Leaving New Orleans Quotes

Leaving New Orleans also frightened me considerably. Outside of the city limits the heart of darkness, the true wasteland begins.

I wasn't certain of anything anymore, except that New Orleans was a faithless friend and I wanted to leave her.

The minute you land in New Orleans, something wet and dark leaps on you and starts humping you like a swamp dog in heat, and the only way to get that aspect of New Orleans off you is to eat it off. That means beignets and crayfish bisque and jambalaya, it means shrimp remoulade, pecan pie, and red beans with rice, it means elegant pompano au papillote, funky file z'herbes, and raw oysters by the dozen, it means grillades for breakfast, a po' boy with chowchow at bedtime, and tubs of gumbo in between. It is not unusual for a visitor to the city to gain fifteen pounds in a week--yet the alternative is a whole lot worse. If you don't eat day and night, if you don't constantly funnel the indigenous flavors into your bloodstream, then the mystery beast will go right on humping you, and you will feel its sordid presence rubbing against you long after you have left town. In fact, like any sex offender, it can leave permanent psychological scars.

I would rather go mad, gone down the dark road to Mexico, heroin dripping in my veins, eyes and ears full of marijuana, eating the god Peyote on the floor of a mudhut on the border or laying in a hotel room over the body of some suffering man or woman; rather jar my body down the road, crying by a diner in the Western sun; rather crawl on my naked belly over the tincans of Cincinnati; rather drag a rotten railroad tie to a Golgotha in the Rockies; rather, crowned with thorns in Galveston, nailed hand and foot in Los Angeles, raised up to die in Denver, pierced in the side in Chicago, perished and tombed in New Orleans and resurrected in 1958 somewhere on Garret Mountain, come down roaring in a blaze of hot cars and garbage, streetcorner Evangel in front of City I-Tall, surrounded by statues of agonized lions, with a mouthful of shit, and the hair rising on my scalp, screaming and dancing in praise of Eternity annihilating the sidewalk, annihilating reality, screaming and dancing against the orchestra in the destructible ballroom of the world, blood streaming from my belly and shoulders flooding the city with its hideous ecstasy, rolling over the pavements and highways by the bayoux and forests and derricks leaving my flesh and my bones hanging on the trees.

I believe with all my heart that standing up for America means standing up for the God who has so blessed our land. We need God’s help to guide our nation through stormy seas. But we can’t expect Him to protect America in a crisis if we just leave Him over on the shelf in our day-to-day living. Speech, New Orleans, November 16, 1982

The day Glenn Gregg's daddy got back from New Orleans was the same day Lady Sally Anne Montberclair decided to park her big white Cadillac out in front of Red's Goodlookin Bar and Gro. and leave the motor running and scoot inside, out of the first drops of rain, on an errand. Glenn's daddy was named Solon.

When Rin Tin Tin first became famous, most dogs in the world would not sit down when asked. Dogs performed duties: they herded sheep, they barked at strangers, they did what dogs do naturally, and people learned to interpret and make use of how they behaved. The idea of a dog's being obedient for the sake of good manners was unheard of. When dogs lived outside, as they usually did on farms and ranches, the etiquette required of them was minimal. But by the 1930s, Americans were leaving farms and moving into urban and suburban areas, bringing dogs along as pets and sharing living quarters with them. At the time, the principles of behavior were still mostly a mystery -- Ivan Pavlov's explication of conditional reflexes, on which much training is based, wasn't even published in an English translation until 1927. If dogs needed to be taught how to behave, people had to be trained to train their dogs. The idea that an ordinary person -- not a dog professional -- could train his own pet was a new idea, which is partly why Rin Tin Tin's performances in movies and onstage were looked upon as extraordinary.

It’s soft, made of black leather and worn practically to silk, the kind of thing people pay a fortune for these days and call it vintage. It is the only thing Addie refused to leave behind and feed to the flames in New Orleans, though the smell of him clung to it like smoke, his stain forever on everything. She does not care. She loves the jacket. It was new then, but it is broken in now, shows its wear in all the ways she can’t. It reminds her of Dorian Gray, time reflected in cowhide instead of human skin.

Your a lying bastard who only cares about his own damned hide, so just leave me the hell alone! ~ Eve

Tell it to my ass when you watch it walk out of the door,” Mia replied as she tried to leave

Thinking about leaving is something I sometimes do. Staying is what I do every day without thinking.

Summer 1977 - summer 1978 Jane got stuck; dinner 1971 Jane leaves San Francisco; January 1972 Jane moved to New Orleans; 1974 Jane leaves New Orleans; February 1975 Jane moved to New York; summer 1976 Jane starts working at Billy's; everything's after...???

Addie leaves her old clothes strewn like a shadow across the dressing room floor. The ring, a scorned child in the corner. The only thing she reclaims is the discarded jacket. It’s soft, made of black leather and worn practically to silk, the kind of thing people pay a fortune for these days and call it vintage. It is the only thing Addie refused to leave behind and feed to the flames in New Orleans, though the smell of him clung to it like smoke, his stain forever on everything. She does not care. She loves the jacket.

