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LONGLISTED FOR THE NATIONAL BOOK AWARD - KIRKUS PRIZE FINALIST - A renowned historian traces the life of a single object handed down through three generations of Black women to craft an extraordinary testament to people who are left out of the archives.
"Deeply layered and insightful . . . [a] bold reflection on American history, African American resilience, and the human capacity for love and perseverance in the face of soul-crushing madness."--The Washington Post "A history told with brilliance and tenderness and fearlessness."--Jill Lepore, author of These Truths: A History of the United States In 1850s South Carolina, an enslaved woman named Rose faced a crisis, the imminent sale of her daughter Ashley. Thinking quickly, she packed a cotton bag with a few precious items as a token of love and to try to ensure Ashley's survival. Soon after, the nine-year-old girl was separated from her mother and sold. Decades later, Ashley's granddaughter Ruth embroidered this family history on the bag in spare yet haunting language-- including Rose's wish that "It be filled with my Love always." Ruth's sewn words, the reason we remember Ashley's sack today, evoke a sweeping family story of loss and of love passed down through generations. Now, in this illuminating, deeply moving new book inspired by Rose's gift to Ashley, historian Tiya Miles carefully unearths these women's faint presence in archival records to follow the paths of their lives--and the lives of so many women like them--to write a singular and revelatory history of the experience of slavery, and the uncertain freedom afterward, in the United States. The search to uncover this history is part of the story itself. For where the historical record falls short of capturing Rose's, Ashley's, and Ruth's full lives, Miles turns to objects and to art as equally important sources, assembling a chorus of women's and families' stories and critiquing the scant archives that for decades have overlooked so many. The contents of Ashley's sack-- a tattered dress, handfuls of pecans, a braid of hair, "my Love always"--are eloquent evidence of the lives these women lived. As she follows Ashley's journey, Miles metaphorically unpacks the bag, deepening its emotional resonance and exploring the meanings and significance of everything it contained.
All That She Carried is a poignant story of resilience and of love passed down through generations of women against steep odds. It honors the creativity and fierce resourcefulness of people who preserved family ties even when official systems refused to do so, and it serves as a visionary illustration of how to reconstruct and recount their stories today.
"Deeply layered and insightful . . . [a] bold reflection on American history, African American resilience, and the human capacity for love and perseverance in the face of soul-crushing madness."--The Washington Post "A history told with brilliance and tenderness and fearlessness."--Jill Lepore, author of These Truths: A History of the United States In 1850s South Carolina, an enslaved woman named Rose faced a crisis, the imminent sale of her daughter Ashley. Thinking quickly, she packed a cotton bag with a few precious items as a token of love and to try to ensure Ashley's survival. Soon after, the nine-year-old girl was separated from her mother and sold. Decades later, Ashley's granddaughter Ruth embroidered this family history on the bag in spare yet haunting language-- including Rose's wish that "It be filled with my Love always." Ruth's sewn words, the reason we remember Ashley's sack today, evoke a sweeping family story of loss and of love passed down through generations. Now, in this illuminating, deeply moving new book inspired by Rose's gift to Ashley, historian Tiya Miles carefully unearths these women's faint presence in archival records to follow the paths of their lives--and the lives of so many women like them--to write a singular and revelatory history of the experience of slavery, and the uncertain freedom afterward, in the United States. The search to uncover this history is part of the story itself. For where the historical record falls short of capturing Rose's, Ashley's, and Ruth's full lives, Miles turns to objects and to art as equally important sources, assembling a chorus of women's and families' stories and critiquing the scant archives that for decades have overlooked so many. The contents of Ashley's sack-- a tattered dress, handfuls of pecans, a braid of hair, "my Love always"--are eloquent evidence of the lives these women lived. As she follows Ashley's journey, Miles metaphorically unpacks the bag, deepening its emotional resonance and exploring the meanings and significance of everything it contained.
All That She Carried is a poignant story of resilience and of love passed down through generations of women against steep odds. It honors the creativity and fierce resourcefulness of people who preserved family ties even when official systems refused to do so, and it serves as a visionary illustration of how to reconstruct and recount their stories today.
A wide-ranging, multidisciplinary look at Native American literature through non-narrative texts like lists, albums, recipes, and scrapbooks Kelly Wisecup offers a sweeping account of early Native American literatures by examining Indigenous compilations: intentionally assembled texts that Native people made by juxtaposing and recontextualizing textual excerpts into new relations and meanings. Experiments in reading and recirculation, Indigenous compilations include Mohegan minister Samson Occom's medicinal recipes, the Ojibwe woman Charlotte Johnston's poetry scrapbooks, and Abenaki leader Joseph Laurent's vocabulary lists. Indigenous compilations proliferated in a period of colonial archive making, and Native writers used compilations to remake the very forms that defined their bodies, belongings, and words as ethnographic evidence. This study enables new understandings of canonical Native writers like William Apess, prominent settler collectors like Thomas Jefferson and Henry Rowe Schoolcraft, and Native people who contributed to compilations but remain absent from literary histories. Long before current conversations about decolonizing archives and museums, Native writers made and circulated compilations to critique colonial archives and foster relations within Indigenous communities.
