Louisiana Books

Fritchey does a masterful job allowing the general public to view the deception that has gone on with so-called conservation organizations in the Gulf, and Atlantic, in order to achieve their selfish re-allocation objectives. From making commercial fishermen red herrings for the "alleged" slide in fishery stocks, to the ouright grab of resources for themselves, these allocation organizations have lied, perjured, and extorted the public's resources right out of the public's reach. In so doing, they have driven a wedge between the user groups, and deprived the non-fishing public access to the most regulated fishery resource in the world. Meanwhile, the marsh habitat that these resources depend on are being lost at an ever increasing rate daily. A truly spectacular job connecting the dots that have led to the ruin of many hard working, tax paying, American fishermen, and have left the marsh habitat they depend on in sad shape. Britton Shackelford

Wow, what a great book. It is sad that this is an account of true events. Unfortunately, these events are still taking place all over America's coastal states. Wherever Exxon's faux conservation group the Coastal Conservation Association shows up, they make it there mission to destroy the commercial fishing industry, and reallocate fish stocks to their wealthy membership. With Exxon's record profits and friends all the way to the white house it hasn't been hard for them to do. The argument the Coastal Conservation Association uses, is that more money is generated by wealthy sportfishers then by lowly commercial fishers and seafood consumers. Therefore all fish should be protected for their membership's exclusive enjoyment. Sounds simple, but this puts thousands of people out of work and denies the consumers their right to the fisheries resource.
This is truely a David and Goliath story. David being the inshore finfishermen whom represents the Free American Spirit that refuses to die and Goliath being Exxon who represents corprate greed.
Read this!
I Understand the sequel is being written as I type this. Can't wait for it to come out!!

I'm doing a research paper for english and I chose the net ban as a topic. My father used to be a commercial fisherman on the Florida coast. He was put out of business after the net ban was put into effect in 1995. He's always had theories about why the ban was passed. He read and loved the book Wetland Riders and with his information, and the facts I got from the book I was able to write a strong paper against the net ban. The book was great and was a lot of help. Anyone who's been affected by Net limitations in any state should read this book.

I'm Robert Fritchey, the author of "Wetland Riders." I fell in with South Louisiana's traditional coastal finfishermen in 1980, deciding after graduate school that I would earn my living only from renewable resources. A lifelong sport fisherman, my addiction to fishing and the outdoor life led me to the Bayou State's rapidly vanishing coastal marshes, where I earned my livelihood netting redfish and other wetland-dependent species of fish through the 1980s.

"As the 1980s opened, fishermen worked freely, under few restrictions other than those imposed by nature," I wrote in the book's preface. "But earning a living as an inshore finfisherman became progressively more difficult--and finally next to impossible. What happened?"

"Wetland Riders" details my own search for the answer to this question. But my interests were more than academic--in 1988, Louisiana's anglers--prodded by a Texas-based sportfishing organization which has since gone national--claimed the redfish for their own exclusive use. By taking the fish from us fishermen--and the seafood markets and restaurants--the sportsmen began to devalue Louisiana's threatened coastal wetlands. I wrote "Wetland Riders" as an educational tool, to circumvent a biased media and inform the public directly, as a prelude to getting back our fish.

Equipped with my experience as both a sport and commercial fisherman, I investigated the escalating fish fights between the recreational and food-producing industries which, I learned, were occurring around the coasts of America.

I also learned that the underlying cause of the sportsmen's aggression against our traditional seafood harvesters lies deeply embedded within our emotional human nature. In the book's introduction, I quoted a true sportsman, a Texan who-- in the 1930s--also sought to quell the destructive friction between these two environmentally important industries: "When the average sportsman sees a net fisherman make a good catch he is overcome in many cases with a feeling that must be experienced but cannot well be described." That feeling, unfortunately, is envy, an emotion that can easily overpower rational thought.

The number of recreational fishermen began to steadily increase following World War II, and exploded during the 1980s and 1990s, as financially successful Baby Boomers and their children took up fishing. A critical mass of these anglers have proven more than willing to be organized into a political movement which imperils our domestic seafood industry.

As old Claude McCall--one of the 7 net fishermen that I profiled in "Wetland Riders"--explained, "There needs to be regulation, but not the kind we have now. The management that's being used now just tries to knock the commercial fisherman down. We'll wind up with almost no domestic production of seafood; it'll all be imported.

"How about if we get in a war and can't get imports? We'll have to eat steak, I guess."

In the chapter, "It's Not Me, It's Him!," I revealed that, "The collective impact of great numbers of recreational fishermen, each landing just a few fish, quickly adds up." Indeed, virtually every species of fish that is currently defined as "overfished" is being harvested by both recreational and commercial fishermen. And data presented in this chapter reveal that, in many fisheries, the recreational sector is responsible for harvesting a far larger slice of the pie than the food-producing sector!

As I investigated why this fact is not publicized, I described in "The `Con' in Conservation" the first attempt by a media conglomerate to expand their "educational program" beyond the sportsmen, to 30 million members of the general public. The campaign typified the recreational media's tactic of focusing blame on our family fishermen while avoiding any responsibility by sport fishermen.

In "The Recreational Fishing Industry: Something of Value?" I deconstructed the incredibly diverse recreational industry that is displacing our traditional commercial fisheries. Many of our commercial fisheries are centuries old, and predate recreational fisheries. They have achieved sustainability by merely harvesting fish which they send out to consumers in urban areas, thereby bringing only money into their rural communities. The tourism-based recreational industry, on the other hand, brings people into coastal communities which spurs coastal real-estate development.

The co-existence of both industries leads to a natural tension, a sort of two-party system where each "party" limits the impact of the other, though in different ways. As we go to a one-party system, the astute reader may envision the future of these old fisheries.

In "Conservation Through Use: Resource Management for the Twenty-First Century," I advocated sharing hotly-contested finfish species on an equitable basis, and cite the precedent for such an action. Upon the increased allocation of fish that commercial fishermen and consumers would receive, I proposed a per-pound severance tax. Inspired by the self-reliance, resourcefulness and optimism of our inshore fishermen, I suggested that taxes on our product be used to establish a local, sustainable source of revenue for a stewardship action fund dedicated to slowing the loss of fishery habitat.

