Marc Delaterre discovers that his son, Duc, has an evil inside him so horrible that when he tries to help the boy discover the source of it, he runs the risk of losing him.

"This work serves as a model for compiling ethnohistories of other nonliterate peoples."--BOOK JACKET.

Rachel Fortier, a thirty-something home design consultant, has had it with her fiancé. It's bad enough that he gave her a Thighmaster for Valentine's Day and a Butt Buster for her birthday, and that their seven-year engagement has no end in sight. But she just learned that he's had a vasectomy! Rachel packs up and heads south to meet her great-aunt Gizelle for the first time and take a few days to regroup. She imagines a Grandma Walton living in a picturesque house surrounded by wondrous nature. What she finds is a cabin on stilts deep in the bayous, with alligators and snakes the size of telephone poles. As for Aunt Gizelle, she's a former taxidermist who can outcreep Hannibal Lechter any day of the week. And if that isn't enough to make a girl turn around and head right back to her ex, Gizelle is feuding with a Cajun bad boy -Remy LeDeux, a helicopter pilot and Air Force vet whose face is scarred from battle. Rene wants to buy a piece of property from Gizelle, but the feisty senior makes it clear she wants nothing to do with any LeDeux. But the moment Remy sees Rachel getting out of a red truck, it's love at first sight for the long-time bachelor, despite all the turmoil she brings into his life, with her ideas of Feng Shui-ing his houseboat and her ex chasing after her, not to mention her great-aunt threatening to shoot his heinie. But getting Rachel to say "I do" is worth it. After all, he's never met a woman before who looks at him like he's a Whitmans Sampler box and she's a chocoholic.

Sara Le Menestrel explores the role of music in constructing, asserting, erasing, and negotiating differences based on the notions of race, ethnicity, class, and region. She discusses established notions and brings to light social stereotypes and hierarchies at work in the evolving French Louisiana music field. She also draws attention to the interactions between oppositions such as black and white, urban and rural, differentiation and creolization, and local and global. Le Menestrel emphasizes the importance of desegregating the understanding of French Louisiana music and situating it beyond ethnic or racial identifications, amplifying instead the importance of regional identity. Musical genealogy and categories currently in use rely on a racial construct that frames African and European lineage as an essential difference. Yet as the author samples music in the field and discovers ways music is actually practiced, she reveals how the insistence on origins continually interacts with an emphasis on cultural mixing and creative agency. This book finds French Louisiana musicians navigating between multiple identifications, musical styles, and legacies while market forces, outsiders’ interest, and geographical mobility also contribute to shape musicians’ career strategies and artistic choices. The book also demonstrates the decisive role of non-natives’ enthusiasm and mobility in the validation, evolution, and reconfiguration of French Louisiana music. Finally, the distinctiveness of South Louisiana from the rest of the country appears to be both nurtured and endured by locals, revealing how political domination and regionalism intertwine.

Cajun Women and Mardi Gras is the first book to explore the importance of women’s contributions to the country Cajun Mardi Gras tradition, or Mardi Gras “run.” Most Mardi Gras runs--masked begging processions through the countryside, led by unmasked capitaines--have customarily excluded women. Male organizers explain that this rule protects not only the tradition’s integrity but also women themselves from the event’s rowdy, often drunken, play. Throughout the past twentieth century, and especially in the past fifty years, women in some prairie communities have insisted on taking more active and public roles in the festivities. Carolyn E. Ware traces the history of women’s participation as it has expanded from supportive roles as cooks and costume makers to increasingly public performances as Mardi Gras clowns and (in at least one community) capitaines. Drawing on more than a decade of fieldwork interviews and observation in Mardi Gras communities, Ware focuses on the festive actions in Tee Mamou and Basile to reveal how women are reshaping the celebration as creative artists and innovative performers.

"McNulty delivers an inimitable take on Cajun and Creole Louisiana--the siren call of zydeco dancehalls pulsing in the country darkness; of crawfish "boiling points" and traditional country smokehouses; of Cajun jam sessions, where even wallflowers are compelled to dance; of equine gambits in the cradle of jockeys; and of fishing trips where anyone can land impressive catches. In south Louisiana, distilled European heritage, the African American experience, and modern southern exuberance mix with tumultuous history and fantastically fecund natural environments. The territories McNulty opens to the reader are arguably the nation's most exotic and culturally distinct destinations"--Page 4 of cover.

ANGEL ON A HARLEY: Angel Sabato tries to live up to his name as he seeks to win the love of his life, but it’s hard being good with his past as a bad boy biker, treasure hunter, and Playgirl centerfold. Against the sensual bayou setting of Southern Louisiana as a backdrop, Angel sets out on a plan of sizzling seduction. EX-NUN ON A MISSION: This angel is going to have his feathers clipped if Grace O’Brien has her way. The ex-poker-playing nun and folk healer isn’t buying this Jersey boy’s declaration of love. Friendship, yes. Sex, maybe. Love, no way! Besides, she has a secret that precludes any relationships. But how does she resist the reformed rogue? A MATCH MADE IN HEAVEN: With the notorious Tante Lulu, the bayou busybody, calling the shots, Angel and Grace don’t stand a chance. They soon find themselves in the midst of a plot to rescue a group of hurricane orphans while a mysterious person from Grace’s past shows up. Will Angel and Grace be able to weather the storm? ​​​​​​​With Sandra Hill’s trademark humor, this is a book that will make the reader laugh, as well as cry. (Originally published as So Into You)