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Meet the people of Cairo's Gamaliya quarter. There is Nabqa, son of Adam the waterseller who can only speak truths; the beautiful and talented Tawhida who does not age with time; Ali Zaidan, the gambler, late to love; and Boss Saqr who stashes his money above the bath. A neighbourhood of demons, dancing and sweet halva, the quarter keeps quiet vigil over the secrets of all who live there. This collection by pre-eminent Egyptian writer Naguib Mahfouz was recently discovered among his old papers. Found with a slip of paper titled 'for publishing 1994', they are published here for the first time. Resplendent with Mahfouz's delicate and poignant observations of everyday happenings, these lively stories take the reader deep into the beating heart of Cairo.
The author, a native of New Orleans, displays his passion for the "French Quarter" of the city in 106 color photographs highlighting Old World architecture, style, and history that has made this section of the city famous throughout the world.
One evening in May, 1888, the Café des Écoles was even more crowded and more noisy than usual. The marble-topped tables were wet with beer and the din was appalling. Someone shouted to make himself heard. "Any more news from the Salon?" "Yes," said Elliott, "Thaxton's in with a number three. Rhodes is out and takes it hard. Clifford's out too, and takes it - "
"Home to the notorious "Blue Book," which indexed the names and addresses of every prostitute living in the city, New Orleans' infamous red light district gained a reputation as one of the most raucous in the world. But New Orleans' underworld consisted of much more than the local bordellos. It was also well known as the early gambling capital of the U.S., and sported one of the most violent records of street crime in the country. In The French Quarter, Herbert Asbury details the immense underbelly of "The Big Easy," from the murderous exploits of Mary Jane "Bricktop" Jackson and Bridget Fury, two notorious prostitutes whose fits of violent rage were legendary, to the revolutionary "filibusters;" soldiers-of-fortune, who, backed by hundreds of thousands of dollars of public support, (but without governmental approval) undertook military missions to take over the bordering Spanish regions in Texas."--BOOK JACKET.
Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.
In the years following World War I, the New Orleans French Quarter attracted artists and writers with its low rents, faded charm, and colorful street life. By the 1920s Jackson Square had become the center of a vibrant if short-lived bohemia. A young William Faulkner and his roommate William Spratling, an artist who taught at Tulane University, resided among the "artful and crafty ones of the French Quarter." In Dixie Bohemia John Shelton Reed introduces Faulkner's circle of friends -- ranging from the distinguished Sherwood Anderson to a gender-bending Mardi Gras costume designer -- and brings to life the people and places of New Orleans in the Jazz Age. Reed begins with Faulkner and Spratling's self-published homage to their fellow bohemians, "Sherwood Anderson and Other Famous Creoles." The book contained 43 sketches of New Orleans artists, by Spratling, with captions and a short introduction by Faulkner. The title served as a rather obscure joke: Sherwood was not a Creole and neither were most of the people featured. But with Reed's commentary, these profiles serve as an entry into the world of artists and writers that dined on Decatur Street, attended masked balls, and blatantly ignored the Prohibition Act. These men and women also helped to establish New Orleans institutions such as the Double Dealer literary magazine, the Arts and Crafts Club, and Le Petit Theatre. But unlike most bohemias, the one in New Orleans existed as a whites-only affair. Though some of the bohemians were relatively progressive, and many employed African American material in their own work, few of them knew or cared about what was going on across town among the city's black intellectuals and artists. The positive developments from this French Quarter renaissance, however, attracted attention and visitors, inspiring the historic preservation and commercial revitalization that turned the area into a tourist destination. Predictably, this gentrification drove out many of the working artists and writers who had helped revive the area. As Reed points out, one resident who identified herself as an "artist" on the 1920 federal census gave her occupation in 1930 as "saleslady, real estate," reflecting the decline of an active artistic class. A charming and insightful glimpse into an era, Dixie Bohemia describes the writers, artists, poseurs, and hangers-on in the New Orleans art scene of the 1920s and illuminates how this dazzling world faded as quickly as it began.
The Garden District of New Orleans has enthralled residents and visitors alike since it arose in the 1830's with its stately white-columned Greek Revival mansions and double-galleried Italianate houses decorated with lacy cast iron. Photographer West Freeman evokes the romance of this elegant neighborhood with lovely images of private homes, dazzling gardens, and public structures. Author Jim Fraiser vividly details the historical significance and architectural styles of more than a hundred structures and chronicles both the political and cultural evolution of the neighborhood. The Garden District, unlike the French Quarter, evolved under the auspices of predominantly Anglo-American architects hired by newly arriving, and newly wealthy, Americans. Beyond these wealthy homeowners, the Garden District also offers a startlingly diverse and freewheeling history teeming with African American slaves, free men and women of color, French, Italians, Germans, Jews, and Irish, all of whom helped fashion it into one of America's first suburbs and most extraordinary neighborhoods. Fraiser animates the Garden District's story with such notables as Mark Twain; Jefferson Davis; occupying Union general Benjamin Butler; flamboyant steamboat captain Thomas Leathers; crusading Reverend Theodore Clapp; Confederate generals Jubal Early and Leonidas Polk; jazzmen Joe "King" Oliver and Nate "Kid" Ory; champion pugilist John L. Sullivan; local authors Grace King, George Washington Cable, and Anne Rice; Mayor Joseph Shakespeare; architects Henry Howard, Lewis Reynolds, and Thomas Sully; cotton magnate Henry S. Buckner; and Louisiana Lottery co-founder John A. Morris. In words and photographs, Fraiser and Freeman explore the unexpected evolution of this district and reveal how war, plagues, politics, religion, cultural conflict, and architectural innovation shaped the incomparable Garden District.
A romance between Celina Payne, a former Miss Louisiana and Jack Charbonnet, owner of a riverboat casino. They collaborate to run Dreams, a charity which funds the wishes of dying children. A dangerous business as someone is trying to scuttle it, having already murdered the charity's founder.
Volume 3 of 4. This volume contains the War Services of:- (1) Regular Officers on the Active List and on Retired Pay, and Officers on the General Reserve. (2) Officers of the Special Reserve of Officers, the Territorial Force and those serving on temporary Commissions who had war service prior to the War of 1914-19, and who were gazetted before 2nd January 1918 to Mentions in Despatches and Honours in The War of 1914-20. Also included, under separate headings, are Queen Alexandra's Imperial Military Nursing Service, Territorial Force Nursing Service, Queen Mary's Army Auxiliary Corps as well as Officers of the Forces of the Oversea Dominions and Colonies. Names are arranged alphabetically. It should be noted that Officers of the Regular Army (including those with temporary commissions), Special Reserve and Territorial Force who have retired or have relinquished their Commissions with permission to retain rank but are NOT in receipt of any retired pay from Army funds, are NOT included in these lists. Their details are published in a separate, supplementary volume.