The blues were born out of pride, anger, and need. Murder comes from those same dark places. One of Memphis' most seductive and notorious socialites has disappeared. She's either off on another of her drunken escapades or the disappearance is something much more frightening. What begins as an ordinary day's work for Detective Billy Able of the Memphis P.D. quickly grows into a high-level spider's web of tragedy, mystery, suspicion, passion, and sordid secrets--including a few of Billy's own. Along with Mercy Snow, the estranged sister of the missing socialite, Billy follows a twisted path of human frailty and corruption to disturbing truths that undermine everything he thought he knew about himself and the people he loves.
Although Missouri has strong cultural ties to the Upper South and major economic links to the Deep South, most historians have focused their agricultural studies on states other than Missouri. In Agriculture and Slavery in Missouri's Little Dixie, Douglas Hurt provides the first systematic study of agriculture and rural life in one of the most vital sections of Missouri prior to the Civil War. This seven-county area along the Missouri River known as Little Dixie was the most important hemp-, tobacco-, and live-stock-producing region of the state, as well as a major slaveholding area. The people who settled Little Dixie had emigrated primarily from Kentucky, Virginia, and Tennessee. They brought southern culture with them and adapted it to their new environment economically, socially, and politically. Although the settlers began as subsistence farmers, unlimited opportunities and access by river to New Orleans and St. Louis made commercial farming possible almost immediately. Hurt provides the reader with a broad discussion of land acquisition, settlement, and town development in the region. He surveys the major agricultural endeavors of the southerners who settled there, considering technological change, agricultural organization, breed improvement, and transportation. Hurt also traces the development of rural life, emphasizing the importance of religion, education, and mercantile activities. Slavery permeated all aspects of society in Little Dixie. Hurt discusses the acquisition and sale of slaves, their management, and the political protection of slavery, and he relates the significance of slavery in Little Dixie to the Deep South. One of his most important findings concerns theextensive trade of slave children in Little Dixie. Farmers and planters, driven by the struggle for profit, supported both slavery and the Union. Consequently, political division in the state mirrored the national debate over slavery but also showed the uniqueness of Missouri, both geographically and culturally. This book will prove useful for anyone interested in American agricultural history, the economic and social history of the Upper South, and Missouri. Agriculture and Slavery in Missouri's Little Dixie provides a much-needed overview of the region's past.
This dissertation examines the cultural and educational history of central Missouri between 1820 and 1860, and in particular, the issue of master-slave relationships and how they affected education (broadly defined as the transmission of Southern culture). Although Missouri had one of the lowest slave populations during the Antebellum period, Central Missouri - or what became known as Little Dixie - had slave percentages that rivaled many regions and counties of the Deep South. However, slaves and slave owners interacted on a regular basis, which affected cultural transmission in the areas of religion, work, and community. Generally, slave owners in Little Dixie showed a pattern of paternalism in all these areas, but the slaves did not always accept their masters' paternalism, and attempted to forge a life of their own.
James T. Scott's 1923 lynching in the college town of Columbia, Missouri, was precipitated by a case of mistaken identity. Falsely accused of rape, the World War I veteran was dragged from jail by a mob and hanged from a bridge before 1000 onlookers. Patricia L. Roberts lived most of her life unaware that her aunt was the girl who erroneously accused Scott, only learning of it from a 2003 account in the University of Missouri's school newspaper. Drawing on archival research, she tells Scott's full story for the first time in the context of the racism of the Jim Crow Midwest.
David Eicher reveals the story of the political conspiracy, discord and dysfunction in Richmond that cost the South the Civil War. He shows how President Jefferson Davis fought not only with the Confederate House and Senate and with State Governers but also with his own vice-president and secretary of state.
A classic tale by Newbery Medalist Kate DiCamillo, America's beloved storyteller. One summer’s day, ten-year-old India Opal Buloni goes down to the local supermarket for some groceries – and comes home with a dog. But Winn-Dixie is no ordinary dog. It’s because of Winn-Dixie that Opal begins to make friends. And it’s because of Winn-Dixie that she finally dares to ask her father about her mother, who left when Opal was three. In fact, as Opal admits, just about everything that happens that summer is because of Winn-Dixie. Featuring a new cover illustration by E. B. Lewis.
"This study is about material culture and settlement history in a very interesting place and time. Its focus is on the people and the understated voice of their architecture of tradition. ... this is a book about how folk artifacts help define and illustrate settlement history and cultural regions"--Excerpt from preface, page vii.