As noted in the update to the book's second edition, "1998: New Players, Same Game," sportsmen in the mid-1990s benefited from a multimillion dollar national "fish crisis" campaign, which eerily failed to mention any negative impacts by the vast sportfishing industry. Amid that backdrop, well-heeled sportsmen demonized and outlawed nets, destroying some of the largest traditional food fisheries in the country, including Louisiana's.

Mr. Fritchey drew on his background as a commercial fisherman and his impressive skills as a researcher to put together this compelling story behind the story of the so-called "fish conservation" movement that's become so popular with the mass media today. In Wetland Riders he's exposed this blatant resource grab for what it really is; a well-coordinated and well-financed assault on the U.S. consumer's right to fisheries resources that belong to us all. From consumer to commercial fisherman to someone who enjoys the ambiance of coastal communities without boardwalks and amusement parks and tee shirt shops, if you have any connection to the seafood industry at all you owe it to yourself to read this book.

It's important to know before reading this book that Kate Chopin belonged to a no longer used genre called "Creole Writer". The Awakening is very much set in New Orleans and there is frequent use of French or it's Creole equivalents. Fortunately, this Norton Critical Edition provided translations and other explanatory information as footnotes to the text. These aids were much appreciated.

Chopin is not a great American writer. However, she is very good. The plot makes for a compelling read and the ending is a delightful surprise. But what really struck me about this book was how modern, how relevant the story is. Edna's identity crisis, if you'll allow me to call it that, reminded me of very much of Saul Bellow's novella, The Dangling Man.

Bottomline: This book isn't for everyone, but the discerning reader will enjoy it immensely.

I read this book when I accepted a challenge to be more aware of the authors I chose to read -- i.e., deliberately read more books by women, by minority authors, and by third-world authors.

A friend recommended five books by women, all of which I loved. "The Awakening" is a fascinating look at women's place in society at a point in time when things are beginning to change. The female characters in this novel are not two-dimensional, moving about in silent submission to oppressive patriarchal authority; rather, they are presented as individuals with thoughts, desires, feelings, etc. of their own. While by today's standards this is not a revolutionary idea, at the time Chopin was writing, it was rather novel.

This book, then, served as a fascinating glimpse into a world that is past -- a world that was on the brink of change. Even if this were not a gripping story in its own right (which, by all means, it is), "The Awakening" would be worth reading simply for this social-historical vision.

This edition of The Awakening is a beautifully compiled work. I found it incredibly insightful as I used it for research papers in high school and college. The essays and criticism from Chopin's era are priceless. It was so helpful to have those along with the text, they really gave insight one could not find elsewhere. The Awakening continues to be my favorite book, this my favorite edition. If you are going to write a paper on this book or Chopin there is no other book that will help you more.

Saralee says
The Awakening is a part of many required reading lists and is also a fashionable choice for book club discussions. Why is this novel that was written more than 100 years ago relevant today?

During the 1890s, if you were a part of the well to do Creoles of New Orleans you spent your summers at Grand Isle - a resort for those who could afford it. Edna Pontellier is there with her husband, their children and their servants. As the story opens, Pontellier is on the beach with Robert Lebrun and her husband is deciding whether to dine with his family or if it would be more socially beneficial for him to spend the evening at his club. We soon learn that appearances and social position are what matters most to Pontellier's husband and as long as she abides by those rules, she will get along just fine. When she decides not to abide by the rules, the story becomes interesting and the book significant.

Kate Chopin was one of the first to write about women outside of their mandated roles as satisfied domestic companions. She boldly wrote about what a woman feels like who discovers sexuality and independence and it was courageous for her to write this book. Pontellier was raised as a Presbyterian in Kentucky and it was on a whim that she married her husband who was part of the Creole Catholic establishment. Her character enjoyed taking risks but was heartbroken with the consequences.

What did you think about Pontellier's relationship with her children? Was she selfish or bold by putting her needs first? What do you think she did that offended society most? At what age should someone read this book? How did you feel about Pontellier's last act of defiance? Did her character win or lose? Why did this book end Chopin's promising career as a writer? I recommend reading a text of The Awakening that includes both the context and criticism. The context will help you understand what all of the French phrases mean and also explain Creole society and the background in which the story takes place.

Larry's language
The Awakening is all about Edna Pontellier and her moral, sensual and personal growth and development. This 1899 novel by Kate Chopin is very modern in its tone and in its honest treatment of human feelings and emotions. While proper society in the 1890s was still very Victorian in its outlook and pronouncements, its citizens were human to the core, as Pontellier demonstrates.

She is trapped in a dull marriage in New Orleans in a social climbing, status seeking family where - instead of summering in the Hamptons or a mountain retreat - she and her husband and their servants vacation at Grand Isle. Like a good husband in that society, he leaves Pontellier each week to return to the city to make money. While he is gone, she enjoys the company of the other families in a social setting where rigid rules govern the proper behavior and emotions that may be expressed regardless of true feelings.

Pontellier's social rules instead are far more like a modern country club environment where certain manners are demanded, at least in public, until the lights are low, drinks are flowing or the spouses are absent. For Pontellier, these rules rapidly give way to her expression of her inner desires and thoughts.

What are the boundaries for an individual and for a society in the expression of personal desires? Was Pontellier only lusting in her heart or did she actually sin? Morally, is there a difference? Do you think modern authors like Erica Jong or John Updike treat sensuality and marital rules differently than Chopin?

This was a shocking novel in 1899 but today Pontellier's turmoil and dilemma would be neither unusual nor frightening and perhaps that is why modern man and woman usually succeed in handling these situations in a far better way than Pontellier.

Kate Chopin's "The Awakening" is the classic novel about women that "Madame Bovary" purports to be but isn't. It's not just a "woman's" novel, though, it perfectly (and poetically) captures the inner life of a solitary person who is forced to live for the sake of others. And while this has been a distinctly female position for a large part of Western history, it is a position that can be identified with by just about anyone in our current age of employee internet-use monitoring. This is a twentieth-century tale of discomfort with and reaction to antagonistic surroundings. For those of us who don't feel the need to procreate in an overpopulated world, Edna's (and presumably Chopin's) discomfort with children will make sense. For those of us who may not always know exactly what we want out of life, this story will strike a chord.

