Mississippi Books

Thanks to Myrlie for her selfless sharing of her experiences. She inspired me to take risks heretofore postponed. It is truly inspirational and moving.

I thought I knew who Myrlie Evers-Williams was. She is much more than "the widow of." She worked her way to the top of the private sector, government and one of the country's oldest and most well known organizations, the NAACP. She did all of this while raising 3 children alone after the death of her husband.

This book is a guide and an inspiration to all women. It is ironic that while I was reading this book her husband's murderer, Byron DeLaBeckwith, died. I did not know how long she worked to bring his killer to justice and how much more grief she had to bear in doing so.

Myrlie Evers-Williams is an amazing woman. Anyone interested in the history of the civil right's movement, women's issues, or modern American history will enjoy this book.

I found in Myrlie Evers-Williams, every woman. The various stages which were necessary for her to experience inorder for her to evolve to where she is at this stage proved to be challenging, growth producing, relentless, endless and represent the light at the end of the tunnel. I found myself visualizing and feeling the pain, the depth of darkness and the state of bewilderment. She has become a woman to be honored and deservant of noteworthy praise. To have to watch the struggles of the two men in her life, their relationship within this context and their unltimate deaths, phew! that within itself leaves you in limbo. Then to make the moves to new regions with her children in search for a better life and more opportunity and a chance to find herself takes a great deal of courage. I applaud her and take pleasure in having read the story behind the stories. An astounding woman!

A friend who knows that I will be traveling to Mississippi in the summer presented this book to me. She gave it to me to help me understand what I was getting into, but the book provided me with courage and knowledge that pertains to life outside of Mississippi. This is a book that everyone should read, young and old. I can't tell you how much it has touched me personally or how it stirred something that was hidden deep inside of me. Through Ms. Evers-Williams' wisdom, personal reflections, anecdotes, and trials she weaves a story of despair and triumph. This book has something in it for everyone, and regardless of color, age, gender, ethnicity, or political party (everything that could possibly divide you and I) this book will change thinking and express feelings that cannot be articulated. I learned about relationships and coping under intense pressure. She clarified so many things for me that I began highlighting the book, studying it as if she was going to test me on the material. But she won't test me, life will! Watch Me Fly is nothing less then a gift to the world, and it would be a great misfortune if this resource were not taken advantage of. I strongly encourage you to read it, immediately!!!

But not only did Watch Me Fly basically change my perspective on life and past situations, it also prepared me for the future. As Ms. Evers-Williams goes through life, sometimes winning and sometimes facing stumbling blocks, all of her lessons learned readied me for upcoming situations in my own life. Her triumphs are glorious; I found myself cheering out loud for her. Her successes and failures inspired me to take my first steps into the real world without fear, and I have a new confidence that cannot be broken. Her faith and perseverance nurtured my strengths, which resulted in a better outlook on life and Mississippi this summer. If Ms. Evers-Williams ever reads this, I want to tell her how much I appreciate her effort, it has really, really meant a lot to me.

This book is a heart-wrenching autobiography of a timid, young southern girl raised and influenced by two strong African American women, her grandmother and aunt, who prepared Myrlie to face a lifetime of struggle and survival. Myrlie Evers-Williams is a formidable personality and role-model.

I especially enjoyed the book's focus on Myrlie's personal life as opposed to the Civil Rights Movement, and the way I could relate to many of the childhood traditions she was raised by. Her suffering brought tears to my eyes as I read, as well as, a feeling of validation and peace in the direction of my life. At one juncture, Myrlie referred to her tendency to repress an observation until it was grammatically structured in her mind to perfection, thus running the risk of another more confident individual expressing her very idea. I must say I laughted at this self-editing process as it has been a personal fault of mine all my life-waiting for perfection before speaking and thereby missing the opportunity.

This book has also fueled my fire in questioning and remembering who I am and from whence I came. How far can I go back in my family tree, what are the family names, what are and were their personalities and how much of them do I bring to my life?

WATCH ME FLY should be read by all single mothers so they can see how a strong woman like Myrlie Evers-Williams once struggled and wrestled with the same types of obstacles they face everyday. Yet, Myrlie Evers-Williams not only survived but became successful in her own right.

