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Around 1752, two men named Jacob Ybach arrived in Philadelphia. One settled in Pennsylvania and the other in Maryland. The descendants of the Maryland Ybach eventually settled in what is now West Virginia. Many spellings of the last name exist, including Ephaugh, Epaugh, Efau and Efaw.
History and genealogy of the author's parents, grandparents and earlier ancestors in the United States.
Meet Scarlett, a smart, sarcastic fifteen-year-old, ready to take on crime in her hometown. When Scarlett agrees to investigate a local boy's suicide, she figures she's in for an easy case and a quick buck. But it doesn't take long for suicide to start looking a lot like murder. As Scarlett finds herself deep in a world of cults, curses, and the seemingly supernatural, she discovers that her own family secrets may have more to do with the situation than she thinks...and that cracking the case could lead to solving her father's murder. Jennifer Latham delivers a compelling story and a character to remember in this one-of-a-kind debut novel.
This present work comprises all of the genealogical records in O'Callaghan's remarkable four-volume Documentary History of the State of New-York and contains a complete index of names, overcoming, for individuals unfamiliar with Dutch or German nomenclature, the confusion caused by variant spellings of family names. Prepared by Roseanne Conway, the index lists about 12,000 inhabitants of colonial New York-Dutch, English, and German.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
When Thomas Jefferson wrote his epitaph, he listed as his accomplishments his authorship of the Declaration of Independence and the Virginia statute of religious freedom, and his founding of the University of Virginia. He did not mention his presidency or that he was second governor of the state of Virginia, in the most trying hours of the Revolution. Dumas Malone, author of the epic six-volume biography, wrote that the events of this time explain Jefferson's "character as a man of action in a serious emergency." Joseph Ellis, author of American Sphinx, focuses on other parts of Jefferson's life but wrote that his actions as governor "toughened him on the inside." It is this period, when Jefferson was literally tested under fire, that Michael Kranish illuminates in Flight from Monticello.Filled with vivid, precisely observed scenes, this book is a sweeping narrative of clashing armies--of spies, intrigue, desperate moments, and harrowing battles. The story opens with the first murmurs of resistance to Britain, as the colonies struggled under an onerous tax burden and colonial leaders--including Jefferson--fomented opposition to British rule. Kranish captures the tumultuous outbreak of war, the local politics behind Jefferson's actions in the Continental Congress (and his famous Declaration), and his rise to the governorship. Jefferson's life-long belief in the corrupting influence of a powerful executive led him to advocate for a weak governorship, one that lacked the necessary powers to raise an army. Thus, Virginia was woefully unprepared for the invading British troops who sailed up the James under the direction of a recently turned Benedict Arnold. Facing rag-tag resistance, the British force took the colony with very little trouble. The legislature fled the capital, and Jefferson himself narrowly eluded capture twice.Kranish describes Jefferson's many stumbles as he struggled to respond to the invasion, and along the way, the author paints an intimate portrait of Jefferson, illuminating his quiet conversations, his family turmoil, and his private hours at Monticello. "Jefferson's record was both remarkable and unsatisfactory, filled with contradictions," writes Kranish. As a revolutionary leader who felt he was unqualified to conduct a war, Jefferson never resolved those contradictions--but, as Kranish shows, he did learn lessons during those dark hours that served him all his life.