Daily, almost at the same hour, the continuous sense of atmospheric oppression became thickened;--a packed herd of low-bellying clouds lumbered up from the Gulf; crowded blackly against the sun; flickered, thundered, and burst in torrential rain--tepid, perpendicular--and vanished utterly away. Then, more furiously than before, the sun flamed down;--roofs and pavements steamed; the streets seemed to smoke; the air grew suffocating with vapor; and the luminous city filled with a faint, sickly odor,--a stale smell, as of dead leaves suddenly disinterred from wet mould,--as of grasses decomposing after a flood.

Jean shifted his commentary from his guard to me. “Drusilla, a grievance must be made against these ruffians and thieves. They have stolen my clothing and given me only this…this….” He ran out of words. “Ugly-ass orange jumpsuit?” I offered, always ready to help Jean with his command of modern English. “Oui, exactement. I demand that you obtain my release, tout de suite. And you must know, a woman who allows her husband to remain in such conditions for an entire evening must face reprimand.” I leaned back in the chair and crossed my arms. “And you must know that, in this day and age, should a man reprimand his wife too much, said wife might leave her husband to enjoy a longer time in his prison cell wearing his ugly-ass orange jumpsuit.

There is a deep stillness in the Fakahatchee, but there is not a moment of physical peace. Something is always brushing against you or lapping at you or snagging at you or tangling in your legs, and the sun is always pummeling your skin, and the wetness in the air makes your hair coil like a phone cord. You never smell plain air in a swamp - you smell the tang of mud and the sourness of rotting leaves and the cool musk of new leaves and the perfumes of a million different flowers floating by, each distinct but transparent, like soap bubbles. The biggest number in the universe would not be big enough to count the things your eyes see. Every inch of land holds up a thatch of tall grass or a bush or a tree, and every bush or tree is girdled with another plant’s roots, and every root is topped with a flower or a fern or a swollen bulb, and every one of those flowers and ferns is the pivot around which a world of bees and gnats and spiders and dragonflies revolve. The sounds you hear are twigs cracking underfoot and branches whistling past you and leaves murmuring and leaves slopping over the trunks of old dead trees and every imaginable and unimaginable insect noise and every kind of bird peep and screech and tootle, and then all those unclaimed sounds of something moving in a hurry, something low to the ground and heavy, maybe the size of a horse in the shape of a lizard, or maybe the size, shape and essential character of a snake. In the swamp you feel as if someone had plugged all of your senses into a light socket. A swamp is logy and slow-moving about at the same time highly overstimulating. Even in the dim, sultry places deep within it, it is easy to stay awake.

February gave way to March, with its bursting colors of a too-early spring. Such warm weather was a welcome contrast to the near freezes of the previous year, as if this newborn century was impatient to exhibit its glory and all the unforeseen changes it would bring. Alice’s heart expanded at the sight of white snowdrops in lieu of absent snow; the vivid purples of wild petunias, pincushion flowers, and irises laced with the varying hues of tulips; and the glorious flowering shrubs---azaleas and camellias---lighting up the shade, covered entirely in blossoms as if they nurtured blooms but no leaves. She had seen the prairie carpeted in wildflowers, but this display was unlike that wild one of nature, somehow singularly intimate and welcoming, whereas the prairie engulfed and dwarfed her. There is not one thing that humankind has done on earth that is equal to one square inch of this, she thought.

told me more about what happened the other night?” she asked, deciding to air her worst fears. “Am I under suspicion or something?” “Everyone is.” “Especially ex-wives who are publicly humiliated on the day of the murder, right?” Something in Montoya’s expression changed. Hardened. “I’ll be back,” he promised, “and I’ll bring another detective with me, then we’ll interview you and you can ask all the questions you like.” “And you’ll answer them?” He offered a hint of a smile. “That I can’t promise. Just that I won’t lie to you.” “I wouldn’t expect you to, Detective.” He gave a quick nod. “In the meantime if you suddenly remember, or think of anything, give me a call.” “I will,” she promised, irritated, watching as he hurried down the two steps of the porch to his car. He was younger than she was by a couple of years, she guessed, though she couldn’t be certain, and there was something about him that exuded a natural brooding sexuality, as if he knew he was attractive to women, almost expected it to be so. Great. Just what she needed, a sexy-as-hell cop who probably had her pinned to the top of his murder suspect list. She whistled for the dog and Hershey bounded inside, dragging some mud and leaves with her. “Sit!” Abby commanded and the Lab dropped her rear end onto the floor just inside the door. Abby opened the door to the closet and found a towel hanging on a peg she kept for just such occasions, then, while Hershey whined in protest, she cleaned all four of her damp paws. “You’re gonna be a problem, aren’t you?” she teased, then dropped the towel over the dog’s head. Hershey shook herself, tossed off the towel, then bit at it, snagging one end in her mouth and pulling backward in a quick game of tug of war. Abby laughed as she played with the dog, the first real joy she’d felt since hearing the news about her ex-husband. The phone rang and she left the dog growling and shaking the tattered piece of terry cloth. “Hello?” she said, still chuckling at Hershey’s antics as she lifted the phone to her ear. “Abby Chastain?” “Yes.” “Beth Ann Wright with the New Orleans Sentinel.” Abby’s heart plummeted. The press. Just what she needed. “You were Luke Gierman’s wife, right?” “What’s this about?” Abby asked warily as Hershey padded into the kitchen and looked expectantly at the back door leading to her studio. “In a second,” she mouthed to the Lab. Hershey slowly wagged her tail. “Oh, I’m sorry,” Beth Ann said, sounding sincerely rueful. “I should have explained. The paper’s running a series of articles on Luke, as he was a local celebrity, and I’d like to interview you for the piece. I was thinking we could meet tomorrow morning?” “Luke and I were divorced.” “Yes, I know, but I would like to give some insight to the man behind the mike, you know. He had a certain public persona, but I’m sure my readers would like to know more about him, his history, his hopes, his dreams, you know, the human-interest angle.” “It’s kind of late for that,” Abby said, not bothering to keep the ice out of her voice. “But you knew him intimately. I thought you could come up with some anecdotes, let people see the real Luke Gierman.” “I don’t think so.” “I realize you and he had some unresolved issues.” “Pardon me?” “I caught his program the other day.” Abby tensed, her fingers holding the phone in a death grip. “So this is probably harder for you than most, but I still would like to ask you some questions.” “Maybe another time,” she hedged and Beth Ann didn’t miss a beat. “Anytime you’d like. You’re a native Louisianan, aren’t you?” Abby’s neck muscles tightened. “Born and raised, but you met Luke in Seattle when he was working for a radio station . . . what’s the call sign, I know I’ve got it somewhere.” “KCTY.” It was a matter of public record. “Oh, that’s right. Country in the City. But you grew up here and went to local schools, right? Your