As one writer on Amazon pointed out, ever since Kurt Vonnegut stopped writing novels in 1997 (or 1991, depending on whom you ask), there has been a huge hole in the literary world that can never be filled. Anyone who has ever experienced the brilliance of Vonnegut for the first time wants to immediately embark upon consuming the rest of his quite large canon. None of his books are long, and one can go through the entirety of them in a fairly short time (though they could also spend a lifetime exploring the ideas contained therein.) No doubt, anyone who has done so is joyfully grateful at having had the opportunity to enrich their lives with the humor and wisdom of Vonnegut -- but also can't help but envy the reader who is coming to the master for the first time. If you have read everything that the author ever wrote, or just about, and are looking for something to quench your appetite for Vonnegut, Conversations With Kurt Vonnegut is probably the best place to start. Authors, in general, tend to be rather reclusive and not very public figures; consequently, they often give few interviews. Vonnegut, thankfully, has not followed this trend and has given many interviews, though they started to come much less frequently after 1980. This is a great treat for both fans and scholars of the author. As an interviewee, Vonnegut is just as witty and wise, and nearly as funny, as he is in his writings. True to himself, he, as always, pulls no punches and calls things as he sees them, no matter whom it may offend (my favorite moment in the book is when he explains why Schindler's List is "sugar-coated.") It is great fun to read his interviews -- very entertaining, and a real learning experience, as well. All of the major interviews that Vonnegut has given throughout his career are included here, as well as a representative sampling of shorter pieces. Most of these will be unfamilar, and, therefore, a real treat, to even the biggest Vonnegut fan, with the exception of the monumental Playboy interview which appeared in Wampeters, Foma, and Granfalloons; this is a classic Vonnegut interview, however, and you will be rewarded by reading it again. The interviews are arranged in chronological order, ranging from 1969 through 1999, if you have the new edition, 1987 if you do not. Some of the best pieces included the aforementioned Playboy interview, Robert Scholes's 1974 interview, and the 1987 and 1999 interviews conducted with Vonnegut by the editor William Rodney Allen and Paul Smith, which focus on Vonnegut's more recent work. Another interesting piece is the 1974 Greg Mitchell feature written from the point of view of Kilgore Trout, Vonnegut's hapless protagonist, which re-enacts many of the scenes from Vonnegut's novels and incorporates real quotes from the author. Thankfully, Vonnegut has not been subjected to as many dumb and thoughtless interviewers as many have -- perhaps that's why he gave so many -- although, in reading through this book, one will probably become tired of hearing certain questions over and over again, e.g., "Are you a black humorist?" Most of these interviews, though, are great, several of them, particulary the Scholes and Allen/Smith interviews, take a role more akin to a real conversation than a mere interview. These are a joy to read. Vonnegut's most famous books, Cat's Cradle and, especially, Slaughterhouse-Five are covered extensively, as are such issues as his oft-forgotten play (Happy Birthday, Wanda June), his (first) insistence of never wanting to write again (in 1969!), and, a special treat for Vonnegut fans, his views on other authors and works of literature, namely Mark Twain and Joseph Heller, among others. These interviews show a different side of Vonnegut the man, and also give fascinating glimpses into his private life, including such details as his homes, everyday life, and family. An absolute must-read for Vonnegut fans!

This compilation of interviews with Kurt Vonnegut covers 1969 through 1987. Vonnegut fans may recognize some of the conversations from amongst the known corpous (i.e. the Playboy interview from Foma, Wampeters, and Granfalloons) but by and large these come from quirky sources out of the main stream. The wonderfully casual Robert Scholes interview from 1973 is a delight. Also of interest is the 1974 Greg Mitchell piece written in the manner of Kilgore Trout. By all mean secure yourself a copy of this work. One flaw needs to be noted: With Vonnegut married to the skillful photographer Jill Kremetz, why put a pedestrian AP photo on the cover? Chris Huber

I read only the part where one person interviewed Kirk in the persona of Kilgore Trout. This made a great addition to this book.

The book does give great interviews and words of Vonnegut, but there is no substantial whole. It is poorly laid out, and makes no concrete assertions or comments on Vonnegut's words.

