This book explores the significance of the peach as a cultural icon and viable commodity in the American South.

Chronicles the black experience in Georgia from the early 1500s to the present, exploring the contradictions of life in a state that was home to both the KKK and the civil rights movement.

"A project of the New Georgia Encyclopedia"

This is the first comprehensive history of the German-speaking settlers who emigrated to the Georgia colony from Germany, Alsace, Switzerland, Austria, and adjacent regions. Known collectively as the Georgia Dutch, they were the colony's most enterprising early settlers, and they played a vital role in gaining Britain's toehold in a territory also coveted by Spain and France. The main body of the book is a chronological account of the Georgia Dutch from their earliest arrival in 1733 to their dispersal and absorption into what was, by 1783, an Anglo-American populace. Underscoring the harsh daily life of the common settler, George Fenwick Jones also highlights noteworthy individuals and events. He traces recurrent themes, including tensions between the realities of the settlers' lives and the aspirations and motivations of the colony's trustees and supporters; the web of relations between German- and English-speaking whites, African Americans, and Native Americans; and early signs of the genesis of a distinctly new and American sensibility. Three summary chapters conclude The Georgia Dutch. Merging new material with information from previous chapters, Jones offers the most complete depiction to date of Georgia Dutch culture and society. Included are discussions of religion; health and medicine; education; welfare and charity; industry, agriculture, trade, and commerce; Native-American affairs; slavery; domestic life and customs; the arts; and military and legal concerns. Based on twenty-five years of research with primary documents in Europe and the United States, The Georgia Dutch is a welcome reappraisal of an ethnic group whose role in colonial history has, over time, been unfairly minimized.

Have you ever wondered what left behind those prints and tracks on the seashore, or what made those marks or dug those holes in the dunes? Life Traces of the Georgia Coast is an up-close look at these traces of life and the animals and plants that made them. It tells about how the tracemakers lived and how they interacted with their environments. This is a book about ichnology (the study of such traces) and a wonderful way to learn about the behavior of organisms, living and long extinct. Life Traces presents an overview of the traces left by modern animals and plants in this biologically rich region; shows how life traces relate to the environments, natural history, and behaviors of their tracemakers; and applies that knowledge toward a better understanding of the fossilized traces that ancient life left in the geologic record. Augmented by illustrations of traces made by both ancient and modern organisms, the book shows how ancient trace fossils directly relate to modern traces and tracemakers, among them, insects, grasses, crabs, shorebirds, alligators, and sea turtles. The result is an aesthetically appealing and scientifically grounded book that will serve as source both for scientists and for anyone interested in the natural history of the Georgia coast.

Presents, in brief text and illustrations, the life of the painter who drew much of her inspiration from nature.

A valuable collection of folk music and lore from the Gullah culture, Slave Songs of the Georgia Sea Islands preserves the rich traditions of slave descendants on the barrier islands of Georgia by interweaving their music with descriptions of their language, religious and social customs, and material culture. Collected over a period of nearly twenty-five years by Lydia Parrish, the sixty folk songs and attendant lore included in this book are evidence of antebellum traditions kept alive in the relatively isolated coastal regions of Georgia. Over the years, Parrish won the confidence of many of the African-American singers, not only collecting their songs but also discovering other elements of traditional culture that formed the context of those songs. When it was first published in 1942, Slave Songs of the Georgia Sea Islands contained much material that had not previously appeared in print. The songs are grouped in categories, including African survival songs; shout songs; ring-play, dance, and fiddle songs; and religious and work songs. In additions to the lyrics and melodies, Slave Songs includes Lydia Parrish's explanatory notes, character sketches of her informants, anecdotes, and a striking portfolio of photographs. Reproduced in its original oversized format, Slave Songs of the Georgia Sea Islands will inform and delight students and scholars of African-American culture and folklore as well as folk music enthusiasts.

Nearly one hundred thousand newly enfranchised blacks voted against race-baiting Eugene Talmadge in Georgia's 1946 Democratic primary. His opponent won the popular vote by a majority of sixteen thousand. Talmadge was elected anyway, thanks to the malapportioning county unit system, but died before he could be inaugurated, whereupon the General Assembly chose his son Herman to take his place. For the next sixty-three days, Georgia waited in shock for the state supreme court to decide whether Herman or the lieutenant governor-elect would be seated. What had happened to so suddenly reverse four years of progressive reform under retiring governor Ellis Arnall? To find out, Calvin Kytle and James A. Mackay sat through the tumultuous 1947 assembly, then toured Georgia's 159 counties asking politicians, public officials, editors, businessmen, farmers, factory workers, civic leaders, lobbyists, academicians, and preachers the question "Who runs Georgia?" Among those interviewed were editor Ralph McGill, novelist Lillian Smith, defeated gubernatorial candidate James V. Carmichael, powerbroker Roy Harris, pollwatcher Ira Butt, and more than a hundred others--men and women, black and white, heroes and rogues--of all stripes and stations. The result, as Dan T. Carter says in his foreword, captures "the substance and texture of political life in the American South" during an era that historians have heretofore neglected--those years of tension between the end of the New Deal and the explosive start of the civil rights movement. What's more, Who Runs Georgia? has much to tell us about campaign finance and the political influence of Big Money, as relevant for the nation today as it was then for the state.

NATIONAL BESTSELLER • In a dazzling work of historical fiction in the vein of Nancy Horan’s Loving Frank, Dawn Tripp brings to life Georgia O’Keeffe, her love affair with photographer Alfred Stieglitz, and her quest to become an independent artist. This is not a love story. If it were, we would have the same story. But he has his, and I have mine. In 1916, Georgia O’Keeffe is a young, unknown art teacher when she travels to New York to meet Stieglitz, the famed photographer and art dealer, who has discovered O’Keeffe’s work and exhibits it in his gallery. Their connection is instantaneous. O’Keeffe is quickly drawn into Stieglitz’s sophisticated world, becoming his mistress, protégé, and muse, as their attraction deepens into an intense and tempestuous relationship and his photographs of her, both clothed and nude, create a sensation. Yet as her own creative force develops, Georgia begins to push back against what critics and others are saying about her and her art. And soon she must make difficult choices to live a life she believes in. A breathtaking work of the imagination, Georgia is the story of a passionate young woman, her search for love and artistic freedom, the sacrifices she will face, and the bold vision that will make her a legend. Praise for Georgia “Complex and original . . . Georgia conveys O’Keeffe’s joys and disappointments, rendering both the woman and the artist with keenness and consideration.”—The New York Times Book Review “As magical and provocative as O’Keeffe’s lush paintings of flowers that upended the art world in the 1920s . . . Tripp inhabits Georgia’s psyche so deeply that the reader can practically feel the paintbrush in hand as she creates her abstract paintings and New Mexico landscapes. . . . Evocative from the first page to the last, Tripp’s Georgia is a romantic yet realistic exploration of the sacrifices one of the foremost artists of the twentieth century made for love.”—USA Today “Sexually charged . . . insightful . . . Dawn Tripp humanizes an artist who is seen in biographies as more icon than woman. Her sensuous novel is as finely rendered as an O’Keeffe painting.”—The Denver Post “A vivid work forged from the actual events of O’Keeffe’s life . . . [Tripp] imbues the novel with a protagonist who forces the reader to consider the breadth of O’Keeffe’s talent, business savvy, courage and wanderlust. . . . [She] is vividly alive as she grapples with success, fame, integrity, love and family.”—Salon

Examines the persistence and ultimate collapse of Georgia's plantation-oriented colonial society and the emergence of a modern state with greater urbanization, industrialization, and diversification