Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In her third book of poems, Honorée Fanonne Jeffers expresses her familiarity with the actual and imaginary spaces that the American South occupies in our cultural lexicon. Her two earlier books of poetry, The Gospel of Barbecue and Outlandish Blues, use the blues poetic to explore notions of history and trauma. Now, in Red Clay Suite, Jeffersapproaches the southern landscape as utopia and dystopia-a crossroads of race, gender, and blood. These poems signal the ending movement of her crossroads blues and complete the last four "bars" of a blues song, resting on the final, and essential, note

Southern States

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Monsieur Bourreau was the first to arrive, who had a conference with Sir Patricius Placebo, understanding that he was a medical gentleman. MONSIEUR BOURREAU.--"_Ah! serviteur, Monsieur._--_Mais je demand votre pardon! car je pourrois dire_, LE CHEVALIER _Aussi-bon_!" SIR PATRICIUS PLACEBO.--"Hem, hem! Placebo, _je dis_ Placebo!--_Prononces comme il faut, si vous plais, Monsieur Chirurgien!_" MONSIEUR BOURREAU.--"_Oh, pardon encore, je demand tres humblement de votre mains. Je dis, Chevalier Placebo, que les blesseurs portées de les fusils sont toujours trop dangereux; et pour moi, Chevalier Assebo, je prefere dix blesseurs de l'epée partout, à une diable blesseure de portée de fusil!--Mais, neanmoins, toujours chacun à son goût!_" SIR PATRICIUS.--"_Cette remarque, Monsieur Chirurgien, est trop vrai; et vous-avez sans doute beaucoup de raison certainment; car comme ils ont dit autrefois. Upon your art, Sir, and your faith to assist it, Shall I believe you, then, his wound's not mortal? LOVE'S PILGRIMAGE. The banditti who made the fierce and fiery attack, as recounted in our last chapter, a few days subsequent to that sad event were arrested by the _Gens d'Armes_ in Soignies wood. They had been composed, it appeared upon examination, of the daring and desperate of different nations, and that their leader was a Spaniard. But it is indeed full time that we should return to the mansion of Tyrconnel, where all was distress and dismay. But amid all this incidental confusion and alarm no time whatever had been lost in calling in surgical assistance; two surgeons of reputed eminence being instantly summoned--an English practitioner of the name of Leach, who long had been a resident at Brussels, and a Monsieur Bourreau, a French surgeon in considerable practice, likewise a resident of this ancient city, who immediately obeyed the summons.

Southern States

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Southern States

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Since the moment William Ferris's parents gave their twelve-year-old son a Kodak Brownie Hawkeye camera for Christmas in 1954, Ferris passionately began to photograph his world. He has never stopped. The sixties and seventies were a particularly significant period for Ferris as he became a pathbreaking documentarian of the American South. This beautiful, provocative collection of 100 of Ferris's photographs of the South, taken during this formative period, capture the power of his color photography. Color film, as Ferris points out in the book's introduction, was not commonly used by documentarians during the latter half of the twentieth century, but Ferris found color to work in significant ways in the photographic journals he created of his world in all its permutations and surprises. The volume opens with images of his family's farm and its workers--family and hired--southeast of Vicksburg, Mississippi. The images are at once lyrical and troubling. As Ferris continued to photograph people and their homes, churches, and blues clubs, their handmade signs and folk art, and the roads that wound through the region, divisive racial landscapes become part of the record. A foreword by Tom Rankin, professor of visual studies and former director of the Center for Documentary Studies at Duke University, provides rich insight into Ferris's work.

Southern States

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Tell the World You're a Wildflower is a collection of loosely interwoven stories in the voices of southern women and girls of different ages and backgrounds. Beginning with the youngest characters and ending with the oldest, the stories encompass plastic surgery and white supremacists, family secrets and family trees, the United Daughters of the Confederacy and a young writer who describes her work in progress as "the bastard love-child of William Faulkner and Alice Walker."In Tell the World You're a Wildflower, each character must decide what to tell, whether to tell it, and to whom to tell i

Women --- Southern States