Georgia Books

I ENCOURAGE ANY AND EVERYONE TO READ THIS BOOK. I LIKE TO READ THINGS THAT ARE RELATED TO THE WAY I WAS BROUGHT UP. ITS A VERY ENCOURAGING BOOK.

I HAVE BEEN READING THIS BOOK EVERYSINCE I WAS IN THE NINTH GRADE. THIS BOOK IS ABOUT GROWING UP POOR. AND WITH THE HELP OF HER GRANDMOTHER LUDELL WAS TAUGHT A LOT OF VALUES AND MORALS. IT ALSO HAS TO DO WITH LOVE AND FAITH. BECAUSE AFTER HER GRANDMOTHER DIED, SHE WAS FORCED TO GO LIVE IN NEWYORK WITH HER MOTHER. I LOVE THIS BOOK AND I LET SOMEONE BORROW IT AND IT WAS NEVER RETURNED IS THERE ANY WAY I CAN GO ABOUT OBTAINING ANOTHER ONE IF SO. PLEASE WRITE TO MICHELE JACKSON 2613 MCLELLAND STREET APT. 10 HATTIESBURG, MS. 39401

I like this book! The cover was innocuous and not at all promising but the book was extremely well written for the romance genre, had well thought out, human responses and dialogue and I liked it very much! I was disappointed to not find much else by the author - maybe I'll keep searching

Judi
Blind Spot A romantic ecosuspense book.

Information from the book's back cover is as follows.
DEALING WITH THE DEVIL. The minute Sara opened the shop door, the old feelings came rushing back. The jingling harness brasses, the warm smell of cedar, and the dim light of the brass fixtures reminded Sara Dugan of her childhood, when she'd watched Owen Dixon's grandfather make hats with care and pride. Now that the old man had passed on, Owen was the last of a rare breed: a hatter with a penchant for double-talk and an eye for the ladies.

Tall, lean Owen was one of the reasons Sara had left Arizona town years ago. Back then, she'd been a shy teenager with a terrible crush on Owen, the black-haired man nicknamed Devil. And despite the fact that the years had only made him look wilder and sexier, Sara focused on the business at hand---the deal she'd come to proposed. Own had been afraid to contact Sara after she'd left town. How could you tell a girl that distance was a good thing? How could you tell her that she was becoming a beauty who made your pulse race whenever she came near? But little Sara Dugan had gone off and grown up. And she was about to make a deal with the man they called DEVIL.

This was a good American Diaries book. I really like the main character Maddie. if I had a horse, I would want to keep it safe from yankees, although i'm a Yankee.I really like what she does to help the Yankee. i would tell more but I don't want to ruin the book for others. All I'll say is it was a great book and if you like the other American Diaries then you'll like this one.

Of all the American Diaries books, Maddie Retta Lauren was my favorite. I really liked the main character, Maddie, a thirteen-year-old Confederate girl. At the beginning she seemed a bit spoiled, but by the end of the book she had definitley changed. She realized that both the Northerners and the Southerners were fighting for what they believed in, and that slavery was wrong. I liked the ending as well because it seemed very realistic to me. I highly reccomend this book to girls ages nine and up looking for a good historical novel.

This book is a gem from the first page to the last, blending the past with the present in an unforgettable way. The use of quotes from Civil War diaries of soldiers on the March to the Sea and the contemporary stories from the people of Georgia make for a great heart-warming adventure. The author's own love story suggest the movie Cold Mountain. His first book, Walking the Trail, One Man's Journey Along the Cherokee Trail of Tears, nominated for a Pulitzer Prize, is an even better read. He does what most of us can only dream about: hitting the road with a backpack and sleeping in a tent whenever the road spirit moves him. If you need a break from the daily world and a journey into the soul, laughter included, read this author's books.

This is a wondrous book filled with detailed Civil War history and the author's personal encounters with fascinating people as he walks across Georgia, following in the footsteps of Sherman. I felt like I was right there with the "bummers" who plundered Southern homes and burned them to the ground. At times terribly sad, this book is also enriched with heart-lifting humor. Highly recommended.

It is surprisingly unnecessary to have read (or reread) GWTW before reading this collection of letters that deals almost strictly with the book. And, having read the letters, I now must read Southern Daughter: The Life of Margaret Mitchell and the Making of Gone With the Wind because Miss Mitchell did such an excellent job of keeping her life private in her letters for fear that these letters would be published. She made it very clear that she wanted to keep her life private and never wanted to see her letters published. This puts a bit of a damper on reading the letters but does not make them any less enjoyable.

