Don Felix Candelaria received the San Clemente Land Grant from the Spanish Royal Government in 1716. The land was later claimed by Don Antonio José Luna, whose ancestors arrived in the early 18th century. Don Antonio's son Solomon Luna was instrumental in New Mexico's quest for statehood and was singularly influential in the creation of the New Mexico State Constitution. Ranching and farming were major commercial activities in Los Lunas, and Solomon Luna and his nephew Eduardo Otero were two of the largest sheep ranchers in the United States. Maximiliano Luna served in the Rough Riders during the Spanish-American War. German-born merchants, the Huning and Neustadt families brought Anglo goods and culture to Los Lunas in the 1860s. From a population of 1,500 in 1986, Los Lunas has grown to more than 15,000 people today, making it the second fastest-growing community in New Mexico.
In 1866, Charles Goodnight and his partner Oliver Loving began rounding up feral cattle in Texas, forming herds to be driven north into the immense unoccupied grazing land in northeastern New Mexico. The counties of Colfax, Mora, Harding, Union, and San Miguel became the location of some of the great historic ranches of the West. From the 11,000-acre Chase Ranch in Colfax County to the 650,000-acre Bell Ranch in San Miguel County, these ranches have been home to several generations of ranching families. Pioneer ranchers such as Manley M. Chase, Frank and Charles Springer, Samuel Watrous, and Albert K. Mitchell established a tradition of perseverance, self-sufficiency, and sustainable range management that continues to the present day.
The town of Socorro got its name from the "succor" travelers found at the northern end of a 90-mile-long desert trail known as the Jornada del Muerto, the "Journey of the Dead Man," in central New Mexico. The village of Socorro, located at the site of the ancient 1600s Piro Pueblo, was first settled sometime around 1816 as an agricultural community. The discovery of silver at Socorro Peak and the Magdalena Mountains and the arrival of the railroad in 1880 brought boom times to the town. The demonetization of silver in 1893 was the end of Socorro's boom, and the community gradually reverted to its agricultural heritage. Reminders of days gone by can still be seen in Socorro. The Garcia Opera House, the Crown Mill, the Illinois Brewery, and several historic houses have been successfully preserved.
In 1740, a group of Hispanic families, seeking new cultivatable land, received a grant of more than 200,000 acres from the governor of Spanish New Mexico. In 1793, a church was built in the Belen Old Town Plaza under the direction of Franciscan priests. An agricultural community was formed around several plazas, and residents prospered through barter and subsistence farming. In the 1850s and 1860s, German immigrants joined Hispanic merchants to form a vibrant business community. The Atchison, Topeka & Santa Fe Railroad arrived in Belen in the 1880s, and the nearby "Belen Cutoff" in 1908 linked both north-south and east-west rail lines to give Belen the nickname of the "Hub City." Today, more than 100 trains travel through the Belen rail yard daily.
In 1740, a group of Hispanic families, seeking new cultivatable land, received a grant of more than 200,000 acres from the governor of Spanish New Mexico. In 1793, a church was built in the Belen Old Town Plaza under the direction of Franciscan priests. An agricultural community was formed around several plazas, and residents prospered through barter and subsistence farming. In the 1850s and 1860s, German immigrants joined Hispanic merchants to form a vibrant business community. The Atchison, Topeka & Santa Fe Railroad arrived in Belen in the 1880s, and the nearby "Belen Cutoff" in 1908 linked both north-south and east-west rail lines to give Belen the nickname of the "Hub City." Today, more than 100 trains travel through the Belen rail yard daily.
