My first published book, And The Goat Cried, a collection of two dozen tales of humor, wit, satire, and tears, made its sequel, The Goat Also Laughed, necessary. In this second collection, I have captured memories of some of the people who have greatly influenced my life. Mama and Papa. My literature professor Welcome Talmadge Smalley. My pastor, John D. Freeman. The Old Man in the Woods. And my brother, the bus driver, as well as Willie, the one who died. I Remember Miss Florrie, in And The Goat Cried, is a memorial to my best-loved schoolteacher. I didn't include Oscar and Ethel in The Goat Also Laughed: I'm saving them for a special place in a book all their own. So here is that Goat again! Laugh with him, but don't be surprised if a tear falls here too.
An inspiring story of an extraordinary woman (the youngest daughter of J. P. Morgan) and her commitment to photography, philanthropy, and advocacy Biographical essays detail Morgan's life and work as well as her use of the photographic image in her philanthropic efforts Includes a facsimile of The American Girl, Morgan's social critique and veiled autobiography published in 1916
You must tell my "real" story " That's the challenge General Daniel Morgan, hero of the American Revolution, gives Ben when he meets the general's spirit in an abandoned house near the Pee Dee River. Ben is frightened. "How did this happen?" "I was just trying to help my cousins and my friend Jennifer get ready for the Morgan Victory March to celebrate the Battle of Cowpens. We were all going to get medals and make our Grammy May so proud Did Sal and Amanda, the underground ambassadors of South Carolina, get me into this mess?" Can Ben save the long-lost letter Daniel Morgan wrote from being destroyed? Can he tell everyone the truth about the famous general and set his spirit free? Will the cousins complete the march and earn their medals? Join Sal and Amanda on Morgan's Victory March and find out.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
My first published book, And The Goat Cried, a collection of two dozen tales of humor, wit, satire, and tears, made its sequel, The Goat Also Laughed, necessary. In this second collection, I have captured memories of some of the people who have greatly influenced my life. Mama and Papa. My literature professor Welcome Talmadge Smalley. My pastor, John D. Freeman. The Old Man in the Woods. And my brother, the bus driver, as well as Willie, the one who died. I Remember Miss Florrie, in And The Goat Cried, is a memorial to my best-loved schoolteacher. I didn't include Oscar and Ethel in The Goat Also Laughed: I'm saving them for a special place in a book all their own. So here is that Goat again! Laugh with him, but don't be surprised if a tear falls here too.
An inspiring story of an extraordinary woman (the youngest daughter of J. P. Morgan) and her commitment to photography, philanthropy, and advocacy Biographical essays detail Morgan's life and work as well as her use of the photographic image in her philanthropic efforts Includes a facsimile of The American Girl, Morgan's social critique and veiled autobiography published in 1916
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
You must tell my "real" story " That's the challenge General Daniel Morgan, hero of the American Revolution, gives Ben when he meets the general's spirit in an abandoned house near the Pee Dee River. Ben is frightened. "How did this happen?" "I was just trying to help my cousins and my friend Jennifer get ready for the Morgan Victory March to celebrate the Battle of Cowpens. We were all going to get medals and make our Grammy May so proud Did Sal and Amanda, the underground ambassadors of South Carolina, get me into this mess?" Can Ben save the long-lost letter Daniel Morgan wrote from being destroyed? Can he tell everyone the truth about the famous general and set his spirit free? Will the cousins complete the march and earn their medals? Join Sal and Amanda on Morgan's Victory March and find out.
Seasonal roads are defined as one-lane dirt roads not maintained during the winter. They function as connectors linking farmers to their fields, neighbors to neighbors, or two more well-traveled roads to each other. Some access hunting lands and recreational areas. Some pass by cemeteries, allowing people to visit and honor their dead. They can be abandoned as people move and towns fade. In every incarnation, the seasonal road touches the land in a gentler way than do other roads. Having traveled nearly every seasonal road in Steuben County, New York, Hood finds they provide the ideal vantage to contemplate the meaning of place, offering intimate contact with plant and wildlife and the beauty of a rural landscape. Each road reveals how our land is used, how our land is protected, and how environmental factors have impacted the land. As a literary naturalist, Hood reflects on endangered species and invasive species, as well as on issues of conservation and sustainability. From state forests to potato fields, from development along Keuka Lake to vineyards, from old family cemeteries to logging sites, Walking Seasonal Roads is a celebration and an honoring of the rural and the regionalism of place, illustrating the ways we connect to our home and to each other.
The riveting biography of an heiress, equestrienne, spy-hunter, and patron of ecology Belle W. Baruch (1899-1964) could outride, outshoot, outhunt, and outsail most of the young men of her elite social circle—abilities that distanced her from other debutantes of 1917. Unapologetic for her athleticism and interests in traditionally masculine pursuits, Baruch towered above male and female counterparts in height and daring. While she is known today for the wildlife conservation and biological research center on the South Carolina coast that bears her family name, Belle's story is a rich narrative about one nonconformist's ties to the land. In Baroness of Hobcaw, Mary E. Miller provides a provocative portrait of this unorthodox woman who gave a gift of monumental importance to the scientific community. Belle's father, Bernard M. Baruch, the so-called Wolf of Wall Street, held sway over the financial and diplomatic world of the early twentieth century and served as an adviser to seven U.S. presidents. In 1905 he bought Hobcaw Barony, a sprawling seaside retreat where he entertained the likes of Churchill and FDR. Belle's daily life at Hobcaw reflects the world of wealthy northerners, including the Vanderbilts and Luces, who bought tracts of southern acreage. Miller details Belle's exploits—fox hunting at Hobcaw, show jumping at Deauville, flying her own plane, traveling with Edith Bolling Wilson, and patrolling the South Carolina beach for spies during World War II. Belle's story also reveals her efforts to win her mother's approval and her father's attention, as well as her unraveling relationships with friends, family, employees, and lovers—both male and female. Miller describes Belle's final success in saving Hobcaw from development as the overarching triumph of a tempestuous life.
