A collection of essays that are "like being seated beside the most entertaining guest at a dinner party" (Atlanta Journal Constitution)—from the New York Times bestselling author of American Housewives “Thank you Helen Ellis for writing down the Southern Lady Code so that others may learn.” —Ann Patchett, bestselling author of The Dutch House Helen Ellis has a mantra: “If you don't have something nice to say, say something not-so-nice in a nice way.” Say “weathered” instead of “she looks like a cake left out in the rain” and “I’m not in charge” instead of “they’re doing it wrong.” In these twenty-three raucous essays, Ellis transforms herself into a dominatrix Donna Reed to save her marriage, inadvertently steals a Burberry trench coat, avoids a neck lift, and finds a black-tie gown that gives her the confidence of a drag queen. While she may have left Alabama for New York City, Helen Ellis is clinging to her Southern accent like mayonnaise to white bread, and offering readers a hilarious, completely singular view on womanhood for both sides of the Mason-Dixon.

A gripping account of the Civil War era story of Elizabeth Van Lew: high-society Southern lady, risk-taking Union spy, and postwar politician.

This book argues for a renewed understanding of the fundamentally uncanny quality of the medium of photography. It especially makes the case for the capacity of certain photographs—precisely through their uncanniness—to contest structures of political and social dominance. The uncanny as a quality that unsettles the perception of home emerges as a symptom of modern and contemporary society and also as an aesthetic apparatus by which some key photographs critique the hegemony of capitalist and industrialist domains. The book’s historical scope is large, beginning with William Henry Fox Talbot and closing with contemporary indigenous photographer Bear Allison and contemporary African American photographer Devin Allen. Through close readings, exegesis, of individual photographs and careful deployment of contemporary political and aesthetic theory, The Photographic Uncanny argues for a re-envisioning of the political capacity of photography to expose the haunted, homeless, condition of modernity.

The Federal Writers? Project, part of President Franklin D. Roosevelt's Works Progress Administration of the 1930s, collected interviews from over 3500 ex-slaves throughout the United States, including 365 former South Carolina slaves. These narratives are an invaluable resource to those interested in resistance by the last generation of South Carolinians held in bondage. This thesis tells us about the separate worlds inhabited by the Palmetto State's slaves and their owners, and describes, often in the slaves? own words, the resistance precipitated by the friction between these worlds.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Even twenty years into marriage, Helen Ellis’s husband still makes her heart pitter patter. The New York Times bestselling author paints a portrait of true romance for our times in these surprising, sexy, and hilariously frank essays about love, marriage, and her last first kiss. "Ellis is one of our greatest living humorists, in the same league as Sedaris and Irby...A fascinating portrait of middle-aged love.” —Ann Napolitano, New York Times bestselling author of Dear Edward Welcome to the Coral Lounge, a room in Helen Ellis’s New York City apartment painted such an exuberant shade that a Peeping Tom left a sticky note asking for the color. It is in the Coral Lounge where all the parties happen: A game called “What’s in the box?” makes its uproarious debut, the Puzzle Posse pounces on a 500-piece jigsaw of a beheaded priest, and guests don blindfolds for a raucous bridal shower. When the pandemic shuts down the city, the Coral Lounge becomes a place of refuge, where Helen and her husband binge-watch Joan Collins’s Dynasty, dote on two spoiled cats, and where Helen discovers that even twenty years into marriage, her husband still makes her heart pitter patter.