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Southern Stories: Slaveholders in Peace and War (review)

Southern Stories: Slaveholders in Peace and War (review) 110Southern Cultures their young twin brothers; the black rake holding his sweetheart, a cigarette, and a flask. During a period when cultural divisions and suspicions fostered considerable injustice and an active Ku Klux Klan, Trlica's camera recorded the hopes and frailties common to a diverse citizenry. While most of the credit for the affecting lyrical quality of this book belongs, of course, to the photographer, certain editorial and production choices by McCandless and her publishers have provided noteworthy enhancement. First, the tenor of the photographic headings -- "Childhood," "Rites of Passage," "Role Models and Guides," "Peers and the Bonds of Friendship," "Couples," "The Family," and "Roles and Characters"-- reflects a thoughtful assessment of social content. Second, the book is printed on warmer paper and in a considerably warmer ink than those of the Bürgert volume. And third, while not always advisable, the decision to print the clear over-carriage of each negative, resulting in an irregular black border, here contributes appropriately to the elegiac tone. Both Equal Before the Lens and Pioneer Commercial Photography are valuable documents in the still -nascent study of early commercial photography. Their texts supply often parallel, sometimes divergent, but revealingly complementary analyses. And their http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Southern Cultures University of North Carolina Press

Southern Stories: Slaveholders in Peace and War (review)

Barney, William L.
Southern Cultures , Volume 1 (1) – Jan 4, 1993
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Publisher
University of North Carolina Press
Copyright
Copyright © Center for the Study of the American South.
ISSN
1534-1488
Publisher site
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Abstract

110Southern Cultures their young twin brothers; the black rake holding his sweetheart, a cigarette, and a flask. During a period when cultural divisions and suspicions fostered considerable injustice and an active Ku Klux Klan, Trlica's camera recorded the hopes and frailties common to a diverse citizenry. While most of the credit for the affecting lyrical quality of this book belongs, of course, to the photographer, certain editorial and production choices by McCandless and her publishers have provided noteworthy enhancement. First, the tenor of the photographic headings -- "Childhood," "Rites of Passage," "Role Models and Guides," "Peers and the Bonds of Friendship," "Couples," "The Family," and "Roles and Characters"-- reflects a thoughtful assessment of social content. Second, the book is printed on warmer paper and in a considerably warmer ink than those of the Bürgert volume. And third, while not always advisable, the decision to print the clear over-carriage of each negative, resulting in an irregular black border, here contributes appropriately to the elegiac tone. Both Equal Before the Lens and Pioneer Commercial Photography are valuable documents in the still -nascent study of early commercial photography. Their texts supply often parallel, sometimes divergent, but revealingly complementary analyses. And their

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Southern Cultures – University of North Carolina Press

Published: Jan 4, 1993

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