She claimed on many occasions that she was not an historian but merely a story teller who grew up knowing the history of the Civil War as it pertained to Georgia. There are several letters where she painstakingly writes out answers to fans' and critics' questions in regards to historical background and accuracy.

This collection has many excerpts from other people's letters so that the reader is not left in the dark about what/who it is that Miss Mitchell is responding to. There are many letters that are fan letters to other authors, but as the years go on and more and more people send her books that they think she will enjoy, these letters take on a more appreciative tone that implies that she is writing as a colleague and not a fan.

Throughout these letters is a publishing theme that gets increasingly complicated as more and more countries want rights to publish GWTW. She writes in great detail of her troubles and the implications that some of these problems could have on American authors. The last few years of letters are particularly fascinating because she writes about the impact of GWTW in foreign countries who were experiencing the same "troubles" that faced the Confederacy before, during and after a war/occupation.

These letters contain as much history as GWTW does. My only complaint is that this collection wasn't nearly long enough. I sincerely hope that a second volume is published some day.

When the 50th anniversary of the publication of GONE WITH THE WIND (henceforth referenced as GWTW) occurred in 1986, Harwell published this volume of letters from Margaret Mitchell Marsh. Gleaned from a collection of over 50,000 letters, clippings and notes covering a variety of subjects, these letters give us insight into the author of GWTW and her world.

Marsh argues with her publisher about issues like the name of the heroine and the title of the book, which she had originally titled TOMORROW IS ANOTHER DAY. She had named Scarlett "Pansy" in her original manuscript. When controversy arises over her description of the desecration of Confederate cemetaries by Federal troops, she reveals her sources of information as well as her surprise that the question should come up at all!

Adventures and misadventures with the filming of the book (rumors that she would cast the film caused wild complications in her life), the fame that makes her so uncomfortable, problems concerning the writing, publication and success of GWTW -- all combine to make this an unusual and utterly fascinating picture of one of America's foremost writers.

Mitchell had what she called "a passionate desire for personal privacy." That passion shows in these letters, along with a touch of Scarlett O'Hara and a smidgen of Melanie Wilkes. GWTW devotees (and possibly those who aren't fans, too) will enjoy this glimpse of the double-edged sword of success and its effect on Margaret Mitchell Marsh.

Gray--associate professor of English at Seton Hall--suggests an "alternative model" to travel--away from its "unsavory roots" associated with hegemony related to Western imperialism, penetration, and pollution, to travel as divulging vulnerability, incoherence, disorientation, diminution even. Modern and postmodern poets with their exceptional openness, familiarity with the contingencies of identity, and cross-cultural recognition and status are especially attuned to how travel affects one's life and how the modern habit of travel symbolizes essentials of modern life. The poets capture in the words and images of their poems the new, disorienting, etc., qualities of travel. Elizabeth Bishop, Robert Lowell, John Ashbery, and Derek Walcott are looked to individually for what travel signifies in the postcolonial era. The Beat poets are treated as a group. Through Gray's original and revealing readings of poems concerning travel, one learns much about the state of postmodernity.

This book covers established mid-century figures such as Elizabeth Bishop and Robert Lowell and also more recent experimental poets such as Nathaniel Mackey and Lyn Hejinian, with, in-between, chapters on John Ashbery, Derek Walcott, and the beat generation--a wide range that doesn't disappoint. In my opinion, the most significant sections are two of Gray's largest chapters, on Ashbery and Walcott. The former, while it covers some of Ashbery's best-known poems (including what has to be the definitive reading of "The Instruction Manual"), offers a fresh approach to Ashbery, whose famous irreferentiality is illuminated through Gray's attention to themes and figures of travel and displacement. In the Walcott chapter, the Caribbean poet's voluminous work is framed within the dialecticof stasis/rootedness/solidarity vs. travel/deracination/betrayal. Gray's argument throughout the book suggests that while travel is betrayal from a home-bound viewpoint, it is also the royal road to an anti-essentialist understanding of subjectivity. In Walcott, this struggle is fought within far more poems than anyone previously realized, particularly in books such as The Bounty, Midsummer, and The Arkansas Testament.


