This exciting book provides an overview of IndyCar racing, from the sport’s beginnings to the equipment racers use. Short paragraphs of easy-to-read text are paired with plenty of colorful photos to make reading engaging and accessible.
This vintage book contains Elizabeth Keckley's 1868 work, "Behind the Scenes: Or, Thirty Years a Slave, and Four Years in the White House". Half memoir, half fiction, this volume chronicles Keckley's time spent as a slave and her later life in the White House during the American Civil War. This fascinating volume is highly recommended for those with an interest in American history and would make for a fantastic addition to any bookshelf. Contents include: "Where I was born", "Girlhood and its Sorrow", "How I gained my Freedom", "In the Family of Senator Jefferson Davis", "My Introduction to Mrs. Lincoln", "Willie Lincoln's Death-bed", "Washington in 1862-3", "Candid Opinions", "Behind the Scenes", "The Second Inauguration", et cetera. Elizabeth Hobbs Keckley (1818-1907) was a slave, seamstress, civil activist and author. Many vintage books such as this are increasingly scarce and expensive. We are republishing this volume now in an affordable, modern edition complete with a specially commissioned new biography of the author.
In A Craving for the Goatman Elizabeth Hobbs invests even the most daily of occurrences with a smoldering sexuality or a tinge of panic or a flare of jubilation. These poems exhibit a sensibility appreciative of every aspect of life, sad or happy, and an intense awareness of loss remembered or foreseen. This collection is a lush, disorderly garden and the blossoms are striking.Fred Chappell, Poet Laureate of North CarolinaIn this, Elizabeth Hobbs second book from Goose River Press, we see the wide range of the poets talent. Hobbs first book, Poems from the Lake, painted for us a vivid picture of a life lived in a specific place and time. Just as Pan, (the Goatman of Hobbs title) lured followers into the wild woods with his music, this new collection takes us on a journey through a life lived wholly and deeply. We are taken to places and times not chronologically but (as the foreword tells us) with the hope of surprising the reader with each new selection. Hobbs imagery and language are fresh and inspired; we cry for her losses and feel delight in her moments of grace. A lovely book, best read poem by poem, with hot tea and the music of rain on the roof.Annie Farnsworth, poet and editor of Animuswinner of the 2003 Stephen Dunn Poetry Award
I have often been asked to write my life, as those who know me know that it has been an eventful one. At last I have acceded to the importunities of my friends, and have hastily sketched some of the striking incidents that go to make up my history. My life, so full of romance, may sound like a dream to the matter-of-fact reader, nevertheless everything I have written is strictly true; much has been omitted, but nothing has been exaggerated. In writing as I have done, I am well aware that I have invited criticism; but before the critic judges harshly, let my explanation be carefully read and weighed. If I have portrayed the dark side of slavery, I also have painted the bright side. The good that I have said of human servitude should be thrown into the scales with the evil that I have said of it. I have kind, true-hearted friends in the South as well as in the North, and I would not wound those Southern friends by sweeping condemnation, simply because I was once a slave. They were not so much responsible for the curse under which I was born, as the God of nature and the fathers who framed the Constitution for the United States. The law descended to them, and it was but natural that they should recognize it, since it manifestly was their interest to do so. And yet a wrong was inflicted upon me; a cruel custom deprived me of my liberty, and since I was robbed of my dearest right, I would not have been human had I not rebelled against the robbery. God rules the Universe. I was a feeble instrument in His hands, and through me and the enslaved millions of my race, one of the problems was solved that belongs to the great problem of human destiny; and the solution was developed so gradually that there was no great convulsion of the harmonies of natural laws. A solemn truth was thrown to the surface, and what is better still, it was recognized as a truth by those who give force to moral laws. An act may be wrong, but unless the ruling power recognizes the wrong, it is useless to hope for a correction of it. Principles may be right, but they are not established within an hour. The masses are slow to reason, and each principle, to acquire moral force, must come to us from the fire of the crucible; the fire may inflict unjust punishment, but then it purifies and renders stronger the principle, not in itself, but in the eyes of those who arrogate judgment to themselves. When the war of the Revolution established the independence of the American colonies, an evil was perpetuated, slavery was more firmly established; and since the evil had been planted, it must pass through certain stages before it could be eradicated. Elizabeth Keckley
The evangelical Lutheran Art and Craft Centre at Rorke's Drift, as one of the very few places that offered training to black artists during the years of aparthied, played a key role in South African art, not only for those who studied there, but the many others whom they trained or influenced in turn." "Drawing on a wide range of interviews with participants in the Rorke's Drift project, not only from South Africa, but also from Sweden, the Netherlands, Britain and the USA, this book sets out to write the story of the beginnings of the Centre in the 1960s, the founding and development of the Fine Art School in 1968, and the contribution of teachers and students until its closure in 1982." --book jacket.