An exhaustive (and exhausting) cross between a fan-rave and a dissertation examining the history and pop-ological intricacies of the brief but very influential rod-and-custom period in America.

Although it is chock full of details and insights into the subject one wonders who exactly it was written for. It often seems much too highbrow and academic for the average kid or gear-head, and I'm sure most academes wouldn't be seen reading anything with so many "purdy pichures". You're left with the impression that it in fact began as a scholarly defense (always check who the publisher is) which, once it appeared to have legs, was tricked out with some chrome and kandy kolors to help find it's way onto American coffee tables.

Still it is well worth having to glean ( for practiced speed readers ) ever more minutia about an era that always spawns endless nostalgia for fans, and eventually, a true sociological and anthropological exegesis for 22 century rustmites.

I really like this book, although I would like to see a lot more photos of cars in a book that focuses on the aesthetic qualities of custom cars. The author successfully argues that kustoms are an art form and then proceeds to analyze various styles of custom cars in relationship to various styles of high art. Good stuff! As for the photos, the most refreshing thing about them is that they are not the same dozen famous kustoms that you've already seen in every other book about custom cars.

Just want to let everybody know that Jerry Weesner of Streetrodder (June 2002) picked Cool Cars, High Art as a Hall of Fame selection with only three other books on the art of customizing.

This handsome book is an unusual treatment of its subject for sure. There is a bevy of color photographs to satisfy the aficionado--and to make it an ideal gift for any car-crazy friend. But what I find most striking is the author¹s truly unique take on the car as an art object. Obviously comfortable with the demands of current theoretical discourse, he seems purposefully to prove that the obscurantism that bedevils so much academic prose today is merely self-indulgent. He has helped me grasp much more than just the beauty of the customized car. Readers (and especially teachers in a number of disciplines) will appreciate Prof. DeWitt¹s cunning explications of a Williams poem, a Picasso collage, a Futurist sculpture, and a surprising number of movies and TV shows to support his insights into our car culture.

"I always wanted to put together a book to be called 'Country Churchyards,' composed of the pictures I took in cemeteries."

So explains Eudora Welty to Hunter cole in 1999, only a couple years before her death. So it seems strangely appropriate that one of this great author's last works was a photographic record of various churches, graveyards and tombstones that she saw over her long lifetime. And "Country Churchyards" only proves Welty to be as brilliant and insightful a photographer as she was a writer.

Elizabeth Spencer spins out an essay about Welty and her attraction to churchyards, the Souther attitude to graves, as well as the transience of these monuments. It's a lovely piece of prose, especially since Spencer has quite a way with words (".... a quiet spot surrounded by an iron fence, entered by an ornamental wrought-iron gate, dripping grey with Spanish moss, m may be knowing in its silence that it is not forgotten any more than it forgot...").

But the stars of this book are indisputably Welty's photographs. The first few are striking but not terribly accomplished pictures of churches, as well as a lone statue of a tiara-wearing angel with one arm held up. It looks like it's waving.

But the pictures become more striking and more polished as the book goes on, and Welty's focus shifts to the more unusual churchyards -- ornate monuments, mossy stones surrounded by willows, striking churches veiled by fences and forests, statues of women weeping and drowsing, worried-looking saints, a life-sized Jesus carrying a cross, bas-reliefs of fallen trees, sleeping babies, and wrought-iron gates.

Not to mention the angels -- lots and lots of them, and only a couple are drippy child-cherubs. More often they are beautiful strong androgynes who are pointing at the horizon and watching over the graves. And the beauty of the graveyards themselves are brought to light occasionally, such as the misty sunlit pictures of vast leafy trees, flowers and tangled grasses, with a few tombstones among them.

Everybody loves a beautiful old graveyard, and I used to live near one of the loveliest ones you can imagine, crammed between a library and a busy side-street. Despite this, the exquisite old stones and elaborate Catholic statuary gave the whole area a feeling of peace.

