Ludelphia Bennett may be blind in one eye, but that doesn't mean she can't put in a good stitch. In fact, Ludelphia sews all the time, especially when things are going wrong. But when Mama gets deathly ill, it doesn't seem like even quilting will help. Mama needs medicine badly—medicine that can only be found in Camden, over forty miles away. That's when Ludelphia decides to do something drastic—leave Gee's Bend. Beyond the cotton fields of her small sharecropping community, Ludelphia discovers a world she never imagined, but there's also danger lurking for a young girl on her own. Set in 1932 and inspired by the rich quilting traditions of Gee's Bend, Alabama, Leaving Gee's Bend is a delightful story of a young girl facing a brave new world, presented in a new paperback edition.

This collection of poems that tell the story of the quilt-making community in Gee’s Bend, Alabama, is now available as a Dragonfly paperback. For generations, the women of Gee’s Bend have made quilts to keep a family warm, as a pastime accompanied by sharing and singing, or to memorialize loved ones. Today, the same quilts hang on museum walls as modern masterpieces of color and design. Inspired by these quilts and the women who made them, award-winning author Patricia C. McKissack traveled to Alabama to learn their stories. The lyrical rite-of-passage narrative that is the result of her journey seamlessly weaves together the familial, cultural, spiritual, and historical strands of life in this community.

“This small snapshot of the protest movement pays homage to both the determination of ordinary folk and the power of Dr. King’s words. . . . An intergenerational story filled with heart and soul.” — Kirkus Reviews When Alex spies a mule chomping on greens in a nearby garden, he can’t help but ask about it. “Ol’ Belle?” says Miz Pettway. “She can have all the collards she wants. She’s earned it.” And so begins the tale of an ordinary mule in Gee’s Bend, Alabama, that played a singular part in the civil rights movement of the 1960s. When African-Americans in a poor community — inspired by a visit from Dr. Martin Luther King Jr. — defied local authorities who were trying to stop them from registering to vote, many got around a long, imposed detour on mule-drawn wagons. As Alex looks into the eyes of gentle Belle, he begins to understand a significant time in history in a very personal way.

Since the 19th century, the women of Gee s Bend in southern Alabama have created stunning, vibrant quilts. Beautifully illustrated with 110 color illustrations, The Quilts of Gee s Bend includes a historical overview of the two hundred years of extraordinary quilt-making in this African-American community, its people, and their art-making tradition. This book is being.released in conjunction with a national exhibition tour including The Museum of Fine Art, Houston, and the Whitney Museum of American Art."

In 2002, Gee’s Bend burst into international prominence through the success of Tinwood’s Quilts of Gee’s Bend exhibition and book, which revealed an important and previously invisible art tradition from the African American South. Critics and popular audiences alike marveled at these quilts that combined the best of contemporary design with a deeply rooted ethnic heritage and compelling human stories about the women. Gee's Bend: The Architecture of the Quilt is a major book and museum exhibition that will premiere at the Museum of Fine Arts, Houston (MFAH), in June 2006 before traveling to seven American museums through 2008. The book's 330 color illustrations and insightful text bring home the exciting experience to readers while displaying all the cultural heritage and craftsmanship that have gone into these remarkable quilts.

Since the early nineteenth century, the women of Gee’s Bend in southern Alabama have created stunning, vibrant quilts. In the only photo-essay book about the quilts of Gee’s Bend for children, award-winning author Susan Goldman Rubin explores the history and culture of this fascinating group of women and their unique quilting traditions. Rubin uses meticulous research to offer an exclusive look at an important facet of African American art and culture. In the rural community of Gee’s Bend, African American women have been making quilts for generations. They use scraps of old overalls, aprons, and bleached cornmeal sacks—anything they can find. Their traditions have been passed down through the decades. Much to the women’s surprise, a selection of the quilts was featured in an exhibition at the Museum of Fine Arts, Houston, in 2002. The exhibition then traveled to the Whitney Museum in New York City. “Eye-poppingly gorgeous,” wrote a critic for the New York Times about the exhibition. He continued, “Some of the most miraculous works of modern art America has produced.” The Metropolitan Museum of Art will exhibit its newly acquired collection of Gee’s Bend quilts in 2017. Rubin is known for producing well-researched, highly praised, and sophisticated biographies of artists and other important figures. Through similar research, The Quilts of Gee’s Bend shares specifics about this rare community and its rich traditions, allowing children to pause to consider history through the eyes of the people who lived it and through a legacy that is passed on to the next generation.

Combining memoir with oral history, creates a vivid and searing portrait of the Freedom Summer of 1965

"Foreword by Jean Robertson, Smithsonian Archives of American Art. World-renowned textile artist Nancy Crow explores the major transitions that have influenced and defined her work. This illustrated art book displays an incredible volume of work and captures the inspirations and thought processes behind Crow's contemporary quilts. * Covers eight major series, including Color Blocks and Constructions * Hundreds of color photos * Excerpts from Crow's journals and sketch books * Fold out pages to display oversize quilts."--Publisher's website.

Those Barren Leaves is a satirical novel by Aldous Huxley, published in 1925. The title is derived from the poem 'The Tables Turned' by William Wordsworth which ends with the words: Enough of Science and of Art; Close up those barren leaves; Come forth, and bring with you a heart That watches and receives. Stripping the pretensions of those who claim a spot among the cultural elite, it is the story of Mrs. Aldwinkle and her entourage, who are gathered in an Italian palace to relive the glories of the Renaissance. For all their supposed sophistication, they are nothing but sad and superficial individuals in the final analysis.

Mary Lee Bendolph's extraordinary patchworks garnered national attention when they were featured among the works of other quiltmakers from her tiny, predominately African American community in the 2002 blockbuster exhibition and book,The Quilts of Gee's Bend. This beautiful book examines Bendolph's inspiration, creative process, and individual genius, as well as her profound connection to the cultural practices and expressive traditions out of which her work arises. It studies her artistic relationships with other artists -- her mother, Aolar Mosely; her daughter, Essie Bendolph Pettway; her daughter-in-law Louisiana P. Bendolph; and two self-taught Alabama artists, Lonnie Holley and Thornton Dial. Bendolph's conception of herself as an artist is intimately connected to all of these aesthetic relationships, which together provide contexts for understanding the full scope and power of her work. As they intersect in Bendolph's life and art, these deep social and aesthetic networks give rise to new pathways of artistic influence and exchange, to a body of work that is a powerful mixture of communal and individual creative energies.