I had abandoned Elana; I deserved her uncertainty. I closed my eyes and focused on her touch. Perhaps she wouldn't have understood had I tried to explain it to her, but to me Elana was not only Elana--she was the sad-eyed love of mine who used to bag groceries at Woodley's in Buffalo; she was the sweet one who always sat across from me on the city bus in Niagara Falls; she was the girl I'd picked up hitchhiking in Mobile and dropped off in New Orleans, brash, full of sarcastic humor, but truly lonely and scared; she was the one I'd nabbed pinching Newports for her dad from the Marathon station I'd worked at in Bakersfield (I'd softened and paid for the pack myself); yes, she was the girl playing basketball with all the boys in the park, collecting cans by the side of the road, keeping secret pet kittens in an empty boxcar in the woods, walking alone at night through the rail yards, teaching her little sisters how to kiss, reading out loud to herself, so absorbed by the story, singing sadly in the tub, building a fort from the junked cars out in the meadow, by herself in the front row at the black-and-white movies or in the alley, gazing at an eddy of cigarette stubs and trash and fall leaves, smoking her first cigarette at dusk by a pile of dead brush in the desert, then wishing at the stars-she was all of them, and she was so much more that was just her that I still didn't know.

Above the list of children she read: Mister Jackson Henry Clark married Miss Julienne Maria Jacques, June 12, 1933. Not until that moment had she known her parents’ proper names. She sat there for a few minutes with the Bible open on the table. Her family before her. Time ensures children never know their parents young. Kya would never see the handsome Jake swagger into an Asheville soda fountain in early 1930, where he spotted Maria Jacques, a beauty with black curls and red lips, visiting from New Orleans. Over a milkshake he told her his family owned a plantation and that after high school he’d study to be a lawyer and live in a columned mansion. But when the Depression deepened, the bank auctioned the land out from under the Clarks’ feet, and his father took Jake from school. They moved down the road to a small pine cabin that once, not so long ago really, had been occupied by slaves. Jake worked the tobacco fields, stacking leaves with black men and women, babies strapped on their backs with colorful shawls. One night two years later, without saying good-bye, Jake left before dawn, taking with him as many fine clothes and family treasures—including his great-grandfather’s gold pocket watch and his grandmother’s diamond ring—as he could carry. He hitchhiked to New Orleans and found Maria living with her family in an elegant home near the waterfront. They were descendants of a French merchant, owners of a shoe factory. Jake pawned the heirlooms and entertained her in fine restaurants hung with red velvet curtains, telling her that he would buy her that columned mansion. As he knelt under a magnolia tree, she agreed to marry him, and they wed in 1933 in a small church ceremony, her family standing silent.

Spicy Jambalaya Serves 6 A Creole specialty that’ll make you feel like you’re dining in New Orleans, this is a stick-to-the-ribs dish that boasts shrimp, turkey sausage, and chicken breast. Adjust the cayenne pepper according to how much heat you like in your food. If you’re following the 1,200-calorie plan, be sure to remove your portion before adding the rice to the pot. Cooking spray 2 teaspoons olive oil 1 medium onion, peeled and chopped 2 ribs celery, no leaves, chopped ½ green pepper, seeded, cored, and chopped 2 tablespoons tomato paste 1½ teaspoons dried basil ¼ teaspoon cayenne pepper 1 teaspoon salt 3 garlic cloves, peeled and chopped ½ pound turkey sausage, sliced ½ pound boneless chicken breast, cut into large cubes 2 cans (14.5 ounces each) stewed tomatoes prepared with garlic and pepper 2 ounces diced pimiento, well drained 2 bay leaves 3 cups cooked white rice ½ pound medium shrimp, peeled and deveined (thawed if frozen) 1. Spray a large heavy nonstick skillet with cooking spray. Add the olive oil, onion, celery, and green pepper. Cook over medium-high heat, stirring, for 5 minutes. 2. Stir in the tomato paste, basil, cayenne pepper, salt, garlic, turkey sausage, and chicken. Cook for 5 minutes, stirring. Add the stewed tomatoes, pimiento, and bay leaves and cook for another 5 minutes, or until the meat is thoroughly cooked. 3. Remove the bay leaves. Stir in the rice1 and the shrimp and cook for another 5 minutes, or until the shrimp is cooked and the jambalaya is thoroughly hot.

