This story is based on some true facts about us living on Dixie Mountain in 1958. It is about one very long summer on Dixie Mountain. My husband Dennis and I thought we would take our very young children out to live in the country. We found ourselves roughing it on sixteen undeveloped acres. Little did we know, what was in store for us on Dixie Mountain and the mystery we would find.

This story is based on some true facts about us living on Dixie Mountain in 1958. It is about one very long summer on Dixie Mountain. My husband Dennis and I thought we would take our very young children out to live in the country. We found ourselves roughing it on sixteen undeveloped acres. Little did we know, what was in store for us on Dixie Mountain and the mystery we would find.

A Jehovah's Witness is stabbed in her home by a stranger she once allowed in. A homeless woman masturbates on a park bench. A statue of the Virgin Mary, "plaster receptacle of petitions and foolish pleas," is found in a dump, a missing hand suggesting the sound of a one-handed rosary. Through images brutally honest and disarmingly off-center, Dixie Salazar explores the hidden lives of everyday people, objects, and experiencesÑand their transformation in the hidden realms of the heart. Charting furious descents into the darkest crevices of our souls, Salazar paints for us a lost city that exists below our mundane consciousness. Blood Mysteries is a tribute to lost souls, from a suicidal mental patient who doesn't believe she existsÑ"melting out of a landscape spotted with shadows, washing her hands in an empty basin of light"Ñto Marilyn Monroe, victim even in the morgue. In finely tuned lyricism showing an uncanny grasp of frayed lives, she gives flesh and vitality to women normally encountered only as statistics. The incarcerated, the homeless, the hopeless. Missing young girls who turn up violated and murdered. Salazar presents us with blood mysteries not only of women, but of family as well. In poems invoking her dual heritage, she explores the identity crises brought on by having a Spanish father and a mother from the deep South, leaving her a product of American meltdown with a predisposition to check "other" for race on applications. "Other can be a place," she reminds us, "a residence for those of us without / papers, where halos of lightning bugs / swarm the rickety family tree." Salazar writes with toughness and grit "for all the shipwrecked saints / and wretches among us." But beneath the surface of words sometimes gritty, sometimes playful, lies a testament to the power of empathy, giving voice to those whose voices have been stifled and offering hope for those who have found none. Blood Mysteries is a forceful prayer for the disenfranchised that offers not merely hope, but transcendence.

“Bright and sassy.” — New York Times Book Review The second entry in the thoroughly original and witty series about Callahan Garrity in which the cleaning lady cum sleuth runs afoul of right-wing radicals and a dangerous collector when she’s hired to find the valuable and controversial diary of a Civil War madam. Former Atlanta police officer Callahan is known for scrubbing all kinds of muck, but she has no idea what she’s getting herself into when she is hired by Elliott Littlefield, a notorious Atlanta antiques dealer. Right from the start, Callahan’s job turns into a lively quest to find a priceless Civil War diary penned by an infamous madam. Soon Callahan and her team become entangled with a motley group of Civil War collectors, right-wing extremists, and nosy teens, making the case messier and tougher to clean. The Callahan Garrity mysteries always entertain and delight!

Spotting an exotic bird far from its indigenous habitat, pet sitter Dixie Hemingway uncovers sinister forces behind the bird's displacement before a client is murdered and a new friend goes missing with her baby.

Rock & roll has transformed American culture more profoundly than any other art form. During the 1960s, it defined a generation of young people as political and social idealists, helped end the Vietnam War, and ushered in the sexual revolution. In Dixie Lullaby, veteran music journalist Mark Kemp shows that rock also renewed the identity of a generation of white southerners who came of age in the decade after segregation -- the heyday of disco, Jimmy Carter, and Saturday Night Live. Growing up in North Carolina in the 1970s, Kemp experienced pain, confusion, and shame as a result of the South's residual civil rights battles. His elementary school was integrated in 1968, the year Kemp reached third grade; his aunts, uncles, and grandparents held outdated racist views that were typical of the time; his parents, however, believed blacks should be extended the same treatment as whites, but also counseled their children to respect their elder relatives. "I loved the land that surrounded me but hated the history that haunted that land," Kemp writes. When rock music, specifically southern rock, entered his life, he began to see a new way to identify himself, beyond the legacy of racism and stereotypes of southern small-mindedness that had marked his early childhood. Well into adulthood Kemp struggled with the self-loathing familiar to many white southerners. But the seeds of forgiveness were planted in adolescence when he first heard Duane Allman and Ronnie Van Zant pour their feelings into their songs. In the tradition of music historians such as Nick Tosches and Peter Guralnick, Kemp masterfully blends into his narrative the stories of southern rock bands --from heavy hitters such as the Allman Brothers Band, Lynyrd Skynyrd, and R.E.M. to influential but less-known groups such as Drive-By Truckers -- as well as the personal experiences of their fans. In dozens of interviews, he charts the course of southern rock & roll. Before civil rights, the popular music of the South was a small, often racially integrated world, but after Martin Luther King Jr.'s assassination, black musicians struck out on their own. Their white counterparts were left to their own devices, and thus southern rock was born: a mix of popular southern styles that arose when predominantly white rockers combined rural folk, country, and rockabilly with the blues and jazz of African-American culture. This down-home, flannel-wearing, ass-kicking brand of rock took the nation by storm in the 1970s. The music gave southern kids who emulated these musicians a newfound voice. Kemp and his peers now had something they could be proud of: southern rock united them and gave them a new identity that went beyond outside perceptions of the South as one big racist backwater. Kemp offers a lyrical, thought-provoking, searingly intimate, and utterly original journey through the South of the 1960s, '70s, '80s, and '90s, viewed through the prism of rock & roll. With brilliant insight, he reveals the curative and unifying impact of rock on southerners who came of age under its influence in the chaotic years following desegregation. Dixie Lullaby fairly resonates with redemption.

Well, today is the big day. The whole week has been full of checking and double-checking, looking at maps and brochures of all the places we are going to stop. Its going to take longer than a month. Well just have to go with the flow! We will start in Houston, Texas. Our first leg of our adventure is Houston, Texas, to the Redwood Forest National Park in California. On the way back from the Redwood Forest, we will stop in Salina, California; then well head to Bakersfield, California; then over to Las Vegas; Tucson; Deming; New Mexico; Fort Bliss, Texas; San Antonio; and home to Houston, Texas. Come join us on our travels across the USA!