So it's unsurprising that Eudora Welty, who spent a lifetime sketching eloquent, bittersweet, warm stories and novels about the South she grew up in, is able to convey all that beauty and history to her readers. And her photography is no less effective than her writing -- once she overcame the initial amateurish problems, Welty was able to infuse a lot of feeling into what she photographed.

The photos are all black-and-white, and most of them have a misty sunlit feeling. And Welty successfully gives many of her photographs a wistful, poignant feeling -- especially when she focuses on the little sleeping stone babies, or a stone dog waiting patiently on its master's grave. Then again, there are graves where you wonder what the designers were thinking -- for example, what is with all the SHEEP? Were some of these people unusually attached to their woolly bovines?

Additionally, the photos are also taken from a variety of angles, which is especially important when photographing the gorgeous old churches, or special shots like the angel watching the graveyard (who is photographed from behind). Accasionally you get the feeling that somebody has wandered into the photo -- such as one man who appears on horseback near a church, and seems surprised to see Welty's camera.

"Country Churchyards" is exactly what it sounds like, but in Eudora Welty's hands it became a sweet, melancholy chronicle of where the dead lie. A sweet little photographic record.

Did I say I love this book enough? Eudora Welty, the great Mississippi writer took these photographs many years ago. They cover churches and cemeteries around the Jackson area. Some of these places I know and have in my own collection of photos. Haunting places. There is much to be said of Welty's work with the camera. She has a great eye for detail, for light, and for mood. She has captured a period that is long gone. She loves angels. There are few commentaries because this is a book, not about words, but about churches, tombstones, and their lasting message. A great addition to both collectors of tombstone art and Eudora Welty's work. A classic. Buy it while you can. It will be a collectible one day.

I obviously am coming late to this book. I've been a fan of Miss Welty's writing since growing up in the sixties. I actually wrote her a fan letter and got a reply and like a stupid child, didn't keep it.

I also own Miss Welty's other photo books. As a photo bug of forty years, I enjoyed her other work during the Depression, though it certainly was not special in itself. It is worth more as a historical record.

Upon buying this book I was surprised that it made it to publication. I have shot hundreds of the same type of photos traveling through small towns myself. These photos remain as did her earlier photographic work--snapshots of a time and a place. There's nothing wrong with snapshots, but I them for what they are: a historical record. Others have done much better work on cemeteries and gravestones.

I'm confident that, without Miss Welty's name, this book would never have reached publication.

Those who cherish Eudora Welty's earlier collection of photographs (_One Time, One Place_) need no urging from me to sample this new jewel box of images from a Mississippi past. Like the earlier collection, these black-and-white photographs document the rural South of the 1930's and 1940's when Welty worked as a photographer for the WPA. As its title suggests, this book offers a tighter focus: on the burying-places of the rich and poor, the black and the white. Here be angels of all sorts, urns and chapels, sheep and dogs, children who seem but to sleep in masks of marble. Those who know Welty's keen gift for description will see how her eye for detail, setting and atmosphere was trained up in her early photographic work. Each image seems surrounded by the rich and generous spirit through which Welty sees the world and those who toil in it.

The photographs are preceded by an account of a conversation with Miss Welty (as we Southern men and women of letters have learned to always refer to her) and interspersed with excerpts from the novels. Also a joy is the introduction by fellow Mississipian Elizabeth Spencer, who places these images in the landscape of Welty's fiction, as expressions of "Eudora Welty's vision of death as a part of life." Spencer continues, "It must find its ceremony within family and community, and its symbols, beautifully displayed here, arise out of the beliefs and feelings of shared love."

To spend time with this book is to walk among the mossy trees, rest among the cool white monuments, and feel the pull of that greater community which surrounds us. It gives further evidence why Miss Welty is one of our great national treasures. But I leave the last word to her, in this excerpt from _The Optimist's Daughter_: "The top of the hill ahead was crowded with winged angels and life-sized effigies of bygone citizens in old-fashioned dress, standing as if by count among the columns and shafts and conifers like a familiar set of passengers collected on deck of a ship, on which they all knew each other -- bona-fide members of a small local excursion, embarked on a voyage that is always returning in dreams."

What an fascinating nugget of US History. The soldiers got their just day with your vivid and detailed account. Fact truly is stranger than fiction. I felt like I truly got a naval education, didn't know much about ships/boats before this read.
BTW, this is Patrick.