The truth is that I'd gain nothing by being a saint after being dead, an artist is what I am, and the only thing I want is to be alive so I can keep going along at donkey level in this six-cylinder touring car I bought from the marines' consul, with this Trinidadian chauffeur who was a baritone in the New Orleans pirates' opera, with my genuine silk shirts, my Oriental lotions, my topaz teeth, my flat straw hat, and my bicolored buttons, sleeping without an alarm clock, dancing with beauty queens, and leaving them hallucinated with my dictionary rhetoric, and with no flutter in my spleen if some Ash Wednesday my faculties wither away, because in order to go on with this life of a minister, all I need is my idiot face, and I have more than enough with the string of shops I own from here to beyond the sunset, where the same tourists who used to go around collecting from us through the admiral, now go stumbling after my autographed pictures, almanacs with my love poetry, medals with my profile, bits of my clothing, and all of that without the glorious plague of spending all day and all night sculpted in equestrian marble and shat on by swallows like the fathers of our country.

The volatile politics of Italy acquired additional complications at the end of the fifteenth century. Charles VIII had died in the spring of 1498, leaving as his successor Louis XII, formerly the duke of Valois and Orleans and, through his descent from Valentino Visconti, a claimant to the duchy of Milan. Old treaties were exhumed and new theatres penned, their ultimate effect being to cut Italy to bits.

The city of New Orleans is also ironic. On a national scale, it consistently ranks first in both violent crime and in the number of city permits granted for public celebrations. It is a place that has known both slavery and brutal prejudice, and yet is vibrant with gays and transsexuals. It has been decimated, repeatedly, by plagues and battles and record-breaking storms and, rather than leave this place, the people of New Orleans instead take pride in the fact that the circumstances beset upon them are extraordinary and tragic. So, for anyone to act as if New Orleans is not the most interesting place in the world is, to a New Orleanian, uninteresting. For people to act as if New Orleans is anything other than its own planet, its own universe, is naïve.

Isaac and I spent almost a month in New Orleans, hardly ever leaving the house.

Photos have emerged establishing that David William Ferrie had been in the same Civil Air Patrol unit as Lee Harvey Oswald and apparently Ferrie had met with Oswald during the summer of 1963. Ferrie was extremely against the Communistic philosophy. He was a member of the anti-Castro Cuban Revolutionary group, and was dubbed the master of intrigue. Once when he gave an anti-Kennedy speech to an American veterans’ group in New Orleans regarding the Bay of Pigs Invasion, his rant against the President was so belligerent that he was asked to leave the podium. On February 22, 1967, Ferrie mysteriously died of a stroke. The strange part concerning his death was that he left behind two suicide notes and then died of natural causes. In the days preceding his death, he had told friends that he was a dead man. Ferrie was only one of many who were somehow connected to Kennedy’s death and who later died in a mysterious way.

Do you know how it wounds me to leave behind the one city in the world with which I’m truly in love?

The Dead Guy, Louis, or whoever he was, had been made Dead down in New Orleans and the book was full of stuff about banana leaves and iron railings and Spanish moss.

He sensed the return of her restlessness. “What is it?” “Let’s do something, Gregori. Something that has nothing to do with the hunt. Something different. Something touristy.” “The streets are flooded tonight,” he pointed out. She shrugged. “I know. I was just looking at some pamphlets earlier, on all the tourist attractions here,” Savannah said nonchalantly. Gregori looked up alertly at the carefully calculated disinterest in her voice. “Did any of them seem appealing to you?” She shrugged again very casually. “Most of the more interesting ones are the day trips. Like the bayous. There’s one you can go on with someone who grew up in the bayou.” She shrugged again. “I like learning local history. I wouldn’t mind a tour of the bayou with someone who grew up there.” “You have the brochure handy?” he asked. “It isn’t important,” Savannah said with a little sigh. Tossing the packet of pamphlets onto the table, she picked up her hairbrush. Gregori took it out of her hand. “If you want a proper tour of the bayou, Savannah, then we will go.” “I like to do the tourist thing,” Savannah admitted with a slight smile. “It’s kind of fun to ask questions and learn new things.” “I bet you are very good at it,” he answered her, slowly running the brush through the blue-black length of her hair. It crackled with a life of its own, refusing to be tamed. He gathered it into his hands just to feel how soft and silky it was. Over her shoulder, his pale gaze rested on the brochure she had put to one side. If Savannah wanted a tour, he would move heaven and earth to get her one. “We do not always go chasing after vampires and the mortal assassins plaguing our people,” he began diplomatically. “I know. They turn up everywhere we go,” she agreed. He tugged at a tangle in her glossy hair. “When you first proposed to come to New Orleans, we had hoped the society members would follow us and leave Aidan and his people in peace. Is that not what you wanted?” “Not particularly,” she admitted with a flash of her blue eyes. “I was only trying to get you to come here. You know, classic honeymoon. Sweet young wife teaches wizened old grouch how to have fun. That sort of thing.” “Wizened old grouch?” he echoed in astonishment. “The old part I can accept, even the grouch. But I am definitely not wizened.” In punishment he tugged her hair. “Ow!” She swung around and glared indignantly at him. “Wizened sort of seemed to fit. You know, wizard, wizened.