Chicago Avant-Garde tells the story of five women who took radical risks in their lives and in their art: artist Gertrude Abercrombie, poet Gwendolyn Brooks, choreographers Katherine Dunham and Ruth Page, and dealer-curator Katharine Kuh. Inspired and challenged by Chicago, they helped transform the city into a hub of avant-garde experimentation.
This catalog accompanies an exhibition opening at the Newberry Library on September 10, 2021. Designed by graphic artists Nick Butcher and Nadine Nakanishi of Sonnenzimmer and letterpress printer Ben Blount, Chicago Avant-Garde includes more than 100 photographs, an engaging and deeply researched essay by Liesl Olson (Director of Chicago Studies at the Newberry), and powerful new poems dedicated to each of the five avant-gardists by Chicago-based poet and educatorEve L. Ewing.
From an acclaimed historian, the full and authoritative story of one of the most iconic disasters in American history, told through the vivid memories of those who experienced it
Between October 8-10, 1871, much of the city of Chicago was destroyed by one of the most legendary urban fires in history. Incorporated as a city in 1837, Chicago had grown at a breathtaking pace in barely three decades, from just over 4,000 in 1840 to greater than 330,000 at the time of the fire. Built hastily, the city was largely made of wood. Once it began in the barn of Catherine and Patrick O'Leary, the Fire quickly grew out of control, twice jumping branches of the Chicago River on its relentless northeastward path through the city's three divisions. Close to one of every three Chicago residents was left homeless and more were instantly unemployed, though the death toll was miraculously low.
Remarkably, no carefully researched popular history of the Great Chicago Fire has been written until now, despite it being one of the most cataclysmic disasters in US history. Building the story around memorable characters, both known to history and unknown, including the likes of General Philip Sheridan and Robert Todd Lincoln, eminent Chicago historian Carl Smith chronicles the city's rapid growth and place in America's post-Civil War expansion. The dramatic story of the fire--revealing human nature in all its guises--became one of equally remarkable renewal, as Chicago quickly rose back up from the ashes thanks to local determination and the world's generosity and faith in Chicago's future.
As we approach the fire's 150th anniversary, Carl Smith's compelling narrative at last gives this epic event its full and proper place in our national chronicle.
A stocking-filler-sized compilation of Christmas lore, revealing the intriguing origins of the traditional festivities. Forty short pieces on individual traditions are each accompanied by charming vintage illustrations from the British Library's collection of Christmas books, cards, and ephemera. Origins of the Feast at Christmas; the decision to celebrate Christ's birthday on 25 December; the Yuletide festival of Anglo-Saxon England; Saturnalia; evergreens taken inside in midwinter; the original Captain Christmas 'Hark the Herald Angels Sing' - Christmas in and out of Church Holly symbolizing Christ's crown of thorns; the role of Midnight Mass; European celebrations of Epiphany and the importance of the Three Kings Christmas down the Ages Mistletoe and kissing; the Puritan ban on Christmas; the Twelve Days of Christmas; Dickens's recipe for Twelfth Night cake The Transatlantic 'Victorian' Christmas Nineteenth-century romanticization of Christmas and invented traditions; goose clubs; advent calendars; Christmas cards and gift-giving Modern Traditions Individual, sometimes outlandish traditions from around the world
Eschewing the idea of film reviewer-as-solitary-expert, Jonathan Rosenbaum continues to advance his belief that a critic's ideal role is to mediate and facilitate our public discussion of cinema. Portraits and Polemics presents debate as an important form of cinematic encounter whether one argues with filmmakers themselves, on behalf of their work, or with one's self.
Rosenbaum takes on filmmakers like Chantal Akerman, Richard Linklater, Manoel De Oliveira, Mark Rappaport, Elaine May, and Béla Tarr. He also engages, implicitly and explicitly, with other writers, arguing with Pauline Kael—and Wikipedia—over Jacques Demy, with the Hollywood Reporter and Variety reviewers of Jarmusch’s The Limits of Control, with David Thomson about James L. Brooks, and with many American and English film critics about misrepresented figures from Jerry Lewis to Yasujiro Ozu to Orson Welles. Throughout, Rosenbaum mines insights, pursues pet notions, and invites readers to join the fray.
Godard. Fuller. Rivette. Endfield. Tarr. In his celebrated career as a film critic, Jonathan Rosenbaum has undertaken wide-ranging dialogues with many of the most daring and important auteurs of our time.
Cinematic Encounters collects more than forty years of interviews that embrace Rosenbaum's vision of film criticism as a collaboration involving multiple voices. Rosenbaum accompanies Orson Welles on a journey back to Heart of Darkness, the unmade film meant to be Welles's Hollywood debut. Jacques Tati addresses the primacy of décor and soundtrack in his comedic masterpiece PlayTime, while Jim Jarmusch explains the influence of real and Hollywoodized Native Americans in Dead Man. By arranging the chapters chronologically, Rosenbaum invites readers to pursue thematic threads as if the discussions were dialogues between separate interviews. The result is a rare gathering of filmmakers trading thoughts on art and process, on great works and false starts, and on actors and intimate moments.
This Pop & Slot Decoration is from our Folksy Reindeer range featuring artwork by Helen Dardik
Product Details:
Contains 2 sheets punch-out parts to build a large decoration
Width: 260 mm
Height: 400 mm