This little book is for the future. It is a time capsule for our family, for Hazels descendants. It is her legacy in her words, some transcribed from recorded memories, some composed as stories told in third person. It is her message to the future about times past, as she glimpsed it, so that those who come after may share it. I once asked myself, among all the lessons I learned from the wisdom she dispensed, what was it that stood out. She was creative; she was loving; she was witty; she was resilient; she was honest; she was intelligent; she was curious; she was hard-working. Yet, the quality I want to point out is that in the course of her life, nothing was ever lost. She made the most of every moment, of every experience, of every acquaintance. While she did not live on a grand scale, over all those years, in all those places, among all the people she touched, she inherently knew that this was indeed the fabric of her life and that nothing was to be wasted, taken for granted, or ignored. Everyone she met remembered her because she was always fully present to those she encountered. Throughout Mothers journey, her devotion to family and friends defined her. She was intensely proud of Johns accomplishments, and she doted on her grandchildren, Matt, Julie, and Steve. In addition to Martha, in whom she found the daughter she always wanted, many younger women were especially drawn to her. To them she was mentor, ally, confidante, and friend. Doug Haydel Hazel was a widow about as long as she was married but she never loved anyone else and not a day went buy after Daddy died that she didnt miss him think about him fondly. They fit together like two pieces in a jigsaw puzzle with a lot of other pieces missing. Daddy was a dreamer and Hazel was an enabler. Mother gave us a love of learning through her example. She was a constant reader and often mispronounced new words because she didnt often have a chance to exercise her vocabulary with her friends with smaller vocabularies. She constantly reminded us of the plutocracy of the Haydels in early Louisiana and made us feel sort of special; at least our family was maybe once if not now. Hazel never learned to drive, was clumsy and never screwed lids on jars, causing lots of spilling. She often successfully depended on the kindness of strangers. She was a natural cook. She could walk into a kitchen bereft of pantry supplies and produce magical dishes. She was a beautiful woman. I once overheard his father talking to someone and he said my wife is a beautiful women I want you to meet her I felt sorry for my friends that didnt have a beautiful mother. They are both buried in the Catholic cemetery in Plaucheville, La. John Haydel

'Where are you from?' was the question hounding Hazel Carby as a girl in post-World War II London. One of the so-called brown babies of the Windrush generation, born to a Jamaican father and Welsh mother, Carby's place in her home, her neighbourhood, and her country of birth was always in doubt. Emerging from this setting, Carby untangles the threads connecting members of her family to each other in a web woven by the British Empire across the Atlantic. We meet Carby's working-class grandmother Beatrice, a seamstress challenged by poverty and disease. In England, she was thrilled by the cosmopolitan fantasies of empire, by cities built with slave-trade profits, and by street peddlers selling fashionable Jamaican delicacies. In Jamaica, we follow the lives of both the 'white Carbys' and the 'black Carbys', as Mary Ivey, a free woman of colour, whose children are fathered by Lilly Carby, a British soldier who arrived in Jamaica in 1789 to be absorbed into the plantation aristocracy. And we discover the hidden stories of Bridget and Nancy, two women owned by Lilly who survived the Middle Passage from Africa to the Caribbean. Moving between the Jamaican plantations, the hills of Devon, the port cities of Bristol, Cardiff, and Kingston, and the working-class estates of South London, Carby's family story is at once an intimate personal history and a sweeping summation of the violent entanglement of two islands. In charting British empire's interweaving of capital and bodies, public language and private feeling, Carby will find herself reckoning with what she can tell, what she can remember, and what she can bear to know.

The first comprehensive study of the eighteenth-century response to the Elizabethan poet Edmund Spenser, from editions to influence.

The names Elizabeth Eckford and Hazel Bryan Massery may not be well known, but the image of them from September 1957 surely is: a black high school girl, dressed in white, walking stoically in front of Little Rock Central High School, and a white girl standing directly behind her, face twisted in hate, screaming racial epithets. This famous photograph captures the full anguish of desegregation--in Little Rock and throughout the South--and an epic moment in the civil rights movement.In this gripping book, David Margolick tells the remarkable story of two separate lives unexpectedly braided together. He explores how the haunting picture of Elizabeth and Hazel came to be taken, its significance in the wider world, and why, for the next half-century, neither woman has ever escaped from its long shadow. He recounts Elizabeth's struggle to overcome the trauma of her hate-filled school experience, and Hazel's long efforts to atone for a fateful, horrible mistake. The book follows the painful journey of the two as they progress from apology to forgiveness to reconciliation and, amazingly, to friendship. This friendship foundered, then collapsed--perhaps inevitably--over the same fissures and misunderstandings that continue to permeate American race relations more than half a century after the unforgettable photograph at Little Rock. And yet, as Margolick explains, a bond between Elizabeth and Hazel, silent but complex, endures.