Reading Group Guide  1.   The river town of Hobnob, Mississippi, is in danger of flooding. To offset the risk, the townspeople were offered the chance to relocate in exchange for money. Some people jumped at the opportunity (the Flooders); others (the Stickers) refused to leave, so the deal fell through. If you lived in Hobnob, which choice would you make and why? If you’d lived in New Orleans at the time of Hurricane Katrina, would you have fled the storm or stayed to protect your house? Did the two floods remind you of each other in terms of official government response or media coverage?  2.   How are the circumstances during the Prohibition era (laws against consuming or selling alcohol, underground businesses that make and sell booze on the black market, corruption in the government and in law enforcement) similar to what’s happening today (the fight to legalize and tax marijuana, the fallout of the drug war in countries like Mexico and Colombia, jails filled with drug abusers)? How are the circumstances different? Do you identify with the bootleggers or the prohibitionists in the novel? What is your stance on the issue today?  3.   The novel is written in third person from two different perspectives—Ingersoll’s and Dixie Clay’s—in alternating chapters. How do you think this approach adds to or detracts from the story? Are you a fan of books written from multiple perspectives, or do you prefer one character to tell his/her side of the story?  4.   The Tilted World is written by two authors. Do you think it reads differently than a book written by only one? Do you think you could coauthor a novel with a loved one? Did you try to guess which author wrote different passages?  5.   Language and dialect play an important role in the book. Do you think the southern dialect is rendered successfully? How about the authors’ use of similes (“wet towels hanging out of the upstairs windows like tongues”; “Her nylon stockings sagged around her ankles like shedding snakeskin.”). Do they provide necessary context or flavor?  6.   At the end of Chapter 5, when Jesse, Ham, and Ingersoll first meet, Ingersoll realizes that Jesse has been drinking water the entire time they’ve been at dinner. Of course, Ham and Ingersoll are both drunk from all the moonshine. How does this discovery set the stage for what happens in the latter half of the book?  7.   Ingersoll grew up an orphan. In what ways do you think that independence informed his character? His choices throughout the novel? Dixie Clay also became independent, after marrying Jesse and becoming ostracized from friends and family. Later, after Ingersoll rescues her, she reflects, “For so long she’d relied only on herself. She’d needed to. . . . But now she’d let someone in. It should have felt like weakness, but it didn’t.” Are love and independence mutually exclusive? How did the arrival of Willy prepare these characters for the changes they’d have to undergo to be ready for each other?  8.   Dixie Clay becomes a bootlegger not because she loves booze or money but because she needs something to occupy her time. It’s true, however, that she’s not only breaking the law but participating in a system that perpetrates violence. Do you think there were better choices she could have made? Consider the scene at the beginning of the novel, when there’s a showdown between Jesse and two revenuers interested in making an arrest. Dixie Clay intercepts the arrest, pretending to be a posse of gunslingers protecting Jesse and the still. Given what you find out about Jesse—his dishonesty, his drunkenness, his womanizing—do you think she made the right choice? If you were in Dixie Clay’s shoes, what would you have done?  9.   When Ham learns that Ingersoll abandoned his post at the levee to help Dixie Clay, he feels not only that Ingersoll acted

I grabbed a shard of glass and spun around, brandishing it in front of me. It was a pretty, stippled blue piece, nice and sharp. “Hold on, tiger. I give up.” A bear of a man stood in front of me, hands raised in mock surrender— well, except for the shotgun in his right hand. He towered well over six feet and was shaped like a linebacker, one who’d gone a little too long between haircuts. Dark curls hugged the collar of a basic black T-shirt that almost camouflaged a black shoulder holster holding some type of nasty-looking black handgun. It all matched his black jeans and boots. He looked like the poster child for an upscale GQ mercenary. The only shred of color on him was his eyes, and they were dark brown. Mr. Monochromatic. He laid the shotgun on the table near the door and stepped back, hands up, watching me from beneath hooded lids. A lesser woman would have noticed the thick muscles moving under his tanned skin when he raised his arms, or the T-shirt that fit just snugly enough to send a girl’s thoughts to the Promised Land. Good thing I don’t notice stuff like that. “If you want to search me for more weapons, I’m game.” My eyes shot back to his, and I felt my cheeks flush, hot and bothered on the way to angry. Leave it to a guy to open his mouth and ruin a perfectly good moment.