I was very impressed with this book. It was obviously well researched and includes numerous quotes from survivors. Historical documents enhance the first hand accounts.

The details of the boat trip including the explosion are vividly written. This is the best book I've read about the Sultana Tragedy.

The sinking of the steamboat Sultana was the deadliest maritime disaster in U.S. History. Strangely, even though it occurred at the end of the Civil War and most of the dead were returning Union POWs, it is an almost forgotten event. Author Salecker recalls the bureaucratic bungling and corruption that helped lead to the diaster as well as a harrowing account from the survivors. This is a good history book that sheds light on the memories of the dead and the survivors.

Very well researched and composed. One feels as if they are right there with the soldiers and civilians as they struggle for survival not only from the flames that are engulfing them, but from the mass of humanity that is in the frigid waters of the swollen Mississippi.

Very vivid accounts of suffering with physical and mental challanges in a time when the soldiers should be almost at their happiest moment - going home.

I wrote the 1st review of this book. There are 3 typo's in the second paragraph. It should read "Shearwater POTTERY not potter, (2) struggled not strugged, and (3) their ART not air. Thanks for letting me make these corrections.

It is my privilege to be the first person to review DREAMING IN CLAY. I'm sure many others will find it a great book to read and review.

This wonderful book presents the life of a master potter, Peter Anderson, his work, his immediate and extended family, and the evolution of Shearwater Potter in Ocean Springs, Mississippi. It is a book about transformation and affirmation of a family who has strugged and triumphed and the interconnections of the Anderson family, their air, and their love of nature and simplicity.

The book is thoughtful and contains information, facts, and anecdotes that inspire one to travel to this small southern town on the Mississippi Gulf Coast to experience the magical feeling of Shearwater Pottery.

The authors were clearly diligent in their research and fluid in their writing. The book is filled with fascinating materials that clearly describe the life of this master potter, his talented children, brothers, family, and their reception in the world of art. The authors have written in a manner that makes this unique family come alive to the reader.

The book is also unique in the fact that it not only speaks of the great work of Peter and his brothers, Walter and Mac, but also, it is the story of the strong Anderson women who are there to support their art and life dedications.

It is a fantastic book. The memoir left me with the sense of "tell me more". It is a must read!

This is a great book telling a wonderful story of art in America. This is what American art is all about and how this little pottery enterprise made its mark on the art world. You will enjoy this book very much.

THE STORY OF A FAMILY'S DEDICATION TO EACH OTHER AND THEIR ART

By Lynna Williams.

Maria Estrella Iglesias, a collector of American art pottery, was in an antiques mall near Nashville when she saw a pottery vase glazed "an extraordinary blue." Seeing it across the cluttered room "was like catching a glimpse of the ocean," and when she turned it over she found a name and mark unfamiliar to her. Iglesias couldn't know it then, but that chance introduction to Shearwater Pottery would open up an extraordinary world apart: the personal and public history of the Andersons of Ocean Springs, Miss.

Some readers may already be familiar with the brilliant work of painter, printmaker and muralist Walter Inglis Anderson without knowing the story of his role in the pottery, and the broader story of his family's passionate commitment to art as a way of life.

Four generations of Andersons have created Shearwater's art and, while cordially disliking the term "artist," have nurtured potters, painters, sculptors, poets and writers, from the Depression to the present. The story Iglesias and her husband, Vanderbilt professor Christopher Maurer, tell in "Dreaming in Clay on the Coast of Mississippi" has passion and torment sufficient for grand opera, all borne of a relentless dedication to the making of art. It would be a remarkable story in any time. In the America of the 21st Century, when art is so often viewed as extraneous in our daily lives, or as just another commodity to be consumed, it takes on a special, almost electric, resonance. Maurer and Iglesias' book, which starts with an account of their own "falling into" the Shearwater world, is a compelling account of lives in which art, for better and worse, is as basic a necessity of life as air and water.