Kate Chopin's writing is deliberate but not labored. She is particularly successful at depicting ambiguity in a way which is highly descriptive and communicative. This is a skill which I can't praise highly enough, and it culminates in an ending which is absolutely perfect. While criticism could be raised against "The Awakening" as another apology for the suicidal artist, Edna's literal and symbolic escape is less pretentious than Harry's in "Steppenwolfe," nor as indecipherable as that of any of Joyce's creations. Kate Chopin's novel is truly a classic in the sense that it should be a part of any survey of American literature. The Norton Critical edition is the best way to go, too, with helpful biographical information and literary criticism. If you want a more enriching experience with this novel, I'd highly recommend this version.

Don't be put off by the title. This is not a story with vampires, it is not a horror novel. It is a mystery, a mystery in the tradition of crime fiction. Among its more important elements are a mixed-race protagonist named Wesley Farrell. Here's a protagonist with an interesting attitude, a five-year-old mystery---a shotgun murder, an attractive setting---Louisiana and New Orleans in 1939, great pacing and strong writing.

I've been to New Orleans, though not as early as the time of this novel, and if this isn't quite the way it felt, smelled and tasted, it should have been. Skinner has nailed the look, the feel, the ambience that makes New Orleans a very exotic locale. This novel offers up plenty of heat, tension, a little sex, some brutality, and the constant fetid rot of crime and corruption.

In 1934, toward the end of prohibition, the Coast Guard is saddled with the almost impossible task of trying to keep alcohol out of the United States. One of its officers is gunned down in the streets of New Orleans, in a murder that almost ends Wesley Farrell's life. For Farrell, sometime bootlegger and thief, his brief presence in the life of Coast Guard Commander George Schofield, is problematical, especially to Farrell. Most of his associates, business and otherwise look askance at his association, however tenuous, with law enforcement.

Five years later, Schofield's brother comes to town to try to solve the homicide. He begins to turn over some rocks. His actions not only threaten to Farrell's illegal past but are troubling to Farrell's conscience. He'd liked Schofield during their brief, if violent association, and he was again bothered that he'd done little to find Schofield's killer.

Larded with fascinating under and over-world characters in and out of politics and law enforcement, the dialogue rings true, the settings are correct and the overall effect is just terrific. This is a fine novel.

If you're a fan of detective stories, don't miss this book.

Well-plotted, well-rounded characters, dynamite dialogue, a unique setting (New Orleans in the 1930s), Robert Skinner's BLOOD TO DRINK is an outstanding book and a genuinely pleasurable read. It packs quite a punch.

Wesley Farrell is at his deliciously tough best, gun wielding, knife slashing, lady kissing, put-the-bad-guys-in-the-ground.

The intricate plot of gangsters, cops, organized criminals, alluring women, and crooked politicians is surprisingly easy to follow. Only a writer of Skinner's obvious skill can pull something like this off so easily, so deftly. This is one well-crafted novel I highly recommend.

It is certainly nice to be able to visit New Orleans in the good ole, bad ole days.

BLOOD TO DRINK is another fine entry in the Wesley Farrell series. As ususal, Skinner's storytelling is strong and his characterization of Farrell grows more complex with each novel.

But what impresses me most is how Skinner actually makes you feel like you are in the 1930's or at least the 1930's as we like to imagine the era.

Mystery buff or history buff, you'll love this book and the rest of the series.

Robert Skinner has penned another Wesley Farrell mystery for his readers. Hardboiled mysteries are not my cuppa, but historical mysteries are, and since I missed out on reviewing his last title Daddy's Gone A-Hunting, I decided to grab this one up. Even though the storyline is a little stronger than I anticipated, I'm glad I did.

At the beginning, Mr. Skinner gives us a quote from Nathaniel Hawthorne's The House of Seven Gables, 1851: "God will give him blood to drink" -- and so goes the story. Wes Farrell's world is in the south; New Orleans to be exact. The former rumrunner now runs a nightclub. His sweetheart Savanna Beaulieu, back from a sabbatical, owns one in the French Quarter, but she only has a small part in this mystery. The prologue takes us to September 23, 1934, when Louis Bras and his Hot Six Combo were raising the roof at the Honey Pot. Wes thinks he's minding his own business until a Coast Guard Lt. Commander George Schofield shows up looking for an anonymous informant. The night leads to a deadly conclusion, one that will come back to haunt Wes five years later. 1939: A T-agent (Treasury agent) by the same name of Schofield shows up asking questions about George Schofield in an attempt to get some answers to that night in `34. The T-agent doesn't know Wes was with his brother that night, so Wes is in the clear, except that he wants answers of his own. At the same time, an undercover cop is killed and Chief of Detectives Frank Casey, Detective Sam Andres and Negro Squad Detectives Merlin Gautier and Sergeant Israel Daggett take to the streets looking for the killer or killers.

In Blood to Drink, the reader will know who the killers are. The mystery to solve is: whom is the bone chilling, threatening voice that gives the orders. Wes Farrell mysteries are highly seasoned, suspenseful reads to begin with, but with bad guys like Mercer and Zottie it becomes an even more demanding read. The author, Robert Skinner, is talented in his ability to bring the south, during the thirties, to life. With a stroke of his pen, he creates an intoxicating atmosphere of inestimable, dynamic characters so rich in dialect and life that they ascend from his inscribed print. It isn't just a mystery; it's one of the most provocative paintings of the south I have read in a while.

In the thirties, it was easier to be white than black, so Wes Farrell, half Irish and half African-American pretended to be 100 percent Caucasian. During prohibition, Wes made a fortune as a rumrunner. Wes invested his earnings into legitimate enterprises like nightclubs and commercial properties. Just before the official end to prohibition made his occupation obsolete, a fight broke out in a club where he was drinking. Wes and a sailor managed to escape before the police arrived. His companion Commander George Schofield gives Wes a lift, but someone kills the Coast Guard officer. Wes flees the scene before the police can question him.

Five years later, Scholfield's brother, a T-Man, arrives on the scene to question Wes. He wants to learn the identity of the informant his sibling was going to meet on that fatal day. Feeling a bit guilty, Wes decides to help the treasury agent. They quickly learn that a Coast Guard employee was providing information to powerful gangs. Wes intends to uncover the identity of the double-crosser if he is not killed in the process of his investigation.