I’ll stand by you, no matter what happens.” To her surprise and hurt, Steven shook his head. “No. You’re going to Whitneyville, not Louisiana. Until I’ve cleared my name, I won’t have anything to offer you. Besides, what if I’m convicted, and I’m not there to protect you from Macon?” A chill travelled down Emma’s spine, for she knew Steven could just as easily hang as be acquitted, given the fact that his adversary was Macon, a determined man bent on revenge. “If you don’t take me with you,” she said, “I will follow you to New Orleans, and if you don’t believe me, just wait and see. I won’t be left behind, Steven.” A muscle in his jaw bunched in suppressed anger; Steven knew Emma meant what she said. “All right, then, we’ll compromise. We’ll be married when we get to Spokane. That’ll give you some protection against Macon, but remember this, Emma—if they hang me, don’t wait around for the funeral. Macon wasn’t bluffing—the minute the life goes out of me, he’ll take you to bed, whether you want to go or not.” Emma was bruised inside. She was in love, really and truly in love, for the first time in her life. And her marriage might last no longer than a murder trial. Her eyes filled with tears. She embraced Steven even more tightly and looked up into his face. “There’ll be no funeral, Mr. Fairfax,” she said fiercely. “At least, not for forty or fifty years.” He kissed her forehead. “Promise me you’ll leave New Orleans the same day, if the verdict goes against us. I have to know that you won’t even go back to Fairhaven for your things, Emma. Do I have your word?” She nodded, albeit grudgingly. “We’re going to win,” she insisted. “I’m staking everything on that,” Steven replied. And then he kissed Emma thoroughly, and she wanted him to make love to her, right there where they stood.

This is the proper form of New Orleans history telling. To hell with the annoying truth. The unspoken rule of thumb is this: Tell it how it ought to have been and not necessarily how it was; leave out the misery and heartache wherever you can.

Leaving New Orleans also frightened me considerably. Outside of the city limits the heart of darkness, the true wasteland begins.

Consider a conversation I had with a white friend. She was telling me about a "white) couple she knew who had just moved to New Orleans and bought a house for a mere twenty-five thousand dollars. "Of course," she immediately added, "they also had to buy a gun, and Joan is afraid to leave the house." I immediately knew they had bought a home in a black neighborhood. This was a moment of white racial bonding between this couple who shared the story of racial danger and my friend, and then between my friend and me, as she repeated the story. Through this tale, the four of us fortified familiar images of the horror of black space and drew boundaries between "us" and "them" without ever having to directly name race or openly express our disdain for black space. Notice that the need for a gun is a key part of this story--it would not have the degree of social capital it holds if the emphasis were on the price of the house alone. Rather, the story’s emotional power rests on why a house would be that cheap--because it is in a black neighborhood where white people literally might not get out alive. Yet while very negative and stereotypical representations of blacks were reinforced in that exchange, not naming race provided plausible deniability. In fact, in preparing to share this incident, I texted my friend and asked her the name of the city her friends had moved to. I also wanted to confirm my assumption that she was talking about a black neighborhood. I share the text exchange here: "Hey, what city did you say your friends had bought a house in for $25,000?" "New Orleans. They said they live in a very bad neighborhood and they each have to have a gun to protect themselves. I wouldn’t pay 5 cents for that neighborhood." "I assume it’s a black neighborhood?" "Yes. You get what you pay for. I’d rather pay $500,00 and live somewhere where I wasn’t afraid." "I wasn’t asking because I want to live there. I’m writing about this in my book, the way that white people talk about race without ever coming out and talking about race." "I wouldn’t want you to live there it’s too far away from me!" Notice that when I simply ask what city the house is in, she repeats the story about the neighborhood being so bad that her friends need guns. When I ask if the neighborhood is black, she is comfortable confirming that it is. But when I tell her that I am interested in how whites talks about race without talking about race, she switches the narrative. Now her concern is about not wanting me to live so far away. This is a classic example of aversive racism: holding deep racial disdain that surfaces in daily discourse but not being able to admit it because the disdain conflicts with our self-image and professed beliefs. Readers may be asking themselves, "But if the neighborhood is really dangerous, why is acknowledging this danger a sign of racism?" Research in implicit bias has shown that perceptions of criminal activity are influenced by race. White people will perceive danger simply by the presence of black people; we cannot trust our perceptions when it comes to race and crimes. But regardless of whether the neighborhood is actually more or less dangerous than other neighborhoods, what is salient about this exchange is how it functions racially and what that means for the white people engaged in it. For my friend and me, this conversation did not increase our awareness of the danger of some specific neighborhood. Rather, the exchange reinforced our fundamental beliefs about black people. (p. 44-45)