There are some other, unexpected pleasures in this book, among them the analysis (in "Dandies and Flaneurs: the Center-Margin Debate") of U.S. criticism's (and U.S. culture's)attachment to the margins as the place of authenticity; the close reading of Lyn Hejinian's Oxota, as a case of linguistico-geographical travel in Russia; and the account of Lowell's disastrous trips to South America and Mexico, particularly the analysis of Lowell poems seldom discussed and practically never taught, the "travel" sonnet sequences-e.g. "Mexico" and "Leaving New York for England"-- of For Lizzie and Harriet and The Dolphin.

This is the best book in quite awhile on post WW II poetry, whether connected to travel or not.

The book is an excellent example of artist in love with the animals she paints. There is plenty of color reproductions to get an idea of the breath of Melissa Miller's vision. She puts a lot thought into each composition and uses animals to convey the human pysche.

This book lets the artist's work do most of the talking. With just enough words to put Melissa Miller into context, this book contains plate after color plate of the artists work, spanning her career from the late 70's to her most recent works of this decade. The plates are rendered beautifully and accurately in the replication of color from canvas to printed page. Their is plenty to wow anyone, whether they are familiar with the artist or not.

Excellent book filled with info about various southern tribes surnames; especially within the Cherokee. If you are researching family connections within your tree, I highly recommend. An interesting and easy read.

This book traces the origin of the modern day "blood quantum" for tribal membership to european origins, not native american origins. Very well researched and presented in an intelligent readable manner.

Believable characters, setting, and plot for Georgia in 1947. Main characters are Freddy James Johnson, age 13; his mother-Elenora; and younger brother, Kenny Lee. Supporting characters are 'Big Kenny' - Freddy's father who deserts his family; Ms. Priddy (the town's owner & overseer of all); Theodora, the cook at the saloon; and Ms. Suzanna Doolittle, who gives French lessons to the more elite ladies of their society. It is humorous at times and oddly sad at others. Language & dialect are pure 'Southern'. The main plot consists of the fact that 'Big Kenny' Johnson leaves home one day and never returns. His oldest son, Freddy James-age 13, takes on the responsibility of keeping his family together and providing shelter and food. The best way he sees to do this is to move his Mother and brother to town. They all would rather stay on the family farm - after all its been in their family for generations; however, Freddy knows thats impossible. So, he goes off to town one day - not telling anyone where he is going - and finds a job at the local saloon doing odd jobs. As luck would have it, he finds a room to rent at Ms. Priddy's. To find out what lies ahead for Freddy James and his family, you'll need to read the book. I promise you won't be disappointed.

I loved this book! There are several reasons for my enthusiasm. It's setting is 1947 on a Georgia farm. I am a history 'buff' and have a rural background. I felt I could relate to Freddy James Johnson (age 13-Protagionist) situation. Freddy's father, Big Kenny, deserts his family and it is up to 13-year old Freddy James to try to keep his family together. Although they would all prefer to stay on the family farm - it is impossible. Freddy James goes into the local town on his own. He finds a job and a place to rent where he, his Mama and younger brother, Kenny Lee, can live. I can't tell you all the 'life situations' Freddy James faces as he tries to keep his family together. I will tell you, however, that he matures throughtout the story. It is a 'must read' for an English class or a History class focusing on this period of time. It will make you cry, laugh, and gain respect for Freddy James Johnson. In my opinion, it is realistic historical fiction at its best. Also, I forgot to mention - I read this book by audiocassette. If you've not tried a recorded book yet, then, it's time you gave it a try.

As a writer, I love this beautiful little book.
As simply a reader, I still would have loved it!

Son of outstanding poet, William Stafford,
Kim Robert Stafford has his own unique and beautiful writing style.
There is a succinct eloquence in his prose that,
at times, is so poetically breath-taking ~ one must stop,
go back and re-read the given passage to savour the
hidden nuance of deeper meaning.

Stafford never rambles or drifts, he does not dwell
in the shallows of trite meaningless verbosity ~
each word he writes carries depth and insight,
each chapter enriches perception.

This is pure literary kindling for any writer
who feels their creativity needs a little spark...
Serving to remind you, with every page,
of the original joy to be found in artistic craft.

I came across this book at the local library in the new book section, had the book six weeks total and decided I had to buy it. There are simply too many subtleties, suggestions and insights to explore. If you aspire to be or if you are a writer, you'll treasure the ideas and admire the warm, personal tone of a man who invites you to open yourself to others, to the world around you and the world within. I didn't realize until part way through the book that Kim Stafford is an Oregon writer. It was good to see familiar places in fluid prose and through another's eyes.