The fourth Wes Farrell tale, BLOOD TO DRINK, is the best novel yet in what is a fabulous historical mystery series. The plot is filled with 1930s regional atmosphere that provides the reader with a glimpse of the lives of Blacks during the Depression as well as a look at the seamier side of the era. With previous tales likes SKIN DEEP, BLOOD RED, CAT-EYED TROUBLE, and now this one, Robert Skinner shows he is a talented storyteller who makes history sing inside top rate crime fiction.

Harriet Klausner

The Brothers is a coherent and compelling series of autobiographical narratives, alternating among Art, Charles, Aaron, and Cyril. These perspectives are a valuable record of collective memory, as well as moving individual journeys. American culture from the late 1930s to the close of century informs and drives these voices: here is camaraderie and racism, love and alienation, spirituality and hedonism, cruelty and tenderness, peace and rage, cocky determination and chilling fear, triumph and despair--all related with a palpable frankness. Those of us born in the 30s and 40s will find parts of ourselves here; those born later will see how true it is that "past is present." Lovers of jazz, blues, early rock'roll, funk and r&b, and New Orleans rhythms will revel in the stories of contacts with the "greats." The street language may put off some readers. With all respect to those readers, I suggest their tolerance. It is no small thing that those who struggle with personal demons may find a light to their paths between the covers of this book. Over 300 pages, family photos, discographies, and an index.

This autobiography is actually a quartet of autobiographies as the essence of each of the four Neville brothers come alive in this book. The non-fiction focuses on the individual personalities, their personal take on music including their solo careers and group performances and recordings. It also Includes their evaluation of the last four decades of music especially in New Orleans and their personal trials and tribulations.

All this marks this non-fiction, as several cuts above the typical wave of rock and roll biographies that seem like perfect flavors of the month. Instead this tome provides a "Tell It Like It Is" feel that fans of the New Orleans sound will enjoy. Anyone who reads THE BROTHERS NEVILLE will seek other works by master music biographer David Ritz (see his works on Ray Charles, Marvin Gaye, and Aretha Franklin, etc.) as this reviewer plans to do.

Harriet Klausner

The Brothers is a extraordinary look at how music and culture nurture us and redeem us. The power of this book lies in the unashamed honesty of the Neville Brothers and the wisdom and confidence of the author to allow the brothers to tell their own story. Unencumbered by analysis or author's comments, the brothers simply present their stories while the author ties the threads together to show how the Neville brothers as individuals worked through their personal problems and came together as a family and a musical group. There is no other book that means more to me than The Brothers. Their story has helped me to make sense of my own journey as an American journalist and music critic living and working on the island of Trinidad in the West Indies.

David Ritz has helped many rhythm and blues musicians write their autobiographies, including Ray Charles, B. B. King, Marvin Gaye, Etta James, and Aretha Franklin. The characteristics that these books share is the sense that the subject is writing directly to you as you read, and that the bad times as well as the good times are revealed. If you are a fan of the musician, you feel like you have a better understanding of them once you've read the book Ritz helped them write.

The Neville Brothers' story must have been complicated to organize because there are 4 Neville Brothers, Art, Charles, Aaron and Cyrille. They tell their stories simultaneously, a paragraph or two by one brother and then a paragraph or two by another and so on. The story they tell is fascinating and often horrific! Violence, drug abuse, crazy characters, prison terms and danger fill virtually every page. These are fascinating lives to read about, but I wouldn't want to live them! Aaron and Charles seem to be the most forthcoming and the most sympathetic of the brothers. If you love Neville Brothers' music, you'll want to own this book!

THe Neville Brothers are a very solid unit.Great talents.this book takes them not only as a Group but also as People with feelings&outlooks.David Ritz does a Great job of doing books.always Interesting reads.this is a very complete book.long overdue on these greats.but better late than never.

Meet Ollie Ewin, the young Irish carpenter who narrates this book. Ollie is a troubled lad, who has hallucinations during the day and cannot sleep because of his nightmares. We first meet him as a lowly clerk in a supermarket and are made part of the terrifying past that haunts him. But the details are never spelled out and one can only guess at the outlines. Then Ollie goes to London and the whole story congeals and unfolds. Ollie blames himself for some of the terrible things that happened that time in London while he is unable to understand the others. He is caught in a swamp of vicious crime and it slowly drowns him. The story escalates until it ends in a nasty persiflage of justice.

First of all, the author shows courage in starting a book with events that make little sense, trusting that the reader will not give up on him. Secondly, he shows incredible imagination in placing us into the tortured soul of this young man and succeeding in making us feel it. And, in addition, the language is superb.

This is a must-read!

The voice of Ollie Ewing in Sudden Times is haunting, terrifying. With morbid curiosity and creeping anxiety,the reader follows Ollie's dark journey and witnesses his psychological disintegration.

This is not a novel that I would recommend because I "liked" it; it is a novel that is uniquely constructed and well deserving of recognition. Take a risk. Lock your door. Read Sudden Times....

Stunning in its raw power, this novel, unlike many other Irish novels, draws its power from its simplicity, rather than from lush description or the accumulation of details. Stripping language to the bare bones here, Dermot Healy draws the reader, without embellishment, directly into the confused mind of the main character, a carpenter named Ollie Ewing.

Ollie has just returned to Sligo, almost mute with shock from unspoken, terrible events which have befallen him while in London, where he has been working as a day laborer on construction sites. The narrative shifts back and forth in time and location, revealing Ollie's paranoia through flashbacks, brief scenes, and dialogue, which sometimes seem to have no context other than their revelation of his suffering. He is clearly trying to hang on to his sanity--and is only marginally successful--as he talks to the reader in quiet, almost confessional tones. Using unadorned, simple language, he describes things he sees that are not there and voices that no one else can hear. Never wasting a word, his earnest narrative forces the reader to share his thoughts while interpreting his state of mind.

Gradually, the reader learns of Ollie's almost paralyzing experiences in London, where he lived with a friend, Marty Kilgallon, in a trailer at an old construction site. Through Marty, Ollie learns firsthand about the protection rackets and extortion on construction sites, the common use of murder as a weapon of enforcement, and the unsympathetic judicial system. When his friend disappears and does not return for six weeks, Ollie gets caught in a whirlwind of violence and learns the true meaning of hell.