General Sherman praised the shows as "wonderfully realistic and historically reminiscent." Reviews and the show's own publicity always stressed its "realism." There is no doubt it was more realistic, visually and in essence, than any of the competing Wild Wests. There were four other Wild West shows that year: Adam Forepaugh had one, Dr. A. W. Carver another; there was a third called Fargo's Wild West and one known as Hennessey's Wild West. Cody criticized all their claims and their use of the words "Wild West." He had copyrighted the term according to an act of Congress on December 22, 1883, and registered a typescript at the Library of Congress on June 1, 1885. The copyright title read: The Wild West or Life among the Red Man and the Road Agents of the Plains and Prairies-An Equine Dramatic Exposition on Grass or Under Canvas, of the Adventures of Frontiersmen and Cowboys. Additional copy was headed BUFFALO BILL'S "WILD WEST" PRAIRIE EXHIBITION AND ROCKY MOUNTAIN SHOW, A DRAMATIC-EQUESTRIAN EXPOSITION OF LIFE ON THE PLAINS, WITH ACCOMPANYING MONOLOGUE AND INCIDENTAL MUSIC THE WHOLE INVENTED AND ARRANGED BY W.F. CODY W.F. CODY AND N. SALSBURY, PROPRIETORS AND MANAGERS WHO HEREBY CLAIM AS THEIR SPECIAL PROPERTY THE VARIOUS EFFECTS INTRODUCED IN THE PUBLIC PERFORMANCES OF BUFFALO BILL'S "WILD WEST" Although the show's first year under enlarged and reorganized management had not been a financial success, at least one good thing had come from it. Also showing in New Orleans that winter had been the Sells Brothers Circus. One of its performers who had wandered over to visit the Wild West lot was Annie Oakley. The story of Annie Oakley's life was so much in the American grain that it might have come from the pen of Horatio Alger Jr., the minister turned best-selling author, who chronicled the fictional lives of poor boys who made good. Ragged Dick: or, Street Life in New York, Ragged Tom, and Luck Moses then married Dan Brumbaugh, who died in an accident shortly afterward, leaving another daughter. When she was seven, Annie frequently fed the family with quail she had caught in homemade traps, much as young Will Cody had trapped small game. In an interview she once said: "I was eight years old when I made my first shot, and I still consider it one of the best shots I ever

Sherry was just six years old on that day when she sat curled up in her Uncle Beanie Moe’s lap, one arm slung across his neck, the other fingering the string of blue beads he’d brought her back from New Orleans. Her mother, Dumpling, had walked into the room smiling, then stopped and stared as the smile froze and cracked on her face. Sherry couldn’t have known that her sitting innocently on her uncle’s knee would hurtle her mother back in time—back to a warm Easter afternoon when a misplaced hand had suddenly turned ugly. Dumpling’s eyes went glassy as she marched over to them, lifted her hand into the air, and brought it down across Sherry’s six-year-old face so hard, the girl had ended up kissing the floor and seeing stars. Dumpling had never said why she slapped Sherry, and Beanie Moe hadn’t asked. He just helped Sherry up and carried her over to the couch and sat her down. He comforted her with words, but didn’t dare touch her. Dumpling, she just stormed out of the room, leaving the slight scent of Ivory soap swirling in the air.

As I was going along this afternoon,” a young Massachusetts officer wrote from New Orleans, “a little black baby that could just walk got under my feet and it look so much like a big worm that I wanted to step on it and crush it, the nasty, greasy little vermin was the best that could be said of it.” And if anything, additional exposure to blacks appeared to strengthen rather than allay racial antipathies. “My repugnance to them increases with the acquaintance,” a New England officer remarked. “Republican as I am, keep me clear of the darkey in any relation.” Praying for an early end to the war, a Union soldier stationed in Missouri declared that he had had his fill of colored people. “I never want to see one of the animals after I leave here.”51

guessed she’d been something in her day. And if he’d known they were going to show up at the club, he’d have told the cocky bastards to fuck off out of it and take a taxi. Not smart. Despite that, Bishop recognised the deal with the Giordanos was the best chance he was likely to get to make the south London mob eat some of the same shit they’d dished out to his family. Until every Glass was history and he was standing at the bar in LBC, drinking Luke’s champagne and getting ready to fuck his hookers, Calum wouldn’t relax. The crew from New Orleans had their own reasons for being in London. He had no interest in them; they could cut off the sister’s tits and leave her to bleed out for all he cared, then with Glass beaten and broken he’d step in and deliver the final blow. And when her celebrated brother was history anybody who objected to the new arrangement was dead. The Giordanos were convinced he was on a mission to settle his uncle’s unfinished business. Wrong! To hell with revenge! He wanted what was good for Calum Bishop. As simple as that. George Ritchie was another name high on Calum’s hit list. The Geordie was a legend in his own right: he’d had a good innings, but his time was up. Persuading him to jump ship and join forces would’ve been the cherry on the cake. Not happening; he was Luke’s man. Yet, coming face to face with the old fucker, it was impossible not to have a sneaking pang of regret. In The North Star on Finchley Road, despite being outnumbered, Ritchie hadn’t flinched. Glass

As a national community, we made mistakes in responding to Katrina. But we also did things right. In our ignorance, we insisted that people leave without their pets. But in our compassion we went back, and we made sure that as many as possible were, in the end, not left behind.

