“A groundbreaking work about race and the American landscape, and a deep meditation on nature…wise and beautiful.”—Helen Macdonald, author of H is for Hawk A Foreword Reviews Best Book of the Year and Nautilus Silver Award Winner In me, there is the red of miry clay, the brown of spring floods, the gold of ripening tobacco. All of these hues are me; I am, in the deepest sense, colored. Dating back to slavery, Edgefield County, South Carolina—a place “easy to pass by on the way somewhere else”—has been home to generations of Lanhams. In The Home Place, readers meet these extraordinary people, including Drew himself, who over the course of the 1970s falls in love with the natural world around him. As his passion takes flight, however, he begins to ask what it means to be “the rare bird, the oddity.” By turns angry, funny, elegiac, and heartbreaking, The Home Place is a meditation on nature and belonging by an ornithologist and professor of ecology, at once a deeply moving memoir and riveting exploration of the contradictions of black identity in the rural South—and in America today. “When you’re done with The Home Place, it won’t be done with you. Its wonders will linger like everything luminous.”—Star Tribune “A lyrical story about the power of the wild…synthesizes his own family history, geography, nature, and race into a compelling argument for conservation and resilience.”—National Geographic

“Culled from the rarefied air of James Lee Burke, Greg Iles, and John Hart, Kevin Wolf has fashioned a painstakingly perfect tale of murder, angst, and the enduring power of the human spirit. If the late, great Pat Conroy had ever decided to write a mystery, this would be it.” —Jon Land “Kevin Wolf’s debut novel, The Homeplace, succeeds in every way. He has crafted a gripping, fast-paced narrative with beautifully drawn characters in an authentic and interesting small-town Colorado setting. Not only is the mystery compelling, but so are the characters. Even if there were no murders to solve, you would still want to spend time with these fascinating people whose lives echo the sparse and gorgeous landscape they inhabit and whose pasts refuse to leave them to their futures.” —Christine Carbo, author of The Wild Inside Chase Ford was the first of four generations of Ford men to leave Comanche County, Colorado. For Chase, leaving saved the best and hid the worst. But now, he has come home. His friends are right there waiting for him. And so are his enemies. Then the murder of a boy, a high school basketball star just like Chase, rocks the small town. When another death is discovered—one that also shares unsettling connections to him—law enforcement’s attention turns towards Chase, causing him to wonder just what he came home to. A suspenseful, dramatic crime novel, The Homeplace captures the stark beauty of life on the Colorado plains.

In this illuminating book, anthropologist Kirstin Erickson explains how members of the Yaqui tribe, an indigenous group in northern Mexico, construct, negotiate, and continually reimagine their ethnic identity. She examines two interconnected dimensions of the Yaqui ethnic imagination: the simultaneous processes of place making and identification, and the inseparability of ethnicity from female-identified spaces, roles, and practices. Yaquis live in a portion of their ancestral homeland in Sonora, about 250 miles south of the Arizona border. A long history of displacement and ethnic struggle continues to shape the Yaqui sense of self, as Erickson discovered during the sixteen months that she lived in Potam, one of the eight historic Yaqui pueblos. She found that themes of identity frequently arise in the stories that Yaquis tell and that geography and location—space and place—figure prominently in their narratives. Revisiting Edward Spicer’s groundbreaking anthropological study of the Yaquis of Potam pueblo undertaken more than sixty years ago, Erickson pays particular attention to the “cultural work” performed by Yaqui women today. She shows that by reaffirming their gendered identities and creating and occupying female-gendered spaces such as kitchens, household altars, and domestic ceremonial spaces, women constitute Yaqui ethnicity in ways that are as significant as actions taken by males in tribal leadership and public ceremony. This absorbing study contributes new empirical knowledge about a Native American community as it adds to the growing anthropology of space/place and gender. By inviting readers into the homes and patios where Yaqui women discuss their lives, it offers a highly personalized account of how they construct—and reconstruct—their identity.

In the early 1970s photographer and documentary filmmaker Michael Ford left graduate school and a college teaching position in Boston, Massachusetts, packed his young family into a van, and headed to rural Mississippi, where he spent the next four years recording everyday life through interviews, still photographs, and film. The project took him to Oxford (in Lafayette County), as well as to Marshall, Panola, and Tate Counties, a remote area north of Sardis Lake. His efforts resulted in the award-winning documentary film Homeplace (1975), but none of the still photographs from this time were ever published. With this illustrated volume, those photographs are now available and offer a valuable window onto the rural, local culture of northern Mississippi at that time. These moving photographs illustrate Ford's experiences as an apprentice to blacksmith Marion Randolph Hall, his visits to Hal Waldrip's General Store in Chulahoma, a day spent with AG Newsom and his crew making molasses, and Othar Turner's barbecues accompanied by traditional African American fife-and-drum music. They also capture the evocative landscape of the Mississippi hill country and the everyday lives of its residents. In 2013 Ford returned to his adopted homeplace, camera in hand, only to find that most everything had changed--or was gone. This photo essay project juxtaposes the rural Mississippi of the 1970s and the mid-2010s with Ford's personal reflections drawn from his journals, interviews, and archival notes.

Two hundred years in the life of a house is told as a young girl's grandmother recalls the family's history over a period of six generations, beginning with their ancestor who cleared the land and built a log cabin. Each generation adds on to the homestead and expands the farm, giving each period a special flavor. Full-color illustrations.

In 1919, against a backdrop of a long history of anti-Asian nativism, a handful of Japanese families established Cortez Colony in a bleak pocket of the San Joachin Valley. Valerie Matsumoto chronicles conflicts within the community as well as obstacles from without as the colonists responded to the challenges of settlement, the setbacks of the Great Depression, the hardships of World War II internment, and the opportunities of postwar reconstruction. Tracing the evolution of gender and family roles of members of Cortez as well as their cultural, religious, and educational institutions, she documents the persistence and flexibility of ethnic community and demonstrates its range of meaning from geographic location and web of social relations to state of mind.

Finalist for the 1991 National Book Award In The Homeplace, the stories of a family become the history of a people as Marilyn Nelson Waniek sketches the lives descended from her great-great-grandmother Diverne. The poet’s mother, Johnnie Mitchell Nelson, inspired this volume when she bequeathed to Waniek from her deathbed the tales that had shaped her life. The first section of the book presents those stories transformed into graceful, humorous, and deeply touching poems. In the book’s second section Waniek honors her late father, Melvin Nelson, and tells the story of his “family”: the fabled group of black World War II aviators known as the Tuskegee Airmen. Using the language and perspective of her father and his comrades, Waniek explores through a few of their individual stories the hardships and achievements of the thousand black flyers trained at Tuskegee Institute. Throughout The Homeplace, the reader is involved in a series of sharply portrayed lives. By telling a continuous story in a mix of free verse and traditional forms, Waniek gives her work pace and intensity. She handles the villanelle, the sonnet, and the popular ballad with equal skill and gusto. “I just knew we were going to live some history,” Johnnie Nelson said at the end of her life. Her daughter has produced an eloquent homage to that history, celebrating the survival of Afro-American pride.