By the time he returns to Sligo, he has come to believe that there is a "glass sprinkler" machine, operating at night, which sprinkles glass over the streets of London, that the flecks in people's eyes are aliens, and that his own image in a mirror is someone imitating him. Though Healy's style is often difficult to follow, as the reader tries to piece together the events that are responsible for Ollie's current state of mind, Healy's use of detail is stunning. Casually inserted, bizarre observations about common aspects of life help create Ollie's inner life and illustrate his existential helplessness. The essential unfairness life, the power of chance, and Ollie's victimization catch the reader in a whirlwind of emotions, and his plaintive voice, crying out from all this, is unforgettable. Mary Whipple

Dermot Healy is amazingly talented. I have now read three books by him - 'The Bend for Home', 'Sudden Times' and 'A Goats Song' (still my favorite of the three). Each time I read him, I am stunned by how, well - perfect - his writing is. His characters tend to have lost thier minds (madness, drink, drugs,or some combination), and the line between what's 'real' in the novel and what the character is hallucinating is never clear. Why do they go about things the way they do? Well, because people do... Like many of Angela Carter's creations, Healy's characters are appealing and attractive, yet at the same time annoying and almost repulsive... In the end, the reader is offered no explanation of what went on - if the character himself doesn't know, how can he explain it to US? He told it to us the best he knew how, anyway. The books have some very undefineable beauty to them. I don't understand why Dermot Healy is not more widely recognised than he is.

One of the best books I have read this year is Jeffrey Lent's "In the Fall". So when I read the appraisal of this Author's work not only by Mr. Jeffrey Lent, but Roddy Doyle, and others, I thought the chance I was taking on an Author new to me was minimal. The man who wrote this book, Mr. Dermot Healy, has produced a work that will be on any short list of favorites from 2000 I will have. This book is unique and unconventional it is extraordinary. Some of the commercial commentators felt the need to go beyond what the jacket provides, and into events in the book. That decision was unnecessary, but thankfully it in no way detracts from the book. There are no simple explanations for this work, and were the story line known to you, because of the way Mr. Healy delivers his tale, little would be lost. This is a book that can be read and read again.

The book is written in the first person and that is about the only conventional aspect of it. The book is laid out in an eclectic manner. Actually it is presented in a bewildering pattern less structure that initially left me lost. Going back and reading a passage again does not help, because the subject of the book is lost, and the Author puts to paper the thoughts of what a person in the various frames of mind this individual goes through, would look like were thoughts visible. Once you get in step with the Author and his character everything makes sense, what seemed random is not, what was seemingly fragmented becomes perfectly assembled. This book does not say what it is like to feel a certain emotion; it causes the reader to feel as though he or she was experiencing the events themselves. The feeling when the book is read goes beyond the vicarious to something more akin to immersion.

The Author then demonstrates how masterfully and with what range he can craft language, how versatile he is, when, toward the end he lays down courtroom conflict between defense counsel and witnesses that is as well done as any such exchanges I have read. The dialogue is sharp, terse, and delivered in a hyperactive exchange. The Author demonstrates with ease what so many crime story pretenders struggle to produce and generally fail.

The book is brilliant, the Author a writer of incredible range, and he offers a reading experience you will not forget, and one that you will be hard pressed to repeat.

This is a new and exciting book with colorful characters! I hope this is the beginning of an adventure with Adam. Randy Haynes has the ability to bring the characters to life. This reader wants to have more!

This is an excellent mystery that introduces a new hero, who I hope will appear in a series of books. The atmosphere will draw you in. I am looking forward to the next book.

It took W. Randy Haynes five years to write his first mystery, but the effort was worth it. The first time "out of the gate," as he says, he garnered a selection as a finalist for the prestigious 2006 Lambda Literary Award. Haynes is a disabled Vietnam vet who found time on his hands during the long Lake Tahoe winters. But Haynes is originally a Texan, and graduated from the University of Texas at Austin. He is also a member of the Cherokees of California and started up
a Unitarian Universalist Fellowship in Lake Tahoe. He is presently working
on a sequel to CAJUN SNUFF.

Special Agent Adam Stephen is inexplicably tapped by his somewhat boorish boss to investigate the mutilation murder of a U.S. Congressman who happens to be Black. On his way to New Orleans, Adam meets up with a woman named Adaline Fontenot, a widow from New Orleans, who not only opens doors for him during his investigation, but who will change his life forever:
"'Mr. Herndon? I'm Adam Stephen. I really appreciate your talking to me."

Adam handed over the letter of introduction.

'Come in.' The man unlocked the office door and turned on the lights. The office was unsophisticated but functional. Herndon took a seat behind the desk and motioned for Adam to sit in a chair. 'So, you're a friend of Ms. Fontenot, huh? How did you get so highly connected?'

'It was an accident. We met on a flight to New Orleans, and I've visited her home since. She's well-known in the state?'

'You could say that. Ada is the power behind the progressive politics here in Louisiana. She prefers to work behind the scenes and avoids publicity.'"

CAJUN SNUFF is an understated, yet passionate whodunit that is character-driven and examines the politics of the South and the attempt by right-wing zealots to take over our country. Adam Stephen is a dreamboat of a character who is both as spicy as New Orleans and, at the same time, is vulnerable and strong. When Adam meets up with Homer, a neurotic bloodhound with separation anxiety, Haynes injects just the right amount of humor to enliven and lighten the tale. But Adam and Homer bond, Adam saves the day, and Haynes sees fit to give us a reverse ending. CAJUN SNUFF is extremely well done and is a great little tale full of intrigue and local color.

Shelley Glodowski
Senior Reviewer

Having been raised on a bayou in Louisiana, gone to school in Lafayette and lived in New Orleans for 22 years I found Mr. Haynes book fascinating, imaginative and insightful of the darker side of Louisiana Politics, criminal aspects plus the goodness of Southern hospitality. The characters are from every aspect of life in Louisiana, from down home country people through the flamboyant Gallery owner to the bigots, criminals and every other group that populates the landscape.

This is a great murder mystery with many twists and turns. The descriptions of the locations are wonderful with great details. I am looking forward to the next book with Adam Stephens.