Because she had not only observed him up close at trial on a daily basis but interviewed him twice providing great insight into Oswald’s killer. In addition, Kilgallen could check not only his background but investigate discrepancies in statements he made to the Warren Commission since she was the first reporter to read them, and since Ruby was still alive, the potential existed to interview him again. This strategy was unique, far afield from that conducted by any reporter or investigative body consumed with targeting Oswald as the key to unlocking the mysteries of the JFK assassination when Kilgallen believed he was not. In addition, after interviewing Ruby twice, Kilgallen had gained a soft spot for his plight, some sympathy for the man who shot Oswald. Whatever she heard during the twin interviews caused her to wonder if Ruby was a patsy, used and then discarded. Recall what she wrote after the second interview: “I went out into the almost empty lunchroom corridor wondering what I really believed about this man.” Kilgallen’s actions while pursuing the investigation indicated she had taken on the task of defending Ruby herself. She was standing up for him, demanding justice, becoming his paladin. She wondered if he had fair treatment, if his constitutional rights to a fair trial were honored. Armed with this mindset, Kilgallen was in fighting mode determined to leave no avenue of interest unturned. Kilgallen’s siding with Ruby’s defense team at his trial evidenced proof of Kilgallen’s focus on Ruby. She also attempted to aid the defense by securing more information from the FBI about Oswald. Then Kilgallen exposed only Ruby’s testimony at the Warren Commission before its intended release instead of the thousands of pages of pertinent information about others associated with the assassinations. It also appears likely she flew to New Orleans based

Lincoln issued a preliminary Emancipation Proclamation in September 1862. The proclamation stated that slavery would be abolished only in areas actively in rebellion—leaving the Confederate states three months to surrender before their black slaves would be turned against them. In January 1863, the proclamation took effect, “in time of actual armed rebellion against authority and government of the United States, and as a fit and necessary war measure for suppressing said rebellion.” But the proclamation did not apply to the lands where Charles, Kook, Quamana, and their brethren lived, fought, and died. In a parenthetical statement, the proclamation read, “(except the Parishes of St. Bernard, Plaquemines, Jefferson, St. John, St. Charles, St. James Ascension, Assumption, Terrebonne, Lafourche, St. Mary, St. Martin, and Orleans, including the City of New Orleans).” For these areas were already under federal control and not actively in rebellion. But

The dead are so close they can hear us, she thought. “Ah, but you see,” said the tall white-haired Ryan, as if he’d read her mind, “in New Orleans, we never really leave them out.

Fragility is the single most salient cause of displacement around the world today. Even factors that may become increasingly common drivers of flight like climate change and natural disasters are only likely to cause mass cross-border movements if they affect fragile states. When Hurricane Katrina struck New Orleans it did not require people to leave the United States. In contrast, when the earthquake struck Haiti many people fled to the neighbouring Dominican Republic because they could not find a domestic remedy or resolution to their situation.

Iberville, the Father of Louisiana, died of yellow fever in 1706 in Havana, leaving Bienville the acting governor of Louisiana.

The truth is that I'd gain nothing by being a saint after being dead, an artist is what I am, and the only thing I want is to be alive so I can keep going along at donkey level in this six-cylinder touring car I bought from the marine's consul, with this Trinidadian chauffeur who was a baritone in the New Orleans pirates' opera, with my genuine silk shirts, my Oriental lotions, my topaz teeth, my flat straw hat, and my bicolored buttons, sleeping without an alarm clock, dancing with beauty queens, and leaving them hallucinated with my dictionary rhetoric, and with no flutter in my spleen if some Ash Wednesday my faculties wither away, because in order to go on with this life of a minister, all I need is my idiot face, and I have more than enough with the string of shops I own from here to beyond the sunset, where the same tourists who used to go around collecting from us through the admiral, now go stumbling after my autographed pictures, almanacs with my love poetry, medals with my profile, bits of my clothing, and all of that without the glorious plague of spending all day and all night sculpted in equestrian marble and shat on by swallows like the fathers of our country.

Yes, unfortunately in our modern culture we’ve neglected our spiritual health. When our spirit, with its stores of energy, becomes ill, so to speak, from the way we live, the choices we make; When we actually damage our spirit, it bleeds and is vulnerable to these creatures feeding on it.” “How horrible.” “Yes, and once they find a weakness, they seldom leave until it’s repaired.

Morning came slowly in the city. In a driving rain, the sun could only slowly illuminate the dirt streets and brick sidewalks of New Orleans on the morning of January 9. The white spires of the cathedral and tall masts of the ships crowding the harbor topped the center of the city. In the dense neighborhood around the Place d’Armes, small brick houses two or three stories high clustered about grand old Spanish houses. Once a palisade and a ditch ran around the center of the city, forming a parallelogram with the river. Four redoubts stood at the corners to protect the city’s inhabitants—though all but the fort at the entrance of Faubourg Marigny had since been demolished. Since the American acquisition, the ditch had been filled up and planted with trees, leaving a ring of open space between the city and the suburbs. A boulevard called Rue de Rampart ran where the ancient town wall used to stand. Parallel to the river, roads lined with reflecting lamps passed from the center of the city out toward the plantation zone to the northeast. Here the old houses of the present-day Garden District gave way slowly and almost indistinguishably to the rich sugar plantations of the German Coast.