Wall Street Journal’s Five Best Books on the Confederates’ Lost Cause Southern Association for Women Historians Julia Cherry Spruill Prize Even without the right to vote, members of the United Daughters of the Confederacy proved to have enormous social and political influence throughout the South—all in the name of preserving Confederate culture. Karen Cox traces the history of the UDC, an organization founded in 1894 to vindicate the Confederate generation and honor the Lost Cause. In this edition, with a new preface, Cox acknowledges the deadly riots in Charlottesville, Virginia, showing why myths surrounding the Confederacy continue to endure. The Daughters, as UDC members were popularly known, were daughters of the Confederate generation. While southern women had long been leaders in efforts to memorialize the Confederacy, UDC members made the Lost Cause a movement about vindication as well as memorialization. They erected monuments, monitored history for "truthfulness," and sought to educate coming generations of white southerners about an idyllic past and a just cause—states' rights. Soldiers' and widows' homes, perpetuation of the mythology of the antebellum South, and pro-southern textbooks in the region's white public schools were all integral to their mission of creating the New South in the image of the Old. UDC members aspired to transform military defeat into a political and cultural victory, in which states' rights and white supremacy remained intact. To the extent they were successful, the Daughters helped to preserve and perpetuate an agenda for the New South that included maintaining the social status quo. Placing the organization's activities in the context of the postwar and Progressive-Era South, Cox describes in detail the UDC's origins and early development, its efforts to collect and preserve manuscripts and artifacts and to build monuments, and its later role in the peace movement and World War I. This remarkable history of the organization presents a portrait of two generations of southern women whose efforts helped shape the social and political culture of the New South. It also offers a new historical perspective on the subject of Confederate memory and the role southern women played in its development.
Rock & roll has transformed American culture more profoundly than any other art form. During the 1960s, it defined a generation of young people as political and social idealists, helped end the Vietnam War, and ushered in the sexual revolution. In Dixie Lullaby, veteran music journalist Mark Kemp shows that rock also renewed the identity of a generation of white southerners who came of age in the decade after segregation -- the heyday of disco, Jimmy Carter, and Saturday Night Live. Growing up in North Carolina in the 1970s, Kemp experienced pain, confusion, and shame as a result of the South's residual civil rights battles. His elementary school was integrated in 1968, the year Kemp reached third grade; his aunts, uncles, and grandparents held outdated racist views that were typical of the time; his parents, however, believed blacks should be extended the same treatment as whites, but also counseled their children to respect their elder relatives. "I loved the land that surrounded me but hated the history that haunted that land," Kemp writes. When rock music, specifically southern rock, entered his life, he began to see a new way to identify himself, beyond the legacy of racism and stereotypes of southern small-mindedness that had marked his early childhood. Well into adulthood Kemp struggled with the self-loathing familiar to many white southerners. But the seeds of forgiveness were planted in adolescence when he first heard Duane Allman and Ronnie Van Zant pour their feelings into their songs. In the tradition of music historians such as Nick Tosches and Peter Guralnick, Kemp masterfully blends into his narrative the stories of southern rock bands --from heavy hitters such as the Allman Brothers Band, Lynyrd Skynyrd, and R.E.M. to influential but less-known groups such as Drive-By Truckers -- as well as the personal experiences of their fans. In dozens of interviews, he charts the course of southern rock & roll. Before civil rights, the popular music of the South was a small, often racially integrated world, but after Martin Luther King Jr.'s assassination, black musicians struck out on their own. Their white counterparts were left to their own devices, and thus southern rock was born: a mix of popular southern styles that arose when predominantly white rockers combined rural folk, country, and rockabilly with the blues and jazz of African-American culture. This down-home, flannel-wearing, ass-kicking brand of rock took the nation by storm in the 1970s. The music gave southern kids who emulated these musicians a newfound voice. Kemp and his peers now had something they could be proud of: southern rock united them and gave them a new identity that went beyond outside perceptions of the South as one big racist backwater. Kemp offers a lyrical, thought-provoking, searingly intimate, and utterly original journey through the South of the 1960s, '70s, '80s, and '90s, viewed through the prism of rock & roll. With brilliant insight, he reveals the curative and unifying impact of rock on southerners who came of age under its influence in the chaotic years following desegregation. Dixie Lullaby fairly resonates with redemption.
