Equal parts cultural history and memoir, God, Dr. Buzzard, and the Bolito Man recounts a traditional way of life--that of the Geechee Indians of Sapelo Island-- that is threatened by change, with stories that speak to our deepest notions of family, community, and a connection to one’s homeland. Cornelia Walker Bailey models herself after the African griot, the tribal storytellers who keep the history of their people. Bailey’s people are the Geechee, whose cultural identity has been largely preserved due to the relative isolation of Sapelo, a barrier island off the coast of Georgia. In this rich account, Bailey captures the experience of growing up in an island community that counted the spirits of its departed among its members, relied on pride and ingenuity in the face of hardship, and taught her firsthand how best to reap the bounty of the marshes, woods and ocean that surrounded her. The power of this memoir to evoke the life of Sapelo Island is remarkable, and the history it preserves is invaluable. “A special book that reveals the unconquerable spirit of a people who, though torn from their African homeland, imprinted America with a unique culture that continues to endure.” --Ebony

In this moving and original work, William S. McFeely, one of this country's most distinguished historians, retells the history—and enters into the current-day lives—of the people who inhabit Sapelo's Island off the coast of Georgia, descendants of slaves who once worked its huge cotton plantations. It is at once a richly detailed work of historical reconstruction, a sensitive portrait of the lives of black Americans in this particular place and in our own time, and a moving meditation on race by a writer who has made its painful dilemmas his life's work as a historian.

Account of journeys west of Hudson Bay in summer of 1939 to Nueltin Lake.

During the 1920s and 1930s, anthropologists and folklorists became obsessed with uncovering connections between African Americans and their African roots. At the same time, popular print media and artistic productions tapped the new appeal of black folk life, highlighting African-styled voodoo as an essential element of black folk culture. A number of researchers converged on one site in particular, Sapelo Island, Georgia, to seek support for their theories about "African survivals," bringing with them a curious mix of both influences. The legacy of that body of research is the area's contemporary identification as a Gullah community. This wide-ranging history upends a long tradition of scrutinizing the Low Country blacks of Sapelo Island by refocusing the observational lens on those who studied them. Cooper uses a wide variety of sources to unmask the connections between the rise of the social sciences, the voodoo craze during the interwar years, the black studies movement, and black land loss and land struggles in coastal black communities in the Low Country. What emerges is a fascinating examination of Gullah people's heritage, and how it was reimagined and transformed to serve vastly divergent ends over the decades.

The Blind Fisherman is a compilation of Mia Couto's early short stories - as first presented to the English-speaking world in his two collections Voices Made Night (1990) and Every Man is a Race (1994). Originally written in Portuguese, it was in these collections that Mia Couto first announced himself as a writer of international importance, constructing stories that blended the unique history of Mozambique with a magic realism that was both inspired by and transcendent of the legacy of Portuguese colonialism and the subsequent civil war.

The lush landscape and subtropical climate of the Georgia coast only enhance the air of mystery enveloping some of its inhabitants—people who owe, in some ways, as much to Africa as to America. As the ten previously unpublished essays in this volume examine various aspects of Georgia lowcountry life, they often engage a central dilemma: the region's physical and cultural remoteness helps to preserve the venerable ways of its black inhabitants, but it can also marginalize the vital place of lowcountry blacks in the Atlantic World. The essays, which range in coverage from the founding of the Georgia colony in the early 1700s through the present era, explore a range of topics, all within the larger context of the Atlantic world. Included are essays on the double-edged freedom that the American Revolution made possible to black women, the lowcountry as site of the largest gathering of African Muslims in early North America, and the coexisting worlds of Christianity and conjuring in coastal Georgia and the links (with variations) to African practices. A number of fascinating, memorable characters emerge, among them the defiant Mustapha Shaw, who felt entitled to land on Ossabaw Island and resisted its seizure by whites only to become embroiled in struggles with other blacks; Betty, the slave woman who, in the spirit of the American Revolution, presented a “list of grievances” to her master; and S'Quash, the Arabic-speaking Muslim who arrived on one of the last legal transatlantic slavers and became a head man on a North Carolina plantation. Published in association with the Georgia Humanities Council.

The barrier islands of the south Atlantic coastline have for years held a deep attraction for all who have come into contact with them. Few, however, can compare with the mystique of Sapelo Island, Georgia. This unique semitropical paradise evokes a time long forgotten, when antebellum cotton plantations dominated her landscape, all worked by hundreds of black slaves, the descendants of whom have lived in quiet solitude on the island for generations. For more than 50 years of the twentieth century, two millionaires held sway on Sapelo, and it is their story, interwoven with that of the island's residents, that unfolds within the pages of this book. Almost 200 photographs provide testimony to the dynamic forces and energies implanted upon Sapelo by two men, Howard E. Coffin, a Detroit automotive pioneer, and Richard J. Reynolds Jr., heir to a huge North Carolina tobacco fortune. Beginning with a photographic essay about Sapelo's antebellum plantation owner, Thomas Spalding, Sapelo Island moves into the primary focus of the story, the years from 1912 to 1964, an era of grandeur that has left a rich photographic legacy.