In the early nineteenth century, critics believed the press was destroying social structure--eroding law and order and the institutions of the family, religion, and education. To counter these effects they advocated, among other things, eradicating Sunday newspapers and "subversive" content such as news of crime, sex, and sporting events. Dicken-Garcia traces the relationship between societal values and the press coverage of issues and events. Setting out to tame the press by understanding it, she argues, critics had begun to dissect it. In the process, they articulated the rudiments of journalistic theory, and proposed what issues should be addressed by journalists, what functions should be undertaken, and what standards should be imposed.

"Hazel Scott was an important figure in the later part of the Black renaissance onward. Even in an era where there was limited mainstream recognition of Black Stars, Hazel Scott's talent stood out and she is still fondly remembered by a large segment of the community. I am pleased to see her legend honored." ---Melvin Van Peebles, filmmaker and director "This book is really, really important. It comprises a lot of history---of culture, race, gender, and America. In many ways, Hazel's story is the story of the twentieth century." ---Murray Horwitz, NPR commentator and coauthor of Ain't Misbehavin' "Karen Chilton has deftly woven three narrative threads---Adam Clayton Powell, Jr., Harlem, and Hazel Scott---into a marvelous tapestry of black life, particularly from the Depression to the Civil Rights era. Of course, Hazel Scott's magnificent career is the brightest thread, and Chilton handles it with the same finesse and brilliance as her subject brought to the piano." ---Herb Boyd, author of Baldwin's Harlem: A Biography of James Baldwin "A wonderful book about an extraordinary woman: Hazel Scott was a glamorous, gifted musician and fierce freedom fighter. Thank you Karen Chilton for reintroducing her. May she never be forgotten." ---Farah Griffin, Institute for Research in African-American Studies, Columbia University In this fascinating biography, Karen Chilton traces the brilliant arc of the gifted and audacious pianist Hazel Scott, from international stardom to ultimate obscurity. A child prodigy, born in Trinidad and raised in Harlem in the 1920s, Scott's musical talent was cultivated by her musician mother, Alma Long Scott as well as several great jazz luminaries of the period, namely, Art Tatum, Fats Waller, Billie Holiday and Lester Young. Career success was swift for the young pianist---she auditioned at the prestigious Juilliard School when she was only eight years old, hosted her own radio show, and shared the bill at Roseland Ballroom with the Count Basie Orchestra at fifteen. After several stand-out performances on Broadway, it was the opening of New York's first integrated nightclub, Café Society, that made Hazel Scott a star. Still a teenager, the "Darling of Café Society" wowed audiences with her swing renditions of classical masterpieces by Chopin, Bach, and Rachmaninoff. By the time Hollywood came calling, Scott had achieved such stature that she could successfully challenge the studios' deplorable treatment of black actors. She would later become one of the first black women to host her own television show. During the 1940s and 50s, her sexy and vivacious presence captivated fans worldwide, while her marriage to the controversial black Congressman from Harlem, Adam Clayton Powell, Jr., kept her constantly in the headlines. In a career spanning over four decades, Hazel Scott became known not only for her accomplishments on stage and screen, but for her outspoken advocacy of civil rights and her refusal to play before segregated audiences. Her relentless crusade on behalf of African Americans, women, and artists made her the target of the House Un-American Activities Committee (HUAC) during the McCarthy Era, eventually forcing her to join the black expatriate community in Paris. By age twenty-five, Hazel Scott was an international star. Before reaching thirty-five, however, she considered herself a failure. Plagued by insecurity and depression, she twice tried to take her own life. Though she was once one of the most sought-after talents in show business, Scott would return to America, after years of living abroad, to a music world that no longer valued what she had to offer. In this first biography of an important but overlooked African American pianist, singer, actor and activist, Hazel Scott's contributions are finally recognized. Karen Chilton is a New York-based writer and actor, and the coauthor of I Wish You Love, the memoir of legendary jazz vocalist Gloria Lynne.

Today Hazel Creek is located within the boundaries of Great Smoky Mountains National Park, but the area and former community has had an extraordinary history. It has been the home of famous writer Horace Kephart, a mining boom town, a lumber boom town, and finally a bust town and focus of a 60 year dispute over the building of the North Shore Road.