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Broadly situates Pynchon's novel in ""long sixties"" history, revealing a fiction deeply of and about its time. Herman and Weisenburger put the novel's questions about freedom in context with sixties struggles against war, restricted speech rights, ethno-racial oppression, environmental degradation and social and psychological control.

Sampling virtually all of the old-time styles within the musical traditions still extant in north Georgia, Folk Visions and Voices is a collection of eighty-two songs and instrumentals, enhanced by photographs, illustrations, biographical sketches of performers, and examples of their narratives, sermons, tales, and reminiscences.

Addressing the literature and culture of black America, This Is My Century, a classic first published in 1989, marked a significant contribution to American Poetry, bringing together Walker's selection of one hundred of her own poems.

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 labour, textile production and use, sartorial expression and fortune building.

This poignant account recalls firsthand the upheaval surrounding court-ordered busing in the early 1970s to achieve school integration. Sixth-grader Clara Silverstein tells her story, with questions about race and the use of schools to engineer social change.

This volume explores the advances and retreats of tabacco's influence in South Carolina from the colonial period to its heydey at the turn of the 20th century, the impact of the Depression, the New Deal, World War II and right through to the late-20th century controversies.

Offers an interdisciplinary look at the spectacle and significance of the circus across a century of change in a southern state. This book relates the circus experience from the perspectives of its diverse audiences, telling what locals might have seen and done while the show was in town.

This is the first and only scholarly edition of Sir John Hawkins's Life of Samuel Johnson, LL.D., a work that has not been widely available in complete form for more than two hundred years. Published in 1787, some four years before James Boswell's biography of Johnson, Hawkins's Life complements, clarifies, and often corrects numerous aspects of Boswell's Life.

Paul Harvey uses four characters that are important symbols of religious expression in the American South to survey major themes of religion, race, and southern history. He uses not only biblical and religious sources but also draws on literature, mythology, and art. He ponders the troubling meaning of 'religious freedom' for slaves and later for blacks in the segregated South.

Around the void left by the murder of Medgar Evers in 1963, the poems in this collection speak, unleashing the strong emotions both before and after the moment of assassination. Poems take on the voices of Evers's widow, Myrlie; his brother, Charles; his assassin, Byron De La Beckwith; and each of De La Beckwith's two wives.

Three months after a family vacation in Costa Rica ends in tragedy, Lane sets out with friends from his own backyard in upcountry South Carolina to calm his nerves and to paddle to the sea. Through it all, paddle stroke by paddle stroke, Lane is reminded why life and rivers have always been wedded.

Until about 1820, even learned Americans showed little interest in non-European religions-a subject that had fascinated their counterparts in Europe since the end of the seventeenth century. Fostered especially by learned Protestant ministers, this new discipline focused on canonical texts-the "bibles"-of other great world religions.

Britain's colonial empire in southeastern North America relied on the maintenance of economic ties with the Indian confederacies of the region. Those ties also relied on British traders adapting to Indian ideas of land and power. Paulett examines this interaction, revealing the ways that conceptions of space competed, overlapped, and changed.

Margaret Fuller, was a feminist, journalist, and political revolutionary. This biography discusses her Puritan ancestry, her life as the precocious child of a preoccupied, grieving mother and of a tyrannical father, who took over her upbringing, and her escape from her loveless home into books.

Karen Weyler explores how outsiders used ephemeral formats such as broadsides, pamphlets, and newspapers to publish poetry, captivity narratives, formal addresses, and other genres with wide appeal in early America.

Most studies of international negotiations take successful talks as their subject. With a few notable exceptions, analysts have paid little attention to negotiations ending in failure. The essays in Unfinished Business show that as much, if not more, can be learned from failed negotiations as from successful negotiations with mediocre outcomes.

Uses the history of Curacao to develop the first book-length analysis of the relationship between illicit interimperial trade and processes of social, cultural, and linguistic exchange in the early modern world.

Georgians, like all Americans, experienced the Civil War in a variety of ways. Through selected articles drawn from the New Georgia Encyclopedia, this collection chronicles the diversity of Georgia's Civil War experience and reflects the most current scholarship in terms of how the Civil War has come to be studied, documented, and analysed.

