of Latinos in the United States and the human consequences of industrial agriculture.
War memorials are symbols of a community’s sense of itself, the values it holds dear, and its collective memory. They inform us more, perhaps, about the period in which the memorials were erected than the period of the war itself. Kelly McMichael, in her book, Sacred Memories: The Civil War Monument Movement in Texas, takes the reader on a tour of Civil War monuments throughout the state and in doing so tells the story of each monument and its creation. McMichael explores Texans’ motivations for erecting Civil War memorials, which she views as attempts during a period of turmoil and uncertainty—“severe depression, social unrest, the rise of Populism, mass immigration, urbanization, industrialization, imperialism, lynching, and Jim Crow laws”—to preserve the memory of the Confederate dead, to instill in future generations the values of patriotism, duty, and courage; to create a shared memory and identity “based on a largely invented story”; and to “anchor a community against social and political doubt.” Her focus is the human story of each monument, the characters involved in its creation, and the sacred memories held dear to them.