Behind the Scenes" is both a slave narrative and a portrait of the First Family, especially Mary Todd Lincoln, and is considered controversial for breaking privacy about them. It was also her claim as a businesswoman to be part of the new mixed-race, middle-class that was visible among the leadership of the black community. Elizabeth Hobbs Keckley (1818 – 1907) was a former slave who became a successful seamstress, civil activist, and author in Washington, DC. She was best known as the personal modiste and confidante of Mary Todd Lincoln, the First Lady. She created an independent business in the capital based on clients who were the wives of the government elite. Among them were Varina Davis, wife of Jefferson Davis; and Mary Anna Custis Lee, wife of Robert E. Lee. Where I Was Born Girlhood and Its Sorrows How I Gained My Freedom In the Family of Senator Jefferson Davis My Introduction to Mrs. Lincoln Willie Lincoln's Death-bed Washington in 1862-3 Candid Opinions Behind the Scenes The Second Inauguration The Assassination of President Lincoln Mrs. Lincoln Leaves the White House The Origin of the Rivalry Between Mr. Douglas and Mr. Lincoln Old Friends The Secret History of Mrs. Lincoln's Wardrobe in New York
Behind the Scenes: or Thirty Years a Slave and Four Years in the White House was first published in 1868 and is considered one of the most candid and poignant slave narratives. Author Elizabeth Hobbs Keckley writes about her teenage years, working as a slave for the Rev. Robert Burwell in Hillsborough, NC. He is thought by many historians to have been Keckley s half-brother. The Burwells had twelve children and ran an academy for girls. She writes about mistreatment and violence visited upon her by Rev. and Mrs. Burwell, and the unwelcome sexual advances and eventual rape by one of the town s white citizens. After Keckley gave birth to a son, she and her baby were sent to live with Burwell s sister. Born into slavery, Elizabeth Hobbs Keckley endured untold hardships at the hands of her master and half-brother Robert Burwell in Hillsborough, North Carolina. She eventually purchased freedom for herself and that of her son in the 1850s and is now remembered as an entrepreneur, fashion designer, abolitionist, educator, writer, and community activist. Self-reliant and educated, Keckley used her dressmaking skills to set up a successful business in the pre-Civil War Washington D.C., where she became the modiste of choice for many of the most fashionable women in the nation s capital. Her talents and enterprising nature eventually led her to become seamstress to Mary Todd Lincoln and confidante to both Mary and Abraham Lincoln. After the assassination of President Lincoln, Keckley s friendship with Mary Todd Lincoln eventually shifted into one of caretaker, as the former first lady s financial troubles mounted and her mental health declined. In an effort to buoy their financial fortunes and to balance Lincoln s battered public image, Keckley wrote Behind the Scenes: or, Thirty Years a Slave and Four Years in the While House. It is considered both a slave narrative and, in the words of historian Williams Andrews, the first major text to represent the interests and aims of this nascent African American leadership class the postwar era.
Originally published by the Standard Bank as part of a curated exhibition in May 2011, this prestigious volume celebrates the life and works of Peter Clarke (1929–2014), one of South Africa’s foremost artists. A mere 500 copies were originally published, all taken up at the exhibition, and continued demand has led to its re-release. Clarke left his job as a dockworker in Simon’s Town to devote himself to art. The wisdom of this decision is reflected in a remarkable career, which extended over some six decades and was acknowledged in the awards of the Order of Ikhamanga (silver) in 2005 and a Lifetime Achievement Award in 2010. Listening to distant thunder: The art of Peter Clarke recounts an artist’s life in the context of the social history of South Africa from the 1940s onwards. His images reflect the social disruption of the Cape Flats, and the trauma of his community’s forced removal from Simon’s Town to the bleak apartheid township of Ocean View. Yet Clarke’s images have avoided bitterness, and his work is a perceptive scrutiny and celebration of life in all its aspects. Illustrated with over 200 reproductions and photographs, this book was researched and written by well-known South African art historians Philippa Hobbs and Elizabeth Rankin, in close collaboration with the artist over almost seven years.
This book "BEHIND THE SCENES" scenes is the equivalent of a modern day expose on the part of an individual that has access to one of the most powerful families at that time in history including the associated networks. It is said that Keckley, who was the first African-American dressmaker and confidente was only trying to help her friend raises finances with this publication, after she realised that the her best friend was left without any financial support, after her husband President Abraham Lincoln had been assassinated. Though Keckley anticipated some disapproval for publishing personal details about the Lincoln's private affairs, she did not foresee the overwhelming public disapproval of her publication, from the Lincoln family, including her the rich and wealthy, clients, which in effect ended her dressmaking career. In order to add insight and perspective to this often reprinted book, the editor Delroy Constantine-Simms (C.Psychol) of Think Doctor Publications, has included more than 20 interviews with former slaves, with photographs of the interviewees. By doing so the editor enables the reader to appreciate that Elizabeth Keckleys life, though similar to many freed slaves was in stark contrast to the many former slaves, who were unable to buy their freedom, let alone enjoy the luxurious lifestyle once enjoyed by Keckley, a life style that she would never enjoy again, because of the publication of this book "BEHIND THE SCENES
Empire's daughters traces the interconnected histories of girlhood, whiteness, and British colonialism in the late nineteenth and early twentieth centuries through the study of the Girls’ Friendly Society. The society functioned as both a youth organisation and emigration society, making it especially valuable in examining girls’ multifaceted participation with the empire. The book charts the emergence of the organisation during the late Victorian era through its height in the first decade of the twentieth century to its decline in the interwar years. Employing a multi-sited approach and using a range of sources—including correspondences, newsletters, and scrapbooks—the book uncovers the ways in which girls participated in the empire as migrants, settlers, laborers, and creators of colonial knowledge and also how they resisted these prescribed roles and challenged systems of colonial power.
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