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Many of the recurring motifs found in south Louisiana's culture spring from the state's rich folklore. Influenced by settlers of European and African heritage, celebrated customs like the Courir de Mardi Gras and fabled creatures like the Loup-Garou grow out of the region's distinctive oral tradition. Joshua Clegg Caffery's In the Creole Twilight draws from this vibrant and diverse legacy to create an accessible reimagining of the state's traditional storytelling and songs.A scholar and Grammy-nominated musician, Caffery borrows from the syllabic structures, rhyme schemes, narratives, and settings that characterize Louisiana songs and tales to create new verse that is both well-researched and refreshingly inventive. Paired with original pen-and-ink illustrations as well as notes that clarify the origins of characters and themes, Caffery's compositions provide a link to the old worlds of southern Louisiana while constructing an entirely new one.

In Race, Theft, and Ethics, Lovalerie King examines African American literature's critique of American law concerning matters of property, paying particular attention to the stereotypical image of the black thief. She draws on two centuries of African American writing that reflects the manner in which human value became intricately connected with property ownership in American culture, even as racialized social and legal custom and practice severely limited access to property. Using critical race theory, King builds a powerful argument that the stereotype of the black thief is an inevitable byproduct of American law, politics, and social customs. In making her case, King ranges far and wide in black literature, looking closely at over thirty literary works. She uses four of the best-known African American autobiographical narratives -- Narrative of the Life of Frederick Douglass, Harriet Jacobs's Incidents in the Life of a Slave Girl, Booker T. Washington's Up From Slavery, and Richard Wright's Black Boy -- to reveal the ways that law and custom worked to shape the black thief stereotype under the institution of slavery and to keep it firmly in place under the Jim Crow system. Examining the work of William Wells Brown, Charles Chesnutt, James Weldon Johnson, and Alice Randall, King treats "the ethics of passing" and considers the definition and value of whiteness and the relationship between whiteness and property. Close readings of Richard Wright's Native Son and Dorothy West's The Living is Easy, among other works, question whether blacks' unequal access to the economic opportunities held out by the American Dream functions as a kind of expropriation for which there is no possible legal or ethical means of reparation. She concludes by exploring the theme of theft and love in two famed neo-slave or neo-freedom narratives--Toni Morrison's Beloved and Charles Johnson's Middle Passage. Race, Theft, and Ethics shows how African American literature deals with the racialized history of unequal economic opportunity in highly complex and nuanced ways, and illustrates that, for many authors, an essential aspect of their work involved contemplating the tensions between a given code of ethics and a moral course of action. A deft combination of history, literature, law and economics, King's groundbreaking work highlights the pervasiveness of the property/race/ethics dynamic in the interfaces of African American lives with American law.

When a kayaker thought he spotted an ivory-billed woodpecker in 2004, the birding community took notice. Two birders traveled to the bayou where the sighting occurred, well aware that the last confirmed sighting of an ivory-bill had taken place over sixty years ago. Both men caught a glimpse of the bird, and a team began to search the surrounding swamplands. Even after long hours of surveillance and multiple sightings, the scientists cautiously refused to disclose their rediscovery of the extinct bird until they captured it on film. At last, armed with a short video and sound clip, they published their findings in Science, triggering a frenzy of media coverage and sparking a controversy among birders and scientists who continue to disagree about whether the bird really still exists. In Stalking the Ghost Bird, Michael K. Steinberg engages the lengthy debate over the ivory-bill's status by examining the reported sightings and extensive efforts to find the rare bird in Louisiana. Louisiana has long been at the center of the ivory-bill's story. John James Audubon wrote about the bird and its habitat during his stay in St. Francisville, and scientists James Tanner and George Lowery studied the ivory-bill in Louisiana in the 1930s and 1940s. More recently, bird experts have conducted targeted searches in Louisiana. Steinberg discusses these and other scientific expeditions, and he catalogs reported ivory-bill sightings since the 1950s, using a detailed timeline that includes both dates and specific locations. Interviews with conservation officials, ornithologists, and native Louisianans illuminate the ongoing controversy and explore why the ivory-bill, more than any other bird, arouses so much attention. Steinberg meets elderly residents of the Atchafalaya Basin who saw the ivory-bill while hunting in the 1930s and even ate the bird-which they called the "forest turkey"-during hard times. He paddles into Two O'Clock Bayou with one wildlife professor and travels to a cypress-filled wildlife refuge with the director of Louisiana's Nature Conservancy. His interviews illustrate how expert opinions vary, as well as how much local non-experts know. Steinberg also explores in detail the human impact on both the ivory-bill and its bottomland forest habitat, explains how forest-management practices in the South may pose problems for an ivory-bill recovery, and outlines where future searches for the bird should take place. In this absorbing study, Steinberg turns his lifelong interest in the majestic ivory-billed woodpecker into a tale that encapsulates both the mystery and intrigue surrounding the legendary bird and our fascination with it.

