Winner of the New England Historical Association’s James P. Hanlan Book Award Winner the Association for the Study of Connecticut History’s Homer D. Babbidge Jr. Award “Incomparably vivid . . . as enthralling a portrait of family life [in colonial New England] as we are likely to have.”—Wall Street Journal In the tradition of Laurel Thatcher Ulrich’s classic, A Midwife’s Tale, comes this groundbreaking narrative by one of America’s most promising colonial historians. Joshua Hempstead was a well-respected farmer and tradesman in New London, Connecticut. As his remarkable diary—kept from 1711 until 1758—reveals, he was also a slave owner who owned Adam Jackson for over thirty years. In this engrossing narrative of family life and the slave experience in the colonial North, Allegra di Bonaventura describes the complexity of this master/slave relationship and traces the intertwining stories of two families until the eve of the Revolution. Slavery is often left out of our collective memory of New England’s history, but it was hugely impactful on the central unit of colonial life: the family. In every corner, the lines between slavery and freedom were blurred as families across the social spectrum fought to survive. In this enlightening study, a new portrait of an era emerges.

With contributions from Robert G. Barrier, Robert Beuka, Thomas Ærvold Bjerre, Jean W. Cash, Robert Donahoo, Richard Gaughran, Gary Hawkins, Darlin' Neal, Keith Perry, Katherine Powell, John A. Staunton, and Jay Watson Larry Brown is noted for his subjects—rural life, poverty, war, and the working class—and his spare, gritty style. Brown's oeuvre spans several genres and includes acclaimed novels (Dirty Work, Joe, Father and Son, The Rabbit Factory, and A Miracle of Catfish), short story collections (Facing the Music, Big Bad Love), memoir (On Fire), and essay collections (Billy Ray's Farm). At the time of his death, Brown (1951–2004) was considered to be one of the finest exemplars of minimalist, raw writing of the contemporary South. Larry Brown and the Blue-Collar South considers the writer's full body of work, placing it in the contexts of southern literature, Mississippi writing, and literary work about the working class. Collectively, the essays explore such subjects as Brown's treatment of class politics, race and racism, the aftereffects of the Vietnam War on American culture, the evolution of the South from a plantation-based economy to a postindustrial one, and male-female relations. The role of Brown's mentors—Ellen Douglas and Barry Hannah—in shaping his work is discussed, as is Brown's connection to such writers as Harry Crews and Dorothy Allison. The volume is one of the first critical studies of a writer whose depth and influence mark him as one of the most well-regarded Mississippi authors.

More than a century has passed since that winter morning in 1890 when the Indian police killed Sitting Bull and destroyed the power of his great Sioux Nation. Yet only recently were the facts about Sitting Bull and the Sioux being sifted from the fables that have grown up in the interim. In New Sources of Indian History, Stanley Vestal traced scores of historical threads, obtained firsthand, which helped reveal the fabric of Sioux life, warfare, and relations with the whites from 1850 to 1891. This miscellany brings together the many phases of existence the Sioux knew when buffalo still roamed the shores of the Missouri, cultural aspects they lost when Indian agencies and military posts replaced the council fire. More than a series of episodes hung on the thread of time, this book portrays a many-colored pattern of American Indian personalities—from Sitting Bull, the leader of a mighty warrior society, to Black Bull, the Indian trickster, who would have sold Sioux lands to whites by the pound. For readers of Vestal’s Sitting Bull (1932) this volume presents proof of the facts set forth in that remarkable biography.