It began with a marriage, 100 years ago. After a 12-year courtship, George Walter Anderson, a prosperous grain dealer, wed Annette McConnell, a lawyer's daughter educated at Newcomb College in New Orleans, a central force in the post-Civil War resurgence of arts and crafts in the South. By 1907 there were three sons: Peter, Walter Inglis and James McConnell.

From the beginning, their artistic mother wanted art to wash over them, to be fundamental to who they were. Their businessman father dreamed of "Anderson, Incorporated," the family functioning as a unit. "Dreaming in Clay" documents how both parents' wishes shaped their sons' lives, from their free spirits and work ethic, to their specialized educations, to their vocations, to their choice of wives for whom love and art were one, inextricably linked. As in fairy tales, both wishes-for art, for a family enterprise-came true, but not at all in simple, happily-ever-after fashion.

As an enterprise, Shearwater Pottery began after the family's move in 1918 from New Orleans to Ocean Springs, a place where the beauty and wildness of the natural world led inevitably to the making of art. Oldest son Peter was 22 or 23 when he built a kiln in the side of a hill. One of the pleasures of "Dreaming in Clay" is its careful record of what was involved in the making of modern pottery, and an artistic community, in a "sleepy coastal town that had never had more than a nodding acquaintance with art."

Slowly, amid Peter's ongoing education with established artists intrigued with the experiment at Ocean Springs, the family worked to perfect the technical aspects of producing pottery: the right kiln, the right glazes, the right touch with wheel and hand-thrown pots. The Andersons were getting a business on its feet, but artistic concerns were paramount from the beginning: More than 2,500 pots considered unacceptable -- sometimes entire kilnloads -- were intentionally destroyed before Shearwater opened to the public. The name for the pottery came from a book about birds but was used in tribute to Mississippi's black skimmers, which shear the surface of the water to scoop up small fish. The name reflects what has become Shearwater's enduring connection to the Mississippi landscape.

In writing "Dreaming in Clay," Maurer and Iglesias were given access to the family's archive, and it is in the letters of the day that the family's struggles and triumphs come most vividly alive. Nowhere is that more true than in the stories of the two oldest sons, Peter and Walter Inglis (called Bobby by his family), and the women they would marry, sisters Patricia and Agnes "Sissy" Grinstead. Pat was "transported" the moment she saw the handsome Peter Anderson, and was immediately adopted as a "true" member of the clan. Bob's courtship of Sissy was long and arduous, and drew him into producing decorative pottery and figurines at Shearwater as a livelihood, a way of showing that he, too, could support a wife. The two were married in 1933; four years later, Bob had a devastating mental breakdown. Not long after, Peter, too, was hospitalized, suffering from depression. Peter's illness was more easily treated; Bob's involved a more prolonged hospital stay, and the latest, and most extreme, of psychiatric treatments. When he returned home to Ocean Springs he would find his art again but never be a part of the family in the same way as before.

The book's account of Sissy and Pat Anderson is fascinating in its picture of women determined that both love and art would survive. The resolve of all the family to see each other through, no matter what, helps make "Dreaming in Clay" a highly readable and remarkable testament. We're able to appreciate the survival of Shearwater Pottery into the 21st Century in part because it is also the continuation of a family that has lived, and lived through, its passion for art.

My hardback copy of this work was printed in 1977 and it shows the wear. It's tried repeatedly to sneak back out of view on my bookshelves, but I always hunt it down and bring it back to the front where it belongs. I've referred to it thousands of times in my researches, in addition to reading through it entirely on several occasions. The data concerning the openings and closings of the individual forts, the reasoning for the need for each and the mentions of events and units involved are all invaluable.

This work has gone out of print several times through the years, but it always comes back and pays its own way for new readers.

If you love the history of the west you need to own this book.

If you only care about the opening and closing dates, who it was named after, and a one sentence reason as to why it was established, then this bare bones book is for you. Do not expect any other information OF IMPORTANCE here. No history of important engagements near or involving each fort is given, which I find incredibly negligent.

Examples: NO mention is made of the Fetterman Massacre in the entry on Fort Phil Kearny, or the Wagon Box Fight for that matter.
NO mention is made of the Hayfield Fight in the entry on Fort C.F. Smith.
NO mention is made of the two huge attacks on Julesberg, CO by a thousand Cheyennes in which the town was burned to the ground just outside Fort Sedgwick. I could go on.

