Georgia Books

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.

This book is insightful, entertaining, and can connect with people of all faiths. I had a hard time putting this book down, as it makes you not want to get off of the roller-coaster ride of soul-searching and suprises.

I loved this book. It offers an illuminating glimpse into wildly different sects of Christianity - from mainstream to little-known sects you couldn't have invented if you tried. Ben Cohen took a bold and controversial journey into the Christian Bible Belt to better understand himself, and that moxie is just as apparent in his lucidly and humorously written retelling of his journey.

The message of My Jesus Year is that there is a spiritual intersection of all religions - that all religions have unique ways to tap into the souls of their followers. And that there is no reason why we can't all learn from each other to strengthen our own unique beliefs and styles of worship.

My Jesus Year has a body full of humor, intrigue, and fascinating tidbits - and a soul full of charm.

Some of the best recent books on faith and spirituality are from "outsiders." Secular scientist E.O. Wilson wrote "The Creation: An Appeal to Save Life on Earth," atheist Hemant Mehta wrote "I Sold My Soul on eBay: Viewing Faith through an Atheist's Eyes," and, let's face it, Anne Lamott's popular persona is built on her outsider status.

It's in that spirit that I strongly recommend Benyamin Cohen's "My Jesus Year."

He's funny. I mean, he's Anne Lamott funny. And, he's friendly as he's having fun with others and with himself. You'll find yourself chuckling as he describes trying to slip into an enormous Pentecostal megachurch to learn what's drawing thousands upon thousands of Americans to these venues.

This "five-foot-two bespectacled Jewish kid in a mosh pit of faith" suddenly discovers that the church's video crews have zeroed in on his face and he's shocked to discover: "My Jewish face on Jesus' JumboTron for all to see! Oh, God, forgive me."

We learn a lot about Benyamin's Jewish life, his family life, his vignettes from this year-long Christian pilgrimage and, in the end, his conclusions about faith in America.

In closing, he writes a pitch-perfect summary of how millions of young Americans see our national smorgasbord of faith: "Despite the gospel choirs and Christian rockers, despite the baptismal baths and Christmas trees, despite the wine, wafers, and confessional booths, and even despite our theological and philosophical differences, there is a deeper thread running throughout. There are many roads leading to spiritual maturity and even to God Himself, and all of us have to find our own way."

This is an important new voice. His journey is fun to follow and, when it's done, you'll begin to realize that many of us feel like spiritual outsiders today, looking in on houses of worship and wondering how we might fit inside.

This is more than a story of a Holocaust survivor, it is a story of one man's personal trimuph. In this brutally honest and open autobiography the author decribes his peaceful childhood that was shattered by the Holocaust. Although a portion of the book describes his life, and death of most of his family, during the Holocaust, the second half of the book is a psychological drauma of how this young man rebuilds his life against more improbable odds. After he survives near certain death in the concentration camps his losses continue to mount. The author brings the reader into his psyche when he decribes pivitol decisions: whether to kill his abusive concentration camp guard when given the opportunity, to live with his father after the war or seek out an education, or to marry into wealth but loose control over his destiny. Although I would recommend this book to any person interested in Holocaust history or Jewish Studies, I think my recommendation goes beyound that limited group. This is a book that most mature high school students should read but I can recommend it to any adult who wants to know how one young man rebuilt his life after loosing everything, then loosing more.

I was fortunate enough to get a prerelease copy of this book before it hit the streets. Some people wanted to know what I thought about it because I have an interest in identity issues. I really liked it. It's a very honest treatment given the series of events that the author describes. The author contrasts different times of his life in relation to the atrocities that occurred in Hitlerite Germany. I don't think that you have to have a pronounced interest in Judaism to appreciate the depth of pain and suffering that happened during this time in history or to this man in particular. Though, if you do or if you're in interested in human rights issues, there's an additional benefit associated with it. The net result is that this book gives a very real human face to a very real human tragedy that now seems foreign to most. Though the barbarism of the Nazis is unsettling at times, it's worth the read. The truth often hurts. Maybe it should because that way you can learn from it. Good stuff.

This is a magnificent book. It tells the story of a special place and the people who live there. Southern Crackers are often maligned for ignorance and bigotry, but the people observed and recorded here deserve great credit for understanding the natural beauty of their surroundings and for creating a lifestyle that used what nature offered without abusing it. Fortunately, Francis Harper, the naturalist and the author, took a lifelong interest in the Okefenokee. Thanks to him, the Okefenokee National Wildlife Refuge is protected and available for all of us to appreciate, and thanks to this book, we can appreciate the people who lived in and around the swamp back in the days before strip malls, chain stores, communication gadgets and other intrusions. You do not have to be a naturalist to enjoy this beautiful book. If you read it, you will have a much greater understanding of a very special place.

This book contains much information on some of the early settlers of the Okefenokee Swamp - focusing on families that resided in Charlton County, GA. Many pictures are included as well as folk stories, local legends and songs, and even a swamp vocabulary section. This book is a must for those researching this area.

Ever since I was a little girl, my Nanny (grandmother) has told me stories about a fortune teller that her grandmother knew. Everyone in the town was kind of afraid of Miss Lancaster..but they all respected her. I never really knew if the stories about her were true or not, seeing as how my Nanny is an excellent story teller. Then, out of nowhere comes this book! It's a wonderful and captivating story. Perhaps I am partial, being that I have lived in Georgia my whole life and always heard stories about Miss Lancaster from someone who knew her, but I'm pretty sure that even if I had no idea about this increadible woman, I would have still enjoyed this book.

This book is a page-turner, and very well written! I enjoyed the true historical account of an eccentric fortune teller in the Old South! Good job, Mrs Moore and Mrs Smith!