By Theodore Rosengarten
Nate Shaw's father was once born less than slavery. Nate Shaw used to be born right into a bondage that used to be just a little gentler. on the age of 9, he used to be deciding upon cotton for thirty-five cents an hour. on the age of forty-seven, he confronted down a crowd of white deputies who had come to confiscate a neighbor's crop. His defiance expense him twelve years in legal. This successful autobiography, assembled from the eighty-four-year-old Shaw's oral recollections, is the plain-spoken tale of an "over-average" guy who witnessed wrenching adjustments within the lives of Southern black humans -- and whose unassuming braveness helped convey these alterations about.
All God's hazards gained the nationwide booklet Award in 1975
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Extra resources for All God's Dangers
I used to stand in front of a mirror and practice suicide scenes with a knife.... ” There were many Project workers who agreed with the public perception of WPA as a handout, but others saw their work as legitimate. The writers were digging for the truth of their local history, neighborhood by neighborhood. Yezierska made her way to work from Morton Street south through the Village to the office at 110 King Street, near the city’s huge dairy freight terminal with its trucks coming and going. Beyond were the piers on the Hudson where freighters and riverboats docked.
United States—Civilization—1918—1945. 6. Federal Writers’ Project—Influence. I. Title. 917__dc22 2008047041 FOREWORD By Douglas Brinkley In the late 1970s, when I was in junior high school, my mother gave me a copy of John Steinbeck’s Travels with Charley, a memoir about his journey across America by camper with only his French poodle as companion. The book resonated with me. Every summer our family left Perrysburg, Ohio, in a station wagon pulling a twenty-four-foot Coachman trailer in Steinbeck-like fashion.
Historian Michael Denning suggested that the Project’s mandate to record people’s lives echoed the call of the radical John Reed Clubs of the time, which urged writers to study trades and create novels that blended field research, autobiography, and fictional invention. Given the Project’s national scope, the stories of the handful of individuals recounted here, along with selections from the WPA oral history interviews, are obviously not comprehensive. But the accounts chosen do give a fair sense of the whole and explore the idea voiced by many people involved in it: that individuals “caught in the wreckage” of a national disaster (in the words of Mabel Ulrich, the state editor in Minnesota) uncovered something valuable and lasting.
All God's Dangers by Theodore Rosengarten