I can only hope that this is the first of many mysteries to be produced by Mr. Haynes. The lead character Adam Tyler Stephen is a fascinating blend of sleuth, hard-nose FBI agent, and a sexy single gay guy. He solves the mystery of the murder of a Congressman, and in the process upsets most of officialdom in Washington, at FBI headquarters, New Orleans, and the Louisana bayous. In the process, he befriends the doyen of New Orlean's Garden District, a sassy FBI secretary, an aged butler, and a college age gay kid who is allegedly a Neo-Nazi. Needless to say, the convoluted plot keeps the reader guessing until the very last few pages.

The character development of Adam is such that he could theoretically become a new gay super slueth if his creator decides to make him such. I can only hope that there are more stories for Adam in Mr. Haynes imagination.

It is like he interviewed my grandparents. This book is incredibly accurate and covers the most dynamic period of the Cajun history. This book should be mandatory reading for young people from this area. His coverage of the old perceptions regarding the Cajun people are particularly humorous and his arguments for the dilution of the French traditions well stated. Informative read.

The Cajun people have long been a subject of curiosity, and much has been written about their unique past. Since their existence, Cajuns have been studied by historians and romanticized by poets; however, there has been a dearth of serious historical work focusing on the recent transformation of their identity. Primarily a 20th century phenomenon for Cajuns, Americanization (the process by which a group or sub-culture becomes assimilated into the larger American identity) is the focal point of Bernard's The Cajuns.

Save for the introduction, which provides a quick historical overview of the Cajuns and perceptions of them through their existence, Bernard's tome consistently pairs each chapter to a corresponding decade, allowing the reader to follow the process of Cajun Americanization in a chronological fashion. Starting in the 1940s, chapter one discusses the effects of World War II on Cajuns in the military as well as those who remained back home. The decade of the 1950s, along with the cold war and global politics, and how these events affected Cajuns, makes up chapter two. In chapter three, the turbulent 1960s brings to light the changing mores and nationwide cultural shifts that Cajuns had to deal with, and how they were transformed by these changes. Chapter four reveals how Cajuns began to take back their identity in the 1970s through a number of initiatives. Finally, revitalization, expansion and exploitation of the culture and the resulting backlash in the 1980s and 1990s is explored in chapter five.

Bernard's examples of Americanization are numerous, stark and, in some cases, disturbing. Mostly isolated for around 200 years, the Cajuns enjoyed relative exclusion from the evolving American ethos. Indeed, early Acadian settlers into the Louisiana territory, whose descendants would later become Cajuns, had settled the prairies and bayous of modern day Louisiana even before it became part of the United States. And while one might presume that the 1803 purchase of the Louisiana Territory by the United States was the beginning of the Americanization process, Bernard's research points to the events of the 20th century, fueled by war and the acceleration of technology, as the paramount period of the culture's alteration.

While technological advances such as rural electrification, the automobile, and television provided a vehicle for the Americanization process, the seminal event that fostered Americanization of the Cajuns was World War II. Young Cajun G.I.s returned to their homes in South Louisiana with a new found awareness of the world. Some of these "world-wise" Cajuns began to pursue formal education, start businesses, and participate in politics.

Nonetheless, many Cajuns had no such opportunities, and for them, Americanization was an assault on their identity. The very language they spoke became a target, as evidenced by public school efforts to intimidate Cajun French speaking students into learning and speaking English. Techniques such as spanking, humiliation and writing of lines were used in order to coerce children to abandon their native tongue and learn the lingua franca of a unified America. (My own father experienced such methods upon first attending public school in 1951.) The result of this attempted eradication of the Cajuns' language was that the affected generation became ashamed to speak their first language, and was reticent to pass this gift to their children.

It should be noted that not every aspect of Americanization was brought about through coercion, however. Cajuns have readily accepted the economic advantages of becoming members of the American middle and upper class. Like their contemporaries in other parts of the United States, Cajuns drive SUVs and luxury cars, have mortgages, pay taxes, and invest in the stock market. From every external perception, they have become American. Yet in spite of this noticeable transformation, modern Cajuns have managed to negotiate a place for themselves in American society by maintaining cultural activities that project their inherent identity. Music, cuisine, religion and other institutions are the outlets used today to remind the world (and ironically, themselves) that they are still Cajun.

The reader will find, as I have, that Bernard's work is a unique prism from which to view contemporary Cajuns. No longer stereotyped as illiterate and poor French speaking people of bayous or prairies, Cajuns of the modern world are a composition of English and/or French speakers with surnames ranging from Arceneaux to Zerangue. And even while some may manifest no outward sign of their heritage, they are no less Cajun than a Vietnamese in Hanoi or a Chinese in Shanghai. Only time will tell if subsequent generations of Cajuns will keep at bay the ever-increasing tide of homogenous American culture, or be overcome by its powerful waves.

This book changed my life! Mr. Bernard does a great job of putting the culture in perspective. His history is accurate, interesting and inspiring. As a full blooded cajun, living outside of Louisiana, this book really hit home. I'm convinced I must return and learn the cajun french language and encourage the rest of the younger people in my family to do the same. Thanks for a great book.

When I first purchased Mr. Bernard's book, "The Cajuns: Americanization Of A People," I initially expected it to be a summary of the last few decades covering every festival, pilgrimmage to Nova Scotia, and Edwin Edwards. In other words, I expected it to be just like a lot of other things labeled Cajun these days: commercial. Although Edwards and Nova Scotia are covered in good detail, this book is anything but commercial. In fact, it can be utterly depressing at times.

When reading the book, one is introduced to a time period for Cajuns that is often glazed over or not even mentioned in Louisiana's colorful history. Most folks are told when the Cajuns landed in Louisiana and how the popularity of their food and "culture" brings loads of tourists and their money to the state. What we aren't told is how prejudice and hate almost forced this group into oblivion. Fortunately for us, this book brings these problems into focus.

To know that fellow countrymen ridiculed the Cajun soldiers for their weak English skills and considered them dumb isn't very good news. Things get bleaker as the decades pass. We are told how children are punished at school because they are speaking Cajun-French instead of English. We are given examples from prominent newspapers and other media in which Cajuns are considered backward, ignorant, stubborn, etc. We learn about the struggle over the term, "coonass," and how many people wear it as a badge of honor whereas others hate it entirely. We are told of how Cajuns are coupled with New Orleans, though New Orleans is one of the least Cajun places in Louisiana. Not only that, but it seems that Canadians and the French, with misguided good intentions, also looked down on Cajuns for their "broken" French language and attempted to repair it and give them a proper culture by introducing Parisian French in the classroom via CODOFIL.

