This beautiful full-color map documenting the ownership of plantations along the Mississippi River between Natchez and New Orleans was drawn to scale in 1858 by a leading landscape painter.

French priest Joseph M. Paret (1807-1872) served in the missions of Louisiana from 1847 to 1869 as pastor of the Little Red Church, located upstream from New Orleans on the east bank of the Mississippi River. During his somewhat lonely tenure, Paret sketched landscapes, architecture, and interiors, capturing everyday life in prosperous St. Charles Parish. In 1987, fifty-three watercolors were discovered -- still bound in their original sketchbook -- among his personal effects. Plantations by the River contains twenty-eight of these paintings created in or about the year 1859. Paret's insightful artwork provides a visual social history of the antebellum creole culture of south Louisiana and documents properties in addition to structures and furnishings of the period. The book features full-size reproductions of Paret's paintings, which have been restored to their original vibrancy. The value of Paret's detailed folk art lies in the accuracy of his depiction of the region he lived in. He faithfully renders parishioners attending church, men pulling driftwood from the Mississippi River, and the edifices and flora gracing local plantations Ormond and Good Hope, among many others. The text is presented in both English and French; and as a supplement to the art, an appendix of excerpts from Mon Journal d'Amerique -- a collection of correspondence between Paret and his family -- is included. The beautiful, brightly colored paintings of Plantations by the River are a rare discovery and provide a unique view of rural Louisiana life before the onset of the Civil War.

Charting the Plantation Landscape from Natchez to New Orleans examines the hidden histories behind one of the nineteenth-century South’s most famous maps: Norman’s Chart of the Lower Mississippi River, created by surveyor Marie Adrien Persac before the Civil War and used for decades to guide the pilots of river vessels. Beyond its purely cartographic function, Persac’s map depicted a world of accomplishment and prosperity, while concealing the enslaved and exploited laborers whose work powered the plantations Persac drew. In this collection, contributors from a variety of disciplines consider the histories that Persac’s map omitted, exploring plantations not as sites of ease and plenty, but as complex legal, political, and medical landscapes. Essays by Laura Ewen Blokker and Suzanne Turner consider the built and designed landscapes of plantations as they were structured by the logics and logistics of both slavery and the effort to present a façade of serenity and wealth. William Horne and Charles D. Chamberlain III delve into the political activity of formerly enslaved people and slaveholders respectively, while Christopher Willoughby explores the ways the plantation health system was defined by the agro-industrial environment. Jochen Wierich examines artistic depictions of plantations from the antebellum years through the twentieth century, and Christopher Morris uses the famed Uncle Sam Plantation to explain how plantations have been memorialized, remembered, and preserved. With keen insight into the human cost of the idealized version of the agrarian South depicted in Persac’s map, Charting the Plantation Landscape encourages us to see with new eyes and form new definitions of what constitutes the plantation landscape.

One day in 1852, The Princess, one of the finest steamboats afloat on the Mississippi River one hundred years ago was rounding the bend a Duncan�s Point about ten miles below Baton Rouge, when the boilers exploded with a frightful loss of life. The disaster occurred in front of the Conrad cottage where a descendant, the late G. Mather Conrad, of New Orleans, was born and lived as a youth. Lyle Saxon in his Old Louisiana tells of having known an old gentleman who remembered the awful holocaust. Then a little boy, this old gentleman was awaiting the return of his mother and father from New Orleans. He saw the Princess come around the bend and then turn in toward the bank. As he watched he heard a terrific explosion and saw the steamboat burst into flames. Mr. F. D. Conrad, plantation owner of that generation, so Saxon tells us, sent his slaves out in skiffs to rescue the men and women who crew struggling in the water. Many of them were frightfully scalded by steam from the broken boilers. Sheets were spread on the ground under the oak trees on the lawn and barrels of flour were broken open and the contents poured on the sheets. As the scalded people were pulled from the river, they were stripped and rolled in the flour, where they writhed and shrieked in agony. The little boy went from one sufferer to another seeking his father and mother. They were not there. They returned from New Orleans on a later boat, but he never forgot the anguish of his search.