Don't expect ANY information on important engagements the various forts may have been a part of. However if you are really curious as to whether the fort was turned over to the Dept. of the Interior on its abandonment, then this book is for you. That fact is always listed. This book has exactly 4 photographs and 5 drawings.

Though out of print, I recommend Herbert M. Hart's western fort series: "Pioneer Forts of the West", "Forts of the Far West", and "Old Forts of the Northwest". These books have hundreds of B&W photos, detailed histories of engagements the forts partook in, as well as opening and closing dates, and a diagram of almost every fort discussed. You could just pick up the whole series (used) for less than the price of this book.

In the introduction to this book, Frazer refers to his compilation of military forts as "brief biographies." Based on that description, the book is an excellent reference tool in identifying by name, location, length of service, and summary purpose all the known forts located west of the Mississippi River up to 1898.

The book is arranged by state, with forts listed therein alphabetically. Although Frazer warns that locations are only approximate, they are still given with enough detail to place them fairly accurately on a topo map. When forts changed locations even by just a few miles (Ft. Hall, ID, for example), both forts are described. This is basically a listing, and most of the forts are detailed only briefly; when important events occurred, however, they are mentioned (Ft. Cobb, OK, for example, being attacked by Indians on October 23, 1862). Even forts that were unnamed or in existence for only a few months are included.

I have used this book often, either for quick identification or as a stepping stone to more detailed investigations. The bibliography is one of the most thorough I've seen on the subject (36 pages long). The index is also very comprehensive, containing all the names and places mentioned in the text. As a reference tool for identifying forts and gleaming a brief account of their "biographies," Frazer's book is superb.

This book names the forts, presidios, and posts west of the Mississippi River to 1898, and not only does the author give the location but he gives some historical facts. If I had the money, I would take this book, get me a good travel map and visit each of the places mentioned! Last month I went to several Texas forts, an old Presidio and an Arizona fort. The book was invaluable!

First and foremost, Morris is an excellent writer and is particularly adept in my favorite genre: Creative Nonfiction.

The book starts with a short Medgar Evers history lesson culminating with his assignation and two hung juries in the subsequent murder trials of Beckwith. The book picks up in present-day Mississippi and details the reopening of the case, investigation, and eventual prosecution and conviction of Beckwith. That probably comprises the first third of the book. The next two-thirds detail the conception and execution of the Movie: Ghosts of Mississippi. Morris is detailed in his descriptions of movie making, from nuts and bolts film making to Hollywood politics. Of particular interest, is how the locals in Mississippi reacted and how Hollywood got along in the Deep South during the filming. He was able to deftly weave in pearls (as well as substantial blemishes) from Mississippi's past, much as he did in "The Courting of Marcus Dupree". Morris takes us through the filming of the movie to its nation-wide release and eventually to what he calls "troubles". The "troubles" piece is essentially a description and commentary on the reception (and substantial criticism) that "Ghosts" received in Hollywood, Mississippi and around the country.

If you enjoy nonfiction and have interest in the South, Hollywood, and Civil Rights I think you'll enjoy it (regardless of your opinion of the movie it describes).

First and foremost, Morris is an excellent writer and is particularly adept in my favorite genre: Creative Nonfiction.

The book starts with a short Medgar Evers history lesson culminating with his assignation and two hung juries in the subsequent murder trials of Beckwith. The book picks up in present-day Mississippi and details the reopening of the case, investigation, and eventual prosecution and conviction of Beckwith. That probably comprises the first third of the book. The next two-thirds detail the conception and execution of the Movie: Ghosts of Mississippi. Morris is detailed in his descriptions of movie making, from nuts and bolts film making to Hollywood politics. Of particular interest, is how the locals in Mississippi reacted and how Hollywood got along in the Deep South during the filming. He was able to deftly weave in pearls (as well as substantial blemishes) from Mississippi's past, much as he did in "The Courting of Marcus Dupree". Morris takes us through the filming of the movie to its nation-wide release and eventually to what he calls "troubles". The "troubles" piece is essentially a description and commentary on the reception (and substantial criticism) that "Ghosts" received in Hollywood, Mississippi and around the country.