Greenwich Village, 1913 immerses students in the radical possibilities unlocked by the modern age. Exposed to ideas like women's suffrage, socialism, birth control, and anarchism, students experiment with forms of political participation and bohemian self-discovery.
Typical architectural photography freezes buildings in an ideal moment and rarely captures what photographer Berenice Abbott called the medium's power to depict "how the past jostled the present." In Beyond the Architect's Eye, Mary N. Woods expands on this range of images through a rich analysis that commingles art, amateur, and documentary photography, genres usually not considered architectural but that often take the built environment as their subject. Woods explores how photographers used their built environment to capture the disparate American landscapes prior to World War II, when urban and rural areas grew further apart in the face of skyscrapers, massive industrialization, and profound cultural shifts. Central to this study is the work of Alfred Stieglitz, Frances Benjamin Johnston, and Marion Post Wolcott, but Woods weaves a wider narrative that also includes Alice Austen, Gertrude Käsebier, Berenice Abbott, Margaret Bourke-White, Helen Levitt, Lisette Model, Louise Dahl-Wolfe, Morgan and Marvin Smith, Eudora Welty, Samuel Gottscho, Walker Evans, Max Waldman, and others. In such disparate places as New York City, the rural South, and the burgeoning metropolis of Miami, these unconventional architectural photographers observed buildings as deeply connected to their context. Whereas Stieglitz captured New York as the quintessential modern urban landscape in the period, the South was its opposite, a land supposedly frozen in the past. Yet just as this myth of the Old South crystallized in photographs like Johnston's, a New South shaped by popular culture and modern industry arose. Miami embodied both of these visions. In Wolcott's work, agricultural fields where stoop labor persisted were juxtaposed with Art Deco hotels, a popular modernism of the machine age that remade Miami Beach into a miniaturized "Manhattan on the beach." Beyond the Architect's Eye is a groundbreaking study that melds histories of American art, cities, and architecture with visual studies of landscape, photography, and cultural geography.
Praise for Michael Samuels and Mary Rockwood Lane "Filled with the truth about how spirit can heal us. I was very moved by this powerful book." -Christiane Northrup, M.D. (on Spirit Body Healing) "Dr. Michael Samuels provides us with new tools and ways of thinking about our capacity to heal. He has been a wonderful teacher for me and can be for you. . . . His work is inspiring." -Bernie Siegel, M.D. "Healing is a creative process. These heartfelt stories and beautiful visualizations inspire the reader to see all life as a healing journey." -David Simon, M.D. (on Spirit Body Healing) "Dr. Michael Samuels is one of the leading pioneers in exploring creativity as an important part of every person’s healing journey." -Dean Ornish, M.D. Ancient spiritual wisdom-practical results Long before there were medical doctors, surgical procedures, and prescription drugs, shaman healers learned to combat illness and restore physical health using the tools and skills of the body, mind, and spirit. Shaman Wisdom, Shaman Healing shows you how to harness the power of these ancient shamanic traditions to expand your ability as a healer. This practical, prescriptive guide offers a step-by-step program that shows you how to focus the power of your mind, open yourself to your visionary life, and allow the healing spirit to flow through you. You’ll learn how to heal yourself and others using proven techniques drawn from both Native American and Asian traditions, including: Heeding the call, Creating a sacred space, Inviting spirit through prayer, Using guided imagery and moving healing energy, Invoking spirit animals and the spirits of ancient ones, Using a medicine wheel and cultivating visions
In The Labors of Modernism, Mary Wilson analyzes the unrecognized role of domestic servants in the experimental forms and narratives of Modernist fiction by Virginia Woolf, Gertrude Stein, Nella Larsen, and Jean Rhys. Examining issues of class, gender, and race in a transatlantic Modernist context, Wilson brings attention to the place where servants enter literature: the threshold. In tracking their movements across the architectural borders separating indoors and outdoors and across the physical doorways between rooms, Wilson illuminates the ways in which the servants who open doors symbolize larger social limits and exclusions, as well as states of consciousness. The relationship between female servants and their female employers is of particular importance in the work of female authors, for whom the home and the novel are especially interconnected sites of authorization and domestication. Modernist fiction, Wilson shows, uses domestic service to tame and interrogate not only issues of class, but also the overlapping distinctions of racial and ethnic identities. As Woolf, Stein, Larsen, and Rhys use the novel to interrogate the limitations of gendered domestic ideologies, they find they must deploy these same ideologies to manage the servant characters whose labor maintains the domestic spaces they find limiting. Thus the position of servants in these texts forces the reader to recognize servants not just as characters, but as conditions for the production of literature and of the homes in which literature is created.
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