When wealthy Mississippi cotton planter Isaac Ross died in 1836, his will decreed that his plantation, Prospect Hill, should be liquidated and the proceeds from the sale be used to pay for his slaves' passage to the newly established colony of Liberia in western Africa. Ross's heirs contested the will for more than a decade, prompting a deadly revolt in which a group of slaves burned Ross's mansion to the ground. But the will was ultimately upheld. The slaves then emigrated to their new home, where they battled the local tribes and built vast plantations with Greek Revival-style mansions in a region the Americo-Africans renamed “Mississippi in Africa.” In the late twentieth century, the seeds of resentment sown over a century of cultural conflict between the colonists and tribal people exploded, begetting a civil war that rages in Liberia to this day. Tracking down Prospect Hill's living descendants, deciphering a history ruled by rumor, and delivering the complete chronicle in riveting prose, journalist Alan Huffman has rescued a lost chapter of American history whose aftermath is far from over.

A new edition of a classic history of the Mississippi River Delta Development Arrested is a major reinterpretation of the 200-year-old conflict between African American workers and the planters of the Mississippi Delta. The book measures the impact of the plantation system on those who suffered its depredations firsthand, while tracing the decline and resurrection of plantation ideology in national public policy debate. Despite countless defeats under the planter regime, African Americans in the Delta continued to push forward their agenda for social and economic justice. Throughout this remarkably interdisciplinary book, ranging across fields as diverse as rural studies, musicology, development studies, and anthropology, Woods demonstrates the role of music—including jazz, rock and roll, soul, rap and, above all, the blues—in sustaining a radical vision of social change.

You may think you know the South for its food, its people, its past, and its stories, but if there’s one thing that’s certain, it’s that the region tells far more than one tale. It is ever-evolving, open to interpretation, steeped in history and tradition, yet defined differently based on who you ask. This Is My South inspires the reader to explore the Southern States––Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia––like never before. No other guide pulls together these states into one book in quite this way with a fresh perspective on can’t-miss landmarks, off the beaten path gems, tours for every interest, unique places to sleep, and classic restaurants. So come see for yourself and create your own experiences along the way!

In an evocative sequel to the acclaimed "New Orleans: Elegance and Decadence, " Sexton returns with an in-depth visual journey through the hidden mansions--some inhabited, many now long abandoned--of Louisiana's River Road. 200+ color photos.

Along the fertile banks of the Mississippi River across from New Orleans, planter Camille Zeringue transformed a mediocre colonial plantation into a thriving gem of antebellum sugar production, complete with a columned mansion known as Seven Oaks. Under the moss-strewn oaks, the privileged master nurtured his own family, but enslaved many others. Excelling at agriculture, business, an ambitious canal enterprise, and local politics, Zeringue ascended to the very pinnacle of southern society. But his empire soon came crashing down. After the ravages of the Civil War and a nasty battle with a railroad company the family eventually lost the great estate. Seven Oaks ultimately ended up in the hands of distant railroad executives whose only desire was to rid themselves of this heap of history. Lost Plantation: The Rise and Fall of Seven Oaks tells both of Zeringue's climb to the top and of his legacy's eventual ruin. Preservationists and community members abhorred the railroad's indifferent attitude, and the question of the plantation mansion's fate fueled years of fiery, political battles. These hard-fought confrontations ended in 1977 when the exasperated railroad executives sent bulldozers through the decaying house. By analyzing one failed effort, Lost Plantation provides insight into the complex workings of American historical preservation efforts as a whole, while illustrating how southerners deal with their multifaceted past. The rise and fall of Seven Oaks is much more than just a local tragedy-it is a glaring example of how any community can be robbed of its history. Now, as parishes around New Orleans recognize the great aesthetic and monetary value of restoring plantation homes and attracting tourism, Jefferson Parish mourns a manor lost. Marc R. Matrana, Westwego, Louisiana, is a local historian and preservationist. See the author's site.