In these stories by Melissa Pritchard, the past brushes up against the present, the voices of both the sane and the obsessed are heard, and the spirits speaking unbidden through the mouths of some spurn others who desire them most.

Sandra Thompson takes us inside the lives of women struggling to find their places among lovers, husbands and ex-husbands, mothers, and children in relationships where old rules do not apply and new rules have not yet been set.Thompson's characters live in a world where dreams often supersede reality and things are not as they seem. Her style is sophisticated and subtle, and we experience her stories almost by osmosis. They stay with us afterwards to question their own realities.

Jeremy Rich uses the eccentric life of R. L. Garner (1848-1920) to examine the commercial networks that brought the first apes to America during the Progressive Era, a critical time in the development of ideas about African wildlife, race, and evolution.

The 11 stories in this volume cover a range of eccentric characters, including a set of opposite-sex conjoined twins. Forced to deal with the debilitating confines of the physical world, Kellie Wells's characters struggle to transcend their existential disappointments and find someone to love.

Part history, part anthropology, and part detective story, The Accidental Slaveowner traces, from the 1850s to the present day, how different groups of people have struggled with one powerful story about slavery. Auslander's research helps open up important arenas for reconciliation, restorative justice, and social healing.

The Cotton States Exposition of 1895 was a world's fair in Atlanta held to stimulate foreign and domestic trade for a region in an economic depression. This uses the exposition to examine the competing agendas of white supremacist organizers and the peoples of colour who participated.

The lives on view in Nervous Dancer are complex and precarious. Speaking their familial idioms in tones and cadences determined well before they ever appeared in these stories, Carol Lee Lorenzos characters surge into moments of change for reasons initially not apparent. In the quirky, hard-edged ways in which they stumble, beg, come of age, fall apart, and reunite, they reveal no simple notions about life.The way women and children see men is often the focus of these stories, and female voices are the most numerous in Nervous Dancer. Singularity of character can be found in anyone, however, such as the nameless father in Unconfirmed Invitations, whose guilt over his drinking and marital infidelities leads to a bizarre hunter-gatherer compulsion. Lorenzos women are often mothers, like LuAnn Wilson Hunter in Something Almost Invisible, who says of herself and her son that they are divorced from everything, we are all living in slow motion, not at home anywhere. Others find themselves in double binds with generational friction compounding their troubles, such as Eulene in Nervous Dancer, who informs her mother, Just because Im in your house doesnt mean Ive lost the right to fight with my husband.Lorenzo says that her characters are in the throes of love with its impurities or as sterling as it comes, and sometimes they trip the spring and the hard face of hate appears. She believes that its not always the outside force, someone elses doing, that changes things or brings confrontation. Its our stranger within-our unspoken self that frightens and engages us. Thats what story allows us to see.

Georgians, like all Americans, experienced the Civil War in a variety of ways. Through selected articles drawn from the New Georgia Encyclopedia, this collection chronicles the diversity of Georgia's Civil War experience and reflects the most current scholarship in terms of how the Civil War has come to be studied, documented, and analysed.

Sounds American provides new perspectives on the relationship between nationalism and cultural production by examining how Americans grappled with musical diversity in the early national and antebellum eras.During this period a resounding call to create a distinctively American music culture emerged as a way to bind together the varied, changing, and uncertain components of the new nation. This played out with particular intensity in the lower Mississippi River valley, and New Orleans especially. Ann Ostendorf argues that this region, often considered an exception to the nationwith its distance from the center of power, its non-British colonial past, and its varied populationactually shared characteristics of many other places eventually incorporated into the country, thus making it a useful case study for the creation of American culture.Ostendorf conjures the territory's phenomenally diverse music ways including grand operas and balls, performances by church choirs and militia bands, and itinerant violin instructors. Music was often associated with foreigners, in particular Germans, French, Irish, and Africans. For these outsiders, music helped preserve collective identity. But for critics concerned with developing a national culture, this multitude of influences presented a dilemma that led to an obsessive categorization of music with racial, ethnic, or national markers. Ultimately, the shared experience of categorizing difference and consuming this music became a unifying national phenomenon. Experiencing the unknown became a shared part of the American experience.