From one of the most brilliant and provocative literary figures of the past century—a collection of essays, articles, reviews, and interviews that have never before been gathered in a single volume. “An absorbing portrait of Baldwin’s time—and of him.” —New York Review of Books James Baldwin was an American literary master, renowned for his fierce engagement with issues haunting our common history. In The Cross of Redemption we have Baldwin discoursing on, among other subjects, the possibility of an African-American president and what it might mean; the hypocrisy of American religious fundamentalism; the black church in America; the trials and tribulations of black nationalism; anti-Semitism; the blues and boxing; Russian literary masters; and the role of the writer in our society. Prophetic and bracing, The Cross of Redemption is a welcome and important addition to the works of a cosmopolitan and canonical American writer who still has much to teach us about race, democracy, and personal and national identity. As Michael Ondaatje has remarked, “If van Gogh was our nineteenth-century artist-saint, Baldwin [was] our twentieth-century one.”
Never before available, the unexpurgated last interview with James Baldwin “I was not born to be what someone said I was. I was not born to be defined by someone else, but by myself, and myself only.” When, in the fall of 1987, the poet Quincy Troupe traveled to the south of France to interview James Baldwin, Baldwin’s brother David told him to ask Baldwin about everything—Baldwin was critically ill and David knew that this might be the writer’s last chance to speak at length about his life and work. The result is one of the most eloquent and revelatory interviews of Baldwin’s career, a conversation that ranges widely over such topics as his childhood in Harlem, his close friendship with Miles Davis, his relationship with writers like Toni Morrison and Richard Wright, his years in France, and his ever-incisive thoughts on the history of race relations and the African-American experience. Also collected here are significant interviews from other moments in Baldwin’s life, including an in-depth interview conducted by Studs Terkel shortly after the publication of Nobody Knows My Name. These interviews showcase, above all, Baldwin’s fearlessness and integrity as a writer, thinker, and individual, as well as the profound struggles he faced along the way.
James Baldwin’s critique of American society at the height of the civil rights movement brings his prescient thoughts on social isolation, race, and police brutality to a new generation of readers. Available for the first time in a stand-alone edition, Nothing Personal is Baldwin’s deep probe into the American condition. Considering the Black Lives Matter protests in the summer of 2020—which were met with tear gas and rubber bullets the same year white supremacists entered the US Capitol with little resistance, openly toting flags of the Confederacy—Baldwin’s documentation of his own troubled times cuts to the core of where we find ourselves today. Baldwin’s thoughts move through an interconnected range of questions, from America’s fixation on eternal youth, to its refusal to recognize the past, its addiction to consumerism, and the lovelessness that fuels it in its cities and popular culture. He recounts his own encounter with police in a scene disturbingly similar to those we see today documented with ever increasing immediacy. This edition also includes a new foreword from interdisciplinary scholar Imani Perry and an afterword from noted Baldwin scholar Eddie S. Glaude Jr. Both explore and situate the essay within the broader context of Baldwin’s work, the Movement for Black Lives, the COVID-19 pandemic, and the presidency of Donald Trump. Nothing Personal is both a eulogy and a declaration of will. In bringing this work into the twenty-first century, readers new and old will take away fundamental and recurring truths about life in the US. It is both a call to action, and an appeal to love and to life.
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The works of James Baldwin constitute one of the major contributions to American literature in the twentieth century, and nowhere is this more evident than in The Price of the Ticket, a compendium of nearly fifty years of Baldwin's powerful nonfiction writing. With truth and insight, these personal, prophetic works speak to the heart of the experience of race and identity in the United States. Here are the full texts of Notes of a Native Son, Nobody Knows My Name, The Fire Next Time, No Name in the Street, and The Devil Finds Work, along with dozens of other pieces, ranging from a 1948 review of Raintree Country to a magnificent introduction to this book that, as so many of Mr. Baldwin's works do, combines his intensely private experience with the deepest examination of social interaction between the races. In a way, The Price of the Ticket is an intellectual history of the twentieth-century American experience; in another, it is autobiography of the highest order.
The eminent and legendary American decorator, an inveterate bon vivant, recounts the high and low points of his mostly glamorous career and shares mischievous anecdotes about the fashionable clients for whom he designed.
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