A vivid portrait of African American life in today’s urban South that uses food to explore the complex interactions of race and class Getting Something to Eat in Jackson uses food—what people eat and how—to explore the interaction of race and class in the lives of African Americans in the contemporary urban South. Joseph Ewoodzie Jr. examines how “foodways”—food availability, choice, and consumption—vary greatly between classes of African Americans in Jackson, Mississippi, and how this reflects and shapes their very different experiences of a shared racial identity. Ewoodzie spent more than a year following a group of socioeconomically diverse African Americans—from upper-middle-class patrons of the city’s fine-dining restaurants to men experiencing homelessness who must organize their days around the schedules of soup kitchens. Ewoodzie goes food shopping, cooks, and eats with a young mother living in poverty and a grandmother working two jobs. He works in a Black-owned BBQ restaurant, and he meets a man who decides to become a vegan for health reasons but who must drive across town to get tofu and quinoa. Ewoodzie also learns about how soul food is changing and why it is no longer a staple survival food. Throughout, he shows how food choices influence, and are influenced by, the racial and class identities of Black Jacksonians. By tracing these contemporary African American foodways, Getting Something to Eat in Jackson offers new insights into the lives of Black Southerners and helps challenge the persistent homogenization of blackness in American life.

This dissertation illustrates the heterogeneity of black life in the American South by ethnographically investigating the foodways (food access, choice, and consumption) of four strata of blacks: homeless, working poor and upper middle-class. It finds that food access is more about what people are able to make themselves available to than about what is available in the immediate surroundings. This finding challenges popular explanations of food availability that rely on writings about food deserts. The homeless men in the study maintained a relatively consistent access to food by abiding by a strict routine, following the rules of service providers, and accepting their place in homelessness. While popular explanations often rely on the shared food traditions of blacks to explain food choices, I argue that past food traditions are differently translated into the contexts of the varying life experiences of blacks in the south. For the working poor, the demands of living in poverty takes most of their attention and leaves them with little time to think through what they are going to eat, so they rely on whatever foods are within their reaches. These are often foods that required the least amount of preparation. Looking at food consumption-what people actually ate, and how they ate, especially among the upper middle-class blacks, provides a close look at the intersections of race and class among blacks in the south. The upper middle class often used food to ease the tension between their privileged class position and their subordinated racial identity. Outside of working hours-when they had more leeway in where they ate, they chose foods that are considered staples of (black and poor) southern diet and are associated with blacks of yesteryear-chicken, greens, corn bread, and fruit pies. These choices were a way for upper middle-class blacks to affirm their racial identity. Even those who frequented fine dining restaurants asserted their racialized and classed food tastes. The setting in which they ate, the plates on which they ate, and the utensils with which they ate were "classier" for the upper-middle class than for the two other groups

Marine Recruit: Tears in the Sand is an epic novel of a Marine Corps boot camp (San Diego); a compelling, unabridged account of recruit training as told by the drill instructor. Author of chronicles of a marine rifleman, retired first sergeant, Herb Brewer, USMC, now brings to life this outstanding, all-encompassing, witty, honest, caringly brutal, human, and timeless narrative. Combining two stories into one, he takes you all the way from the grueling view of the recruit to the panoramic mission and perspective of the Drill Instructor. At MCRD, you can count on two things: the recruit is green, the marine drill instructor is legendary. First Sergeant Brewer captures the essence and awareness of what it means to be both. Marine Recruit is a rare and unparalleled look into MCRD. Enter now the revered birthplace of the Marines where every drill instructor was once a recruit.

A captivating account of the formative years of one of Canada’s best-known artists, Jackson’s Wars follows A.Y. Jackson’s education and progress as a painter before he was a well-known artist and his time on the battlefield in Europe, before he cast his lot in with a group of like-minded Toronto artists. Jackson fought many battles: he was a feisty and opinionated combatant when he crossed swords with critics, collectors, museums, galleries, and fellow painters as an emerging artist. Moving from Montreal to Toronto in 1913, he became a key figure in a landscape movement that was determined to depict Canada in a bold new way, only to have a war dash the group's collective ambitions. Alone among his close associates, Jackson enlisted to fight with the 60th Infantry Battalion. Wounded at Sanctuary Wood in 1916, he returned to the field of combat as an official war artist – the first Canadian artist appointed, the only infantryman in the program – and militated for other Canadian appointments to what is now a storied moment of creation for such artists as F.H. Varley and Arthur Lismer. Jackson produced some of Canada’s most memorable depictions of the world’s first industrial-scale conflict, even as he reckoned with the anguish caused by the mysterious death of his close friend Tom Thomson. A life-changing event for soldiers, families, and nations alike, the First World War has been understood as a moment of stasis in the visual arts in Canada – the dead ground from which the Group of Seven emerged in the early 1920s. Douglas Hunter shows how Jackson’s war was a moment of intense transformation and artistic development on the canvas as well as an experience that tempered a young man into a constructive elder statesman for Canadian art. On his return home he was not only instrumental in the formation of the Group of Seven in Toronto, but a key figure for the Beaver Hall Group in Montreal. Jackson’s Wars is a story of brotherhoods of painters and soldiers, shot through with inspiration, ambition, trauma, and loss, on the home front as well as on the battlefield. Hunter widens and deepens A.Y. Jackson’s world of friends, family, and colleagues to capture the life of a complex man and the crucial events and relationships behind the creation of Canada’s best-known art collective.

It is the 1890s and Evie Logan is attempting to escape an arranged marriage to the arrogant and nasty William Douglas. A month after she dons a disguise, flees Philadelphia, and travels two thousand miles to begin anew as a chef in the Wild West, she has no idea that chance is about to lead her straight to a head-knocking encounter with Williams cousin, Jackson. Jackson, who is already aware William is offering a hefty reward for Evies return, quickly realizes her true identity. Intrigued by her red hair and natural beauty, Jackson offers her a chance to escape her lustful boss and become his personal cook. Seemingly left with no other choice, Evie accepts and begins a new chapter once again, this time in Ironton, where she and Jackson eventually stage a fake wedding in an effort to rid her of William once and for all. But there are just two little problems: William has not given up his pursuit of the feisty woman he intends to make his wife and Jackson is falling in love with Evie. In this historical romance, a rebellious young woman fleeing a marriage of convenience is led to a new destiny where she discovers that love always comes when one is least expecting it.