Ah yes, CODOFIL, if you aren't aware of them, you'll know quite a bit about them by the end of this book. Bernard hammers them pretty hard(justifiably) for their early actions in trying to "save" the Cajun culture. He also praises them for their actions in the 1990's. What really amazed me about this group in particular is that they merely asked for an apology from the English for exiling the Cajuns to Canada instead of attempting to sucker reparations out of the British government. Kudos to CODOFIL for taking the high road on that one.

Bernard's book isn't entirely bleak. He does mention many of the contributions that Cajuns have made to society. He tells us how many Cajuns served as translators during WWII. He talks about the colorful and crooked Edwin Edwards and how he used his "Cajun Power" to ultimately become governor of Louisiana. We learn about Zachary Richard, an amazing artist and a rebel. Dewey Balfa, Barry Ancelet, and numerous others are introduced to the reader as positive influences on society.

Although I haven't stated it yet, I am a Cajun. I grew up on the fringes of Acadiana in Allen Parish. I was brought up Baptist(I became Catholic in 2000), can't speak enough French(Cajun or Parisian) to save my life, and yet I have come face-to-face with some of the prejudices that Bernard mentions in his book(though not nearly as extreme as those before me). I've been called a "dumb coonass" before, even though I kept a 4.0 GPA throughout high school and graduated with honors from McNeese State University in Lake Charles, LA with a degree in Mass Communication. I was also referred to as "one of those Frenchmen" when I worked in Beauregard parish for awhile. At a technical training class in Dallas, TX, I was amazed at how I became a sort of spectacle to the rest of the guys in my group. They were amazed that I ate crawfish and could say a few cusswords in French. When we all went out together, I always managed to sit at the "ethnic" end of the table with the black guy, the Navajo guy, the Mexican guy, and the Spanish guy from Texas(He was very aggressive in letting everyone know that he wasn't Mexican). In essence, I was considered a minority by the group as a whole. It's funny how having an "un-American" accent can make one feel like an outsider. I didn't hate anybody for considering me an ethnic. Heck, I enjoyed it because I was the center of attention. I've been barraged by questions about gumbo, accordians, the Rayne Frog Festival, and even pet alligators! In other words, I have stared into the face of commercial Cajunism all over the United States. I've also come into contact with people who try very hard to distance themselves from their heritage in an attempt to seem more intelligent or better than their Cajun roots.

Being a Cajun is something that any man, woman, or child should take pride in. Granted, these days most of us probably listen to Top 40 radio or gangsta rap more than the Balfa Brothers or BeauSoleil, and we can't speak French very well, but we are still Cajun deep inside. I am proud of and love my heritage and this book solidifies that pride and love.

Highly recommended to folks who aren't Cajun and mandatory reading for those who are. This book is important for those of us who don't want to see our heritage die.

In the 1940s, WASP schoolteachers across Louisiana were corporally punishing any students caught speaking Cajun French. Even though Cajun was the first language for most children, it was viewed as an impedement to progress that had to be weeded out of the state. By the 1990s, French natives recruited to teach in LA schools were told not to refer to Parisien French as "proper French," because this might imply that Cajun French was incorrect or wrong.
To explain the shift, Cajun author Shane K. Bernard leads his readers through decades of Cajun history, from WW2 to the present. At one end of his extensive book, LA's uniqueness is dissolving to homogenized America. Child actor Keith Thibedoux, who played Little Ricky on I Love Lucy, was so unaware of his heritage that he could only shrug when asked if he was Cajun. At the other end of the book, LA is in the midst of Francofete, a year-long, state-wide celebrationof French heritage, even as many LA residents were fast losing interest in preserving Cajun culture. "Where Did All the Cajuns Go?" one local newspaper asked.
Bernard examines how Louisiana Cajuns were impacted by national events by the Red Scare, local events like the completion of their state's stretch of Interstate 10, and the exploitation of their culture (Popeye's, for example, has done more to commercialize Cajun food than any other resteraunt). By the end of the book, Bernard's Louisiana readers must look in the mirror to find out where their state's Cajun, culture, and language are disappearing to.

I gave my hair stylist a copy of Kay Moser's "Celebration!" for Christmas because reading that novel totally changed the way I look at life.
I just went to get my hair cut, and my hair stylist said the following things:

"I just want you to know that I think Kay Moser is the best writer I've ever read. I just finished reading 'Celebration!' and I've never read a book that meant so much to me. I could not quit reading it. I read late into the night; I read in the car; my whole family kept saying, 'what's wrong with you? You never read a book!' As I got toward the end, I kept noticing how few pages were left, and I just couldn't stand it. 'I don't want this book to be over!' I kept saying. 'I don't want to leave these characters. I can't stand for this book to end.'"

When I asked my hair stylist to comment on what the book had communicated to her, she responded,
"I never thought about everybody having a story that explains why they have become what they've become. I never realized how much choice I have and how much my choices decide my life."

As I handed my stylist a check, her eyes suddenly flooded with tears, and she whispered, "I am that woman in 'Celebration!' I really am Rachel! I need to make some changes in my life. This book hit me so hard; I've got to re-read it. You know, the author was so kind to me in that book. Over and over she took me to the edge, to the point that I thought I would drown, but then she gently pulled me back from the edge. I needed to almost drown in order to finally hear the truth. Thank you for giving me that novel!"

When I got home, I wanted to know more about Kay Moser. I did an online search and found www.kaymoser.com. I'm glad I did! I e-mailed her, and she answered!

I thought this book was wonderful. It really shows all of the right qualities a book should have. I think that anyone that wants to read a good book should grab this off a shelf. It really re-lights that flame for God.

My Mom introduced me to Kay Moser, and I just loved this book. It is such a meaningful and powerful story. I would highly recommend it.

I couldn't put this book down. It's the first novel I've ever read that was both entertaining and healing. It's the story of Rachel, a woman who is terribly successful so she thinks she's worthy. When she loses everything, she feels worthless, but as the novel continues, she learns the true sources of her worth. This book really helped me deal with some issues of worth I have been struggling with. Read this book! You will be entertained and changed for the better. Give this book to your friends! They will thank you.

