Two colorful characters and their unlikely friendship in early 20th century Savannah, Georgia: Ward Allen, a romantic and bombastic character who rejects his plantation heritage for the freedom of life on a river, and his long-time friend, a freed slave named Christmas Moultrie, fight for their rights as market hunters. Jack Cay grew up listening to stories about gun toting, Shakespeare quoting Allen from an elderly Christmas Moultrie. Jack collected them in a book and his son, John Cay, made the book into a movie. The reprinted book includes movie stills of actors Jim Caviezel, Chiwetel Ejiofor, Sam Shepard and Hal Holbrook.
Information pertaining to each settler consists, generally, of name, age, occupation, place of origin, names of spouse, children and other family members, dates of embarkation and arrival, place of settlement, and date of death. In addition, some of the more notorious aspects of the settlers' lives are recounted in brief, telltale sketches.
For many Southern men living in or close to rural landscapes, hunting is a passion. But it is not a timeless activity in a cultural void. Whether pursuers of fox or raccoon, deer or rabbits, quail or dove, Southern hunters reveal for Stuart Marks complex patterns of male bonding, social status, and relationships with nature. Marks, who has written two outstanding books on hunting in Africa, was born and has long lived in the South. Examining Southern hunting from frontier times through the antebellum era to the present day, he shows it to be a litmus test of rural identity. "Drawing on the latest anthropological theory, statistical sources, extensive interviews, and historical research, [Marks] has crafted a multifaceted account of Southern hunting. Relations of race, property, gender, and region appear in fresh guises in this innovative and intriguing study. The portrayal of the contemporary state of hunting is especially interesting, revealing both the continuities with the past and the new pressures on the sport."--Virginia Quarterly Review
The tale begins over three-hundred years ago, when the Fair People—the goblins, fairies, dragons, and other fabled and fantastic creatures of a dozen lands—fled the Old World for the New, seeking haven from the ways of Man. With them came their precious jewels: diamonds, rubies, emeralds, pearls... But then the Fair People vanished, taking with them their twelve fabulous treasures. And they remained hidden until now... Across North America, these twelve treasures, over ten-thousand dollars in precious jewels, are buried. The key to finding each can be found within the twelve full color paintings and verses of The Secret. Yet The Secret is much more than that. At long last, you can learn not only the whereabouts of the Fair People's treasure, but also the modern forms and hiding places of their descendants: the Toll Trolls, Maitre D'eamons, Elf Alphas, Tupperwerewolves, Freudian Sylphs, Culture Vultures, West Ghosts and other delightful creatures in the world around us. The Secret is a field guide to them all. Many "armchair treasure hunt" books have been published over the years, most notably Masquerade (1979) by British artist Kit Williams. Masquerade promised a jewel-encrusted golden hare to the first person to unravel the riddle that Williams cleverly hid in his art. In 1982, while everyone in Britain was still madly digging up hedgerows and pastures in search of the golden hare, The Secret: A Treasure Hunt was published in America. The previous year, author and publisher Byron Preiss had traveled to 12 locations in the continental U.S. (and possibly Canada) to secretly bury a dozen ceramic casques. Each casque contained a small key that could be redeemed for one of 12 jewels Preiss kept in a safe deposit box in New York. The key to finding the casques was to match one of 12 paintings to one of 12 poetic verses, solve the resulting riddle, and start digging. Since 1982, only two of the 12 casques have been recovered. The first was located in Grant Park, Chicago, in 1984 by a group of students. The second was unearthed in 2004 in Cleveland by two members of the Quest4Treasure forum. Preiss was killed in an auto accident in the summer of 2005, but the hunt for his casques continues.
Based almost entirely on materials reproduced from: The writings of George Washington from the original manuscript sources, 1745-1799 / John C. Fitzpatrick, editor. Includes indexes.
For the past three decades, many history professors have allowed their biases to distort the way America’s past is taught. These intellectuals have searched for instances of racism, sexism, and bigotry in our history while downplaying the greatness of America’s patriots and the achievements of “dead white men.” As a result, more emphasis is placed on Harriet Tubman than on George Washington; more about the internment of Japanese Americans during World War II than about D-Day or Iwo Jima; more on the dangers we faced from Joseph McCarthy than those we faced from Josef Stalin. A Patriot’s History of the United States corrects those doctrinaire biases. In this groundbreaking book, America’s discovery, founding, and development are reexamined with an appreciation for the elements of public virtue, personal liberty, and private property that make this nation uniquely successful. This book offers a long-overdue acknowledgment of America’s true and proud history.
McKenzie Wark invents a new genre for another gender: not a memoir but an auto-ethnography of the opacity of the self. Another genre for another gender. What if you were trans and didn't know it? What if there were some hole in your life and you didn't even know it was there? What if you went through life not knowing why you only felt at home in your body at peak moments of drugs and sex? What if you expended your days avoiding an absence, a hole in being? Reverse Cowgirl is not exactly a memoir. The author doesn't, in the end, have any answers as to who she really is or was, although maybe she figures out what she could become. Traveling from Sydney in the 1980s to New York today, Reverse Cowgirl is a comedy of errors, chronicling the author's failed attempts at being gay and at being straight across the shifting political and media landscapes of the late twentieth century. Finding that the established narratives of being transgender don't seem to apply to her, Wark borrows from the genres of autofiction, fictocriticism, and new narrative to create a writing practice that can discover the form of a life outside existing accounts of trans experience: an auto-ethnography of the opacity of the self.