New Orleans is a city of many storied streets, but only one conjures up as much unbridled passion as it does fervent hatred, simultaneously polarizing the public while drawing millions of visitors a year. A fascinating investigation into the mile-long urban space that is Bourbon Street, Richard Campanella's comprehensive cultural history spans from the street's inception during the colonial period through three tumultuous centuries, arriving at the world-famous entertainment strip of today. Clearly written and carefully researched, Campanella's book interweaves world events--from the Louisiana Purchase to World War II to Hurricane Katrina--with local and national characters, ranging from presidents to showgirls, to explain how Bourbon Street became an intriguing and singular artifact, uniquely informative of both New Orleans's history and American society. While offering a captivating historical-geographical panorama of Bourbon Street, Campanella also presents a contemporary microview of the area, describing the population, architecture, and local economy, and shows how Bourbon Street operates on a typical night. The fate of these few blocks in the French Quarter is played out on a larger stage, however, as the internationally recognized brands that Bourbon Street merchants and the city of New Orleans strive to promote both clash with and complement each other. An epic narrative detailing the influence of politics, money, race, sex, organized crime, and tourism, Bourbon Street: A History ultimately demonstrates that one of the most well-known addresses in North America is more than the epicenter of Mardi Gras; it serves as a battleground for a fundamental dispute over cultural authenticity and commodification.

Louisiana's bayous and their watersheds teem with cypress trees, alligators, crawfish, and many other life forms. From Bayou Tigre to Half Moon Bayou, these sluggish streams meander through lowlands, marshes, and even uplands to dominate the state's landscape. In Bayou-Diversity, conservationist Kelby Ouchley reveals the bayou's intricate web of flora and fauna.Through a collection of essays about Louisiana's natural history, Ouchley details an amazing array of plants and animals found in the Bayou State. Baldcypress, orchids, feral hogs, eels, black bears, bald eagles, and cottonmouth snakes live in the well over a hundred bayous of the region. Collectively, Ouchley's vignettes portray vibrant and complex habitats. But human interaction with the bayou and our role in its survival, Ouchley argues, will determine the future of these intricate ecosystems.Bayou-Diversity narrates the story of the bayou one flower, one creature at a time, in turn illustrating the bigger picture of this treasured and troubled Louisiana landscape.

Born into poverty in Mississippi at the close of the nineteenth century, Charley Patton and Jimmie Rodgers established themselves among the most influential musicians of their era. In Tune tells the story of the parallel careers of these two pioneering recording artists -- one white, one black -- who moved beyond their humble origins to change the face of American music. At a time when segregation formed impassable lines of demarcation in most areas of southern life, music transcended racial boundaries. Jimmie Rodgers and Charley Patton drew inspiration from musical traditions on both sides of the racial divide, and their songs about hard lives, raising hell, and the hope of better days ahead spoke to white and black audiences alike. Their music reflected the era in which they lived but evoked a range of timeless human emotions. As the invention of the phonograph disseminated traditional forms of music to a wider audience, Jimmie Rodgers gained fame as the "Father of Country Music," while Patton's work eventually earned him the title "King of the Delta Blues." Patton and Rodgers both died young, leaving behind a relatively small number of recordings. Though neither remains well known to mainstream audiences, the impact of their contributions echoes in the songs of today. The first book to compare the careers of these two musicians, In Tune is a vital addition to the history of American music.