At first, I read the first 20 pages, and put the book down, thinking it was a just a depressing, domestic abuse book. My uncle told me to try again, as it was not about that at all. He was entirly correct!! It was the first book that I read in 2 nights in my entire life. You will view the world and yourself differently after reading this book. Where is Kay Moser now, and why isn't she writing more books???

This is a terrific historical book without getting so factual that it gets boring. It keeps you interest in every chapter.

I bought this to learn more about my family's heritage.

Seems as though I already KNEW a lot that this book didn't even touch on.

Still is a worthwhile reference. I was torn between giving it 3 or 4 stars. It isn't a 5 star book as it could use some help with flow and there is a lot of salient points that just wasn't included. However a lot of information is presented here...to give substance to the fact that Creole is a culture, a heritage. That alone gives it merit.

Creole provides an invaluable history of Louisiana's Creole people, examining the ethnic roots of the Creoles and their mixed descent, analyzing their history and contributions, and helping define their ethnic heritage. From the use of Creole in language and literature to popular individuals of color, this provides a fine coverage.

I am delighted to find that my academic peers of creole decent have endeavored to put together our past in such a marvelous way. I have spent many hours in the New Orleans Public Library and have visited the Armistead Center but have never had the time to sit down and put all the information together so that I could start to compare the fact to the stories that were passed on to me about my ancestors. Being light skinned black with a french maiden name, I am often questioned as to my family background. My grandmother and mother's stories and my own experiences often amaze people as to how rich my background is. Now I have a book to pass on to my children as well as stories of my past. In an age of reams of wirtings about the diversity of America, I now have a book to pass on to them about my own diverse past - my creole legacy. Thank you Sybil Kein and company!

This book of essays is absolutely the best resource on the Creole heritage of Louisiana. The history is priceless and my hat goes off to Dr. Kein for compiling such a group of scholars and historians who have covered every aspect of the subject. I have many books and have done much research since the late eighties as part of my research on African American history. This book has been a long time in coming. I thank Anthony Barthelemy for his essay "Light, Bright, Damn Near White" which answered my questions of the infamous Susie Guillory case, the woman who "discovered" she was considered "Colored" when she went to get a passport in the 80s. I always wondered what they true story was and now I know. I enjoued learning about Marcus Chritian through violet Harrington Byan's essay exposing his research on Creoles. All of the essays are worth reading and referring to again and again. Composers of color of Nineteenth-Century New Orleans was an eye-opener. I had heard about them but found very little information until this. The essay by Joan Martin on placage answered alot of questions for me of why and will be helpful for my friend who is writing a thesis on Creole women and the institution of placage. Oh, and Sybil Kein's "The Use of Louisiana Creole in Southern Literature" was worth the whole book. This essay brought home full circle of my studies of some of the writers who have written about literature, race, and passing. I could go on and on. Creole Poets, their professions and trades, the food connection. It is all wonderful. I count this book as one of my best investments for 2000 with the wealth of knowledge in it. This should be in the library of every American historian, black, white, or other.

This is an excellent book, a long awaited and much needed factual account of a group of courageous men whose activism had major impact on the movement. Hill has produced a wealth of documentation to prove the history he has brought to the fore.
This account does tribute to those brave and unsung (heretofore)
heroes who refused to further degrade themselves and thier communities by turning the other cheek! Must reading.

This book kept me up reading all night. I had in the past heard that their had been a group that pre dated The Black Panther Party, and were operating in the deep south. However there was not much information on this clandestine group. Well there is now. This is the book. My chest burst with pride as the tears fell down my cheeks. If you read nothing else this year please read this book if you want to know what our people were really doing during the "movement". The media had been lying to us about our role in our own history! This book is about us!

excellent coverage of a little-known but very important part of the civil rights movement. if you're tired of the conventional view of the crm with everyone on their knees praying, this book is for you.

An important corrective to the nonviolence theme that domninates most histories of the Civil Rights Movement. The Deacons were mostly home grown Black Veterans from working class neighborhoods in small southern towns like Bogalusa and Jonesboro Louisianna. When the Klan and Police beat on civil rights workers and local protestors the Deacons fought back. In July 1965 when a mob of whites attacked a group of civil rights, mostly children, marchers in Bogalusa a Deacon shot a Klan member sending him to hospital. This incident had a profound impact on the response to Black demands for equal rights in Lousianna. Finally, the White Establishment began to make changes that led to a better life for Louisianna's Blacks. Professor Hill's(History, Tulane Univesity) book is full of such incidents and proves that the Deaon's impact on the souhtern Civil Rights struggle must not be overlooked.

you have to speak the language of the wolf." - Henry Austin, Deacons for Defense

This is truly a lost history of the civil rights movement that author Lance Hill has found under the layers upon layers of mainstream narratives which conveniently dictate false truths that - when repeated enough - become larger than life.

Following the organized self-defense philosophy espoused by Robert F. Williams in Monroe, N.C., a small group of men in Jonesboro, Louisiana, founded an organization that had great influence in the civil rights movement of the mid-1960s. The success the Deacons had in defeating the KKK and other haters on the streets by standing up, moving forward and staring them down with guns loaded brought a new sense of empowerment in demanding that justice truly be served today.

Hill explains how he became aware of the Deacons and then began his quest to research the history. Initially founded to protect civil rights workers, the Deacons' influence in the Deep South grew with a regional organizing campaign in Louisiana, Mississippi and Alabama, along with chapters being founded in several Northern cities.

The success and expansion of the program brought interest from the FBI, coverage by an oftentimes adverse media and linkage - oftenetimes quite temporary - with a number of revolutionary organizations.

But through the comparatively brief time the Deacons operated - about four years - Hill successfully argues that the organization forced the federal government to aggressively enforce the 1964 Civil Rights Act and was the bridge to the Black Power movement that emerged later in the decade.

The Deacons' legacy continues, as former members have strongly stated over the years that the group has never actually gone away. And, as Hill writes, "Finally, there is something inspiring in a story of people who stood up to injustice when everyone around them was afraid. That is a fable that will always serve us well."

The Deacons for Defense lives in the souls of those who do their part on a daily basis to bring real justice to this country.