Winner of the Lincoln PrizeStampp's classic study of American slavery as a deliberately chosen, practical system of controlling and exploiting labor is one of the most important and influential works of American history written in our time. "A thoughtful and deeply moving book. . . . Mr. Stampp wants to show specifically what slavery was like, why it existed, and what it did to the American people."--Bruce Catton
Shots rang out in Savannah's grandest mansion in the misty, early morning hours of May 2, 1981. Was it murder or self-defense? For nearly a decade, the shooting and its aftermath reverberated throughout this hauntingly beautiful city of moss-hung oaks and shaded squares. John Berendt's sharply observed, suspenseful, and witty narrative reads like a thoroughly engrossing novel, and yet it is a work of nonfiction. Berendt skillfully interweaves a hugely entertaining first-person account of life in this isolated remnant of the Old South with the unpredictable twists and turns of a landmark murder case.It is a spellbinding story peopled by a gallery of remarkable characters: the well-bred society ladies of the Married Woman's Card Club; the turbulent young redneck gigolo; the hapless recluse who owns a bottle of poison so powerful it could kill every man, woman, and child in Savannah; the aging and profane Southern belle who is the soul of pampered self-absorption; the uproariously funny black drag queen; the acerbic and arrogant antiques dealer; the sweet-talking, piano-playing con artist; young blacks dancing the minuet at the black debutante ball; and Minerva, the voodoo priestess who works her magic in the graveyard at midnight. These and other Savannahians act as a Greek chorus, with Berendt revealing the alliances, hostilities, and intrigues that thrive in a town where everyone knows everyone else. Midnight in the Garden of Good and Evil is a sublime and seductive reading experience. Brilliantly conceived and masterfully written, this enormously engaging portrait of a most beguiling Southern city has become a modern classic.
Coming into the Country is an unforgettable account of Alaska and Alaskans. It is a rich tapestry of vivid characters, observed landscapes, and descriptive narrative, in three principal segments that deal, respectively, with a total wilderness, with urban Alaska, and with life in the remoteness of the bush.Readers of McPhee's earlier books will not be unprepared for his surprising shifts of scene and ordering of events, brilliantly combined into an organic whole. In the course of this volume we are made acquainted with the lore and techniques of placer mining, the habits and legends of the barren-ground grizzly, the outlook of a young Athapaskan chief, and tales of the fortitude of settlers--ordinary people compelled by extraordinary dreams. Coming into the Country unites a vast region of America with one of America's notable literary craftsmen, singularly qualified to do justice to the scale and grandeur of the design.
"Someday" Big Fred Hewett used to say in his Humboldt Saloon in Aberdeen, Washington, "these pictures will show how the boys used to do it." He knew the day would come when the Pacific Northwest's "Big Woods" would be only a fog-blurred memory and the cry "Logs More Logs " would no longer be heard ringing up and down the skidroads. With the superb views of timber photographer Darius Kinsey, comprising more than 200 pictures made from wet plate celluloid negatives, 11" x 14", and processed by his pioneer wife, Tabitha, author Andrews dramatically presents a panorama of lumbering's great days in these woods from 1890 to 1925. Shown in sharp detail are the first axes, 12-foot crosscut saws, the first oxen and horses, the first donkey engines and "lokeys". Then the story continues into the "highball" days, the high production period with the steel tower skidders and miles of steel rigging.
Longstreth explores the early development of two kinds of retail space that have become ubiquitous in the United States in the second half of the twentieth century.
Richard Longstreth is one of the few historians to focus on ordinary commercial buildings--buildings usually associated with commercial builders and real estate developers rather than architects and thus generally overlooked by historians of high architecture.
Here Longstreth explores the early development of two kinds of retail space that have become ubiquitous in the United States in the second half of the twentieth century. One, external, is devoted to the circulation and parking of automobiles on retail premises. Longstreth analyzes the origins of this development in the 1910s and 1920s, with the super service station and then the drive-in market. The other type of space, internal, was introduced soon thereafter with the single-story supermarket. The most innovative aspect of the supermarket was how its interior was designed for high-volume turnover of a large selection of goods with a minimum of staff assistance. Longstreth focuses on Los Angeles, the principal center for the development of both kinds of space, during the period from the mid-1910s to the early 1940s. This richly illustrated study integrates architectural, cultural, economic, and urban factors to describe the evolution of retailing and how it has affected the urban landscape.
The American West looms large in popular imagination-a place where men were rugged and independent, violent and courageous. In this mythic West all the men were white, and the women were largely absent. The few female actors played supporting roles around the edges of the drama. Molded by the Victorian Cult of True Womanhood, they were passive, dependent, reluctant, and out of place. Men won the West. Women, against their better judgement, followed them to this newly discovered place and tried to re-create the amenities of the urban East.
Or so the myth goes. The Women's West challenges this picture as racist, sexist, and romantic and rejects the customary emphasis of traditional western history on the nineteenth-century frontier, discovered and defined by Anglo men. In its place The Women's West begins the construction of a new western history as complex and varied as the people who lived it.
This collection of twenty-one articles creates a multidimensional portrait of western women. The pioneer women presented here were actors in their own lives, not passive participants in their husbands' ventures. They were hardy seekers who came west, sometimes alone, in search of jobs, freedom, or land to homestead. They were political activists who worked tirelessly to win the right to vote and to hold political office. They adapted in practical ways to their own and their families' economic and personal needs in a new environment.