In journal entries to her mother, a gifted artist who died suddenly, thirteen-year-old Georgia McCoy reveals how her life changes after she receives an anonymous gift membership to a nearby art museum.

Like her mother, Georgia McCoy is an artist, but her dad looks away whenever he sees her with a sketchbook. Sometimes it’s hard to remember what it was like when her mother was still alive . . . when they were a family . . . when they were happy. But then a few days after her 13th birthday, Georgia receives an unexpected gift–a strange, formal letter, all typed up and signed anonymous–granting her free admission to the Brandywine River Museum for a whole year. And things begin to change. An accessible novel in poems, Pieces of Georgia offers an endearing protagonist–an aspiring artist, a grieving daughter, a struggling student, a genuine friend–and the poignant story of a broken family coming together.

Neat Pieces is a detailed, extensively illustrated survey of the major forms and makers of the "plain style" of furniture made and used by Georgians in the 1800s. Simply designed, solidly constructed of local woods, and usually unadorned, such pieces were used daily by their owners for storage, sleeping, eating, and more. Today, this furniture is read by historians, folklorists, and other experts for clues into a past way of life. It is also prized by museums, antiques dealers and auction houses, and furniture appraisers, collectors, and makers. Neat Pieces first appeared as the companion volume to the Atlanta History Center's seminal 1983 exhibit of the same name. The exhibit featured 126 exemplary pieces of furniture, including chairs, tables, huntboards, washstands, and candlestands. Each of them is described and illustrated in this book. Photographs in the original edition of Neat Pieces were black-and-white; here they are color. A new foreword by Deanne Levison looks at related publications and exhibits of the subsequent two decades. The introduction, by William W. Griffin, provides information on furniture forms, nomenclature, and finishes. Also included in the book is a list of more than twelve hundred nineteenth-century Georgia furniture craftsmen, with key details of their lives and work. 126 exemplary pieces of furniture (including chairs, tables, huntboards, washstands, and candlestands) 172 color photographs, 17 black-and-white photographs Information on furniture forms, nomenclature, and finishes Details about more than twelve hundred nineteenth-century Georgia furniture craftsmen

Artist Georgia O'Keeffe was interested in the shapes she saw around her, from her childhood on a Wisconsin farm to her adult life in New York City and New Mexico.

The New York Times bestseller with more than 1 million copies sold worldwide | Soon to be a Hulu limited series starring Joey King and Logan Lerman Inspired by the incredible true story of one Jewish family separated at the start of World War II, determined to survive—and to reunite—We Were the Lucky Ones is a tribute to the triumph of hope and love against all odds. “Love in the face of global adversity? It couldn't be more timely.” —Glamour It is the spring of 1939 and three generations of the Kurc family are doing their best to live normal lives, even as the shadow of war grows closer. The talk around the family Seder table is of new babies and budding romance, not of the increasing hardships threatening Jews in their hometown of Radom, Poland. But soon the horrors overtaking Europe will become inescapable and the Kurcs will be flung to the far corners of the world, each desperately trying to navigate his or her own path to safety. As one sibling is forced into exile, another attempts to flee the continent, while others struggle to escape certain death, either by working grueling hours on empty stomachs in the factories of the ghetto or by hiding as gentiles in plain sight. Driven by an unwavering will to survive and by the fear that they may never see one another again, the Kurcs must rely on hope, ingenuity, and inner strength to persevere. An extraordinary, propulsive novel, We Were the Lucky Ones demonstrates how in the face of the twentieth century’s darkest moment, the human spirit can endure and even thrive.

Pieces of the Frame is a gathering of memorable writings by one of the greatest journalists and storytellers of our time. They take the reader from the backwoods roads of Georgia, to the high altitude of Ruidoso Downs in New Mexico; from the social decay of Atlantic City, to Scotland, where a pilgrimage for art's sake leads to a surprising encounter with history on a hilltop with a view of a fifth of the entire country. McPhee's writing is more than informative; these are stories, artful and full of character, that make compelling reading. They play with and against one another, so that Pieces of the Frame is distinguished as much by its unity as by its variety. Subjects familiar to McPhee's readers-sports, Scotland, conservation-are treated here with intimacy and a sense of the writer at work.

The 1899 lynching of Sam Hose in Newnan, Georgia, was one of the earliest and most gruesome events in a tragic chapter of U.S. history. Hose was a black laborer accused of killing Alfred Cranford, a white farmer, and raping his wife. The national media closely followed the manhunt and Hose’s capture. An armed mob intercepted Hose’s Atlanta-bound train and took the prisoner back to Newnan. There, in front of a large gathering on a Sunday afternoon, Hose was mutilated and set on fire. His body was dismembered and pieces of it were kept by souvenir hunters. Born and raised twenty miles from Newnan, Edwin T. Arnold was troubled and fascinated by the fact that this horrific chain of events had been largely shut out of local public memory. In "What Virtue There Is in Fire," Arnold offers the first in-depth examination of the lynching of Sam Hose. Arnold analyzes newspapers, letters, and speeches to understand reactions to this brutal incident, without trying to resolve the still-disputed facts of the crime. Firsthand accounts were often contradictory, and portrayals of Hose differed starkly--from "black beast" to innocent martyr. Arnold traces how different groups interpreted and co-opted the story for their own purposes through the years. Reflecting on recent efforts to remember the lynching of Sam Hose, Arnold offers the portrait of a place still trying to reconcile itself, a century later, to its painful past.