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Sister Josepha is a popular tale by Alice Dunbar Nelson which tells the story of a woman caught between her will to live freely but as a Nun or, to live grudgingly as somebody's wife. Musaicum Books presents to you this meticulously edited collection of Alice Dunbar Nelson's famous short stories that made her an important African-American writer of her day. Content: Sister Josepha The Goodness of Saint Rocque Tony's Wife The Fisherman of Pass Christian M'sieu Fortier's Violin By The Bayou St. John When the Bayou Overflows Mr. Baptiste A Carnival Jangle Little Miss Sophie The Praline Woman Odalie La Juanita Titee
Follows a nineteenth-century woman of color as she makes pralines, then strolls through the French Quarter of New Orleans selling the sweets to passersby and shopkeepers. Includes historical note.
The early 1890s through the late 1920s saw an explosion in serious long fiction by women in the United States. Considering a wide range of authors--African American, Asian American, white American, and Native American--this book looks at the work of seventeen writers from that period: Frances Ellen Harper, Charlotte Perkins Gilman, Sarah Orne Jewett, Alice Dunbar-Nelson, Kate Chopin, Pauline Hopkins, Gertrude Stein, Mary Austin, Sui Sin Far, Willa Cather, Humishuma, Jessie Fauset, Edith Wharton, Ellen Glasgow, Anzia Yezierska, Edith Summers Kelley, and Nella Larsen. The discussion focuses on the differences in their work and the similarities that unite them, particularly their determination to experiment with narrative form as they explored and voiced issues of power for women. Analyzing the historical context that both enabled and limited American women writers at the turn of the century, Ammons provides detailed readings of many texts and offers extensive commentary on the interaction between race and gender. This book joins the deepening discussion of modern women writers' creation of themselves as artists and raises fundamental questions about the shape of American literary history as it has been constructed in the academy.
Who are the Creoles? The answer is not clear-cut. Of European, African, or Caribbean mixed descent, they are a people of color and Francophone dialect native to south Louisiana; and though their history dates from the late 1600s, they have been sorely neglected in the literature. Creole is a project that both defines and celebrates this ethnic identity. In fifteen essays, writers intimately involved with their subject explore the vibrant yet understudied culture of the Creole people across time—their language, literature, religion, art, food, music, folklore, professions, customs, and social barriers.
"In a series of sketches, regionalist writers such as Alice Cary, Mary E. Wilkins Freeman, Sarah Orne Jewett, Grace King, Alice Dunbar-Nelson, Sui Sin Far, and Mary Austin critique the approach to regional subjects characteristic of local color and present narrators who serve as cultural interpreters for persons often considered "out of place" by urban readers. In their approach to these writers, Fetterley and Pryse offer contemporary readers an alternative vantage point from which to consider questions of regions and regionalism in the global economy of our own time."--Jacket.
The Creole praline arrived in New Orleans with the migration of formerly enslaved people fleeing Louisiana plantations after the Civil War. Black women street vendors made a livelihood by selling a range of homemade foods, including pralines, to Black dockworkers and passersby. The praline offered a path to financial independence, and even its ingredients spoke of a history of Black ingenuity: an enslaved horticulturist played a key role in domesticating the pecan and creating the grafted tree that would form the basis of Louisiana’s pecan orchards. By the 1880s, however, white New Orleans writers such as Grace King and Henry Castellanos had begun to recast the history of the praline in a nostalgic mode that harkened back to the prewar South. In their telling, the praline was brought to New Orleans by an aristocratic refugee of the French Revolution. Black street vendors were depicted not as innovative entrepreneurs but as loyal servants still faithful to their former enslavers. The rise of cultivated, shelled, and cheaply bought pecans—as opposed to the foraged pecans that early praline sellers had depended on—allowed better-resourced white women to move into the praline-selling market, especially as tourism emerged as a key New Orleans industry after the 1910s. Indeed, the praline became central to the marketing of New Orleans. Conventions often hired Black women to play the “praline mammy” role for out-of-towners, while stores sold pralines with mammy imagery, in boxes designed to look like cotton bales. After World War II, pralines went national with items like praline-flavored ice cream (1950s) and praline liqueur (1980s). Yet as the civil rights struggle persisted, the imagery of the praline mammy was recognized as an offensive caricature. As it uncovers the history of a sweet dessert made of sugar and pecans, New Orleans Pralines tells a fascinating story of Black entrepreneurship, toxic white nostalgia, and the rise of tourism in the Crescent City.
Conflict, exoticism, sensuality, eccentricity, and the sheer differences of the American South pervade this anthology, which focuses on the 19th century tradition of "southern local color". It contains 31 stories, spanning the 1870s through the early 1900s.
Praline's conversation-starters can help girls get to know their pals better. By talking through the answers to all kinds of creative questions, girls can see how much they know about each other--and can learn a few new things, too. Also includes three sticker sheets and a mini pullout poster.
When the exotic stranger Vianne Rocher arrives in the old French village of Lansquenet and opens a chocolate boutique called “La Celeste Praline” directly across the square from the church, Father Reynaud identifies her as a serious danger to his flock. It is the beginning of Lent: the traditional season of self-denial. The priest says she’ll be out of business by Easter. To make matters worse, Vianne does not go to church and has a penchant for superstition. Like her mother, she can read Tarot cards. But she begins to win over customers with her smiles, her intuition for everyone’s favourites, and her delightful confections. Her shop provides a place, too, for secrets to be whispered, grievances aired. She begins to shake up the rigid morality of the community. Vianne’s plans for an Easter Chocolate Festival divide the whole community. Can the solemnity of the Church compare with the pagan passion of a chocolate éclair? For the first time, here is a novel in which chocolate enjoys its true importance, emerging as an agent of transformation. Rich, clever, and mischievous, reminiscent of a folk tale or fable, this is a triumphant read with a memorable character at its heart. Says Harris: “You might see [Vianne] as an archetype or a mythical figure. I prefer to see her as the lone gunslinger who blows into the town, has a showdown with the man in the black hat, then moves on relentless. But on another level she is a perfectly real person with real insecurities and a very human desire for love and acceptance. Her qualities too - kindness, love, tolerance - are very human.” Vianne and her young daughter Anouk, come into town on Shrove Tuesday. “Carnivals make us uneasy,” says Harris, “because of what they represent: the residual memory of blood sacrifice (it is after all from the word "carne" that the term arises), of pagan celebration. And they represent a loss of inhibition; carnival time is a time at which almost anything is possible.” The book became an international best-seller, and was optioned to film quickly. The Oscar-nominated movie, with its star-studded cast including Juliette Binoche (The English Patient) and Judi Dench (Shakespeare in Love), was directed by Lasse Hallstrom, whose previous film The Cider House Rules (based on a John Irving novel) also looks at issues of community and moral standards, though in a less lighthearted vein. The idea for the book came from a comment her husband made one day while he was immersed in a football game on TV. “It was a throwaway comment, designed to annoy and it did. It was along the lines of...Chocolate is to women what football is to men…” The idea stuck, and Harris began thinking that “people have these conflicting feelings about chocolate, and that a lot of people who have very little else in common relate to chocolate in more or less the same kind of way. It became a kind of challenge to see exactly how much of a story I could get which was uniquely centred around chocolate.” Rich with metaphor and gorgeous writing...sit back and gorge yourself on Chocolat.