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.
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.
When people think of legendary Texas cattle ranches the images that first come to mind are iconic, open-range operations like King Ranch of South Texas. In Henry C. “Hank” Smith and the Cross B Ranch, historian M. Scott Sosebee tells the story of one pioneer settler’s small but significant ranch in West Texas. The Cross B Ranch of Blanco Canyon struggled but endured to become quite successful, even while surrounded by big ranching empires. Founder Hank Smith went on to become one of the region’s most prominent, civic-minded citizens. Born in Bavaria, Smith left Germany in 1851 at the age of fourteen and traveled to Ohio to live with a sister. Less than two years later, he left Ohio to seek better opportunities in the American West. In the course of his westering life he worked as a teamster on the Santa Fe Trail, searched for gold in Arizona and New Mexico, served in both the Confederate and Union armies during the Civil War, operated a freighting business, owned a hotel, and eventually moved to Blanco Canyon and became a stock raiser. Although he did raise cattle, for most of his life as a stockman he raised twice as many sheep as he did cows, yet was one of the first in West Texas to upgrade his cattle stock with purebred bloodlines. In Henry C. “Hank” Smith and the Cross B Ranch, M. Scott Sosebee enriches our understanding of western heritage and ranching in America through a compelling and lively biography set on the small stage of an unassuming but important ranch.
By subverting comedy's rules and expectations, African American satire promotes social justice by connecting laughter with ethical beliefs in a revolutionary way. Danielle Fuentes Morgan ventures from Suzan-Lori Parks to Leslie Jones and Dave Chappelle to Get Out and Atlanta to examine the satirical treatment of race and racialization across today's African American culture. Morgan analyzes how African American artists highlight the ways that society racializes people and bolsters the powerful myth that we live in a "post-racial" nation. The latter in particular inspires artists to take aim at the idea racism no longer exists or the laughable notion of Americans "not seeing" racism or race. Their critique changes our understanding of the boundaries between staged performance and lived experience and create ways to better articulate Black selfhood. Adventurous and perceptive, Laughing to Keep from Dying reveals how African American satirists unmask the illusions and anxieties surrounding race in the twenty-first century.
These essays, lectures, memoirs, and broadcasts are the thought-provoking products of Forsters engagement with the literary, political, and social events of his time.
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