If you enjoy nonfiction and have interest in the South, Hollywood, and Civil Rights I think you'll enjoy it (regardless of your opinion of the movie it describes).

A sixth-generation Mississippian, Willie Morris is particularly well known for his many books ("The Courting of Marcus Dupree," "New York Days," and the classic autobiography "North Toward Home"),and articles in which he compares his experiences and his long and complex Southern heritage to America's own history. Morris once again effectively juxtaposes and intertwines history with autobiography in "The Ghosts of Medgar Evers." He served as a historical consultant for the movie, "Ghosts of Mississippi," the true story of the murder of civil rights leader Medgar Evers and the 30-year pursuit of the assassin, Byron De La Beckwith. Morris not only provides an insider's view to Hollywood film making, discussing the making of the movie and why it failed at the box office, but lyrically blends the past and present as he examines his beloved Mississippi, the South, and racial healing. A compelling book by a first-rate writer and well-known commentator on the national scene. (And don't miss the wonderful reminiscences of his youth, "My Dog Skip.")

Medgar Evers was a great man! If Martin Luther King hadn't been born, Evers would have been the one to change it all!

Gentry does an excellent job of getting the reader involved in the daily dramas that make up Grady Hospital. You could not begin to make up the tales of some of these characters! Riveting.

I found this book hard to put down.

I constantly kept thinking of what the main characters might pull next.

This book demonstrates that life can be stranger than fiction.

What an amazing book! Jerry Gentry studied the patients, nurses, and doctors that make up the Grady Hospital Maternity Ward in Atlanta. He follows several mothers on their journey through prenatal care, pregnancy, and the births of their children. He then follows up after the babies are born. I found this book compelling because it demonstrates every aspect of its subjects' lives. You feel like you personally know the people discussed. It is an emotional and monetarial journey of hardships for most of the mothers involved. Being an Atlanta native this novel has given me new respect for Grady hospital. A great ethnography for anyone interested in the subject and/or social behavior.

This book is very different. The stories themselves will urge you not to put it down.

Although these true stories are sad, the compassionate author weaves the storylines expertly. You know he looks at his main characters with empathy, not contempt.

All Atlantans know Grady Hospital and will understand and appreciate these stories. All others will find Grady Baby fascinating.

I expected the typical ghost book...spook in this house, haunt in that house...but this is a very interesting history of St Louis as well. I thought I knew quite a bit about the town, but this one opened my eyes. Very easy to read, even though you'll find a few typos, I enjoyed the book a lot!

If you liked this book, read 'Sons of the Profits' about Seattle. Both books take some of the polish of the founding of their respective cities! Fun book!

I was born in and lived as a child in or near the St. Louis metro area,and found this book to be FASCINATING.I would highly recommend this book to anyone interested in the history of St. Louis,whether they have any interest in "ghosts/hauntings" or not!Personally,both elements attracted me to the book (history & the paranormal)and found it to be a very interesting read.My favorite chapter has to be the last:an account of the exorcism that went on to inspire the film "The Exorcist" - reading this truly made my "skin crawl"!A fun book

Only a fraction of this book is about St. Louis hauntings. Everything but the kitchen sink is pulled in--including St. Louis caves--and everything, but everything, in this book has been published elsewhere and in many cases in more detail. I keep buying Troy Taylor's books because they always sound so interesting. Then I get them and find they only deal partially with the promised subject as they wander through all sorts of other territory. This man's standards for facts versus fancy are nearly nonexistent, too, and he could use a strong editor to get his copy tight and focused. Not to bash him--he does select wonderful topics and is a great conversationalist in print. And there is a lot interesting to find in his books. He needs to ask more of himself and give us loyal readers better quality. I'll give him this--he's got my number and I'll bet you anything I'll also buy whatever his next book is. And be disappointed again.

Although the title of this book is misleading it is a great source for the colorful history of St. Louis. I was disapointed on how little was dedicated to the ghosts in St. Louis but nonetheless it is very interesting and, in my personal opinion, worth picking up. You will learn a lot.