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Archerd
John Archerd was born in Somerset, England in 1770. He married Mary McMichael (d. 1816) in 1799 in Ohio. He married Elizabeth Hays in 1818. Descendant Rufus Hays Archerd (1822-1898) married Nancy Rebecca Simmons (1823-1867).
The Young Heiress
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Early Settlers of Alabama
By: James E. Saunders, Pub. 1899, Reprinted 2015, 556 pages, Index, ISBN #0-89308-061-6. This excellent book on the history of northern Alabama and most especially of Lawrence County is a MUST. The volume is in two parts, part one being "Recollections of the Early Settlers of North Alabama ", written by Col. Saunders. This part contains a brief history of Lawrence County, AL. and the Tennessee River Valley, sketches of many early families and personalities of the area and their origins as well as Col. Saunders writings on the Civil War. Part two, "Notes and Genealogies", was compilied by Mrs. Elizabeth Saunders Blair Stubbs, a granddaughter of Col. Saunders. The genealogies cover not only fa...
Growing Up with the Country
The masterful and poignant story of three African-American families who journeyed west after emancipation, by an award-winning scholar and descendant of the migrants Following the lead of her own ancestors, Kendra Field’s epic family history chronicles the westward migration of freedom’s first generation in the fifty years after emancipation. Drawing on decades of archival research and family lore within and beyond the United States, Field traces their journey out of the South to Indian Territory, where they participated in the development of black and black Indian towns and settlements. When statehood, oil speculation, and Jim Crow segregation imperiled their lives and livelihoods, these formerly enslaved men and women again chose emigration. Some migrants launched a powerful back-to-Africa movement, while others moved on to Canada and Mexico. Their lives and choices deepen and widen the roots of the Great Migration. Interweaving black, white, and Indian histories, Field’s beautifully wrought narrative explores how ideas about race and color powerfully shaped the pursuit of freedom.
Kearney
Kearney, Missouri, is just 25 miles northeast of Kansas City, and though it's a quiet farming and ranching community, its close proximity to the downtown area makes it the perfect place for commuters who want a small town to come home to. Officially incorporated in 1869 and most likely named for Charles E. Kearney, president of the Kansas City and Cameron Railroad, Kearney is best known as the birthplace of outlaw Jesse James and his brother Frank. The James brothers joined with the Younger brothers to form a gang that terrorized the Midwest in the chaotic years following the Civil War. Although the James brothers worked only to enrich their own fortunes, a Robin Hood mythology has developed around them. Kearney encourages the celebration of the era, if not the actual man. Jesse James Festival in September is a time for watching rodeos, eating kettle corn, playing mud volleyball, and enjoying world-class concerts at the town's amphitheater. Kearney is the fastest-growing city in Missouri and a point of access to other parts of the state. Its schools are among the best in the country, and the village takes pride in its "business friendly" attitude.
The South Western Reporter
Includes the decisions of the Supreme Courts of Missouri, Arkansas, Tennessee, and Texas, and Court of Appeals of Kentucky; Aug./Dec. 1886-May/Aug. 1892, Court of Appeals of Texas; Aug. 1892/Feb. 1893-Jan./Feb. 1928, Courts of Civil and Criminal Appeals of Texas; Apr./June 1896-Aug./Nov. 1907, Court of Appeals of Indian Territory; May/June 1927-Jan./Feb. 1928, Courts of Appeals of Missouri and Commission of Appeals of Texas.
Sometimes, in These Places
What happens when poetry, "rises off the cracked surface of grief?" Rebecca Watkins explores both the grief and what rises in her newest collection, SOMETIMES, IN THESE PLACES. Through her thematic exploration of drug addiction, poverty, reticent religion, loneliness, and family, there is, throughout this collection, a frank dialogue that deftly puts us in the dirt, without letting us get grimy. The smooth motion and gentle imagery feels both deeply personal and wildly relatable, tackling dark concepts with sophistication and grace. If feels as though Watkins wants to let us into her house, watch with her all the dark news stories of the day, and then let us leave without solving any of the world's problems. She doesn't tell us it's all going to be alright, or that there's hope in the world, she doesn't have a moral to the story. Rather, she looks at us square in the eye and says, "this is the way things are." Or, in her own words, "I see no footprints in the sand but my own."
