On The Porch

"There is something spooky and resonant about liminal places like docks, shorelines, decks, and perhaps most commonly porches. Here, Charlie Hailey meditates on porches in a way that is appropriately thoughtful, affecting, rich, and resonant. Porches, in his hands, become portals onto an endless array of large metaphysical questions: what is it to be in a place? How does one place teach us about the world and about ourselves, both as individuals and as a species? What are we-and the things we have built-in this world? In a time when questions of what makes society society and what sustains the individual are so paramount, Hailey's meditations are both a tonic and a series of welcome provocations"--

“This quiet novel sings. A graceful profound story for all ages that speaks well beyond its intended audience.” —Kirkus (starred review) Fans of Newbery Medal winner Sharon Creech's Ruby Holler will love this tween novel about opening your heart and finding family when you least expect it. When a young couple finds a boy asleep on their porch, their lives take a surprising turn. Unable to speak, the boy, Jacob, can't explain his history. All John and Marta know is that they have been chosen to care for him. And as their connection and friendship with Jacob grow, they embrace his exuberant spirit and talents. The three of them blossom into an unlikely family and begin to see the world in brand-new ways.

In sunbaked Terlingua, Texas (pop., a few hundred), residents joke that there is a musician under every rock. Located ten miles from Mexico in one of the remotest corners of the United States, the town had a recording studio before it had a school, a well-stocked grocery store, or even a water utility. Open jam sessions are a daily ritual, and some songwriters make a living from their craft despite being thousands of miles from New York or Nashville. Why does such a tiny and isolated place ring with singing and guitars? Based on more than two years of on-the-ground research, On the Porch tells the story of this small but remarkable community. Chase Peeler invites us into the music, introducing us to a cast of characters as unique as the town itself. He reveals how novices and experts perform together—a rarity in contemporary America. He recounts the devastation brought on by a border closure and describes how music is once again uniting people across the Rio Grande. He considers the impact of gentrification in an off-the-grid paradise, and how this threatens to transform a precarious musical ecosystem. On the Porch is a celebration of human musicality, of the role that music plays and can play in our lives, both in Terlingua and beyond.

Evoking soft summer evenings in the South, a collection of photographs and quotes from such famous writers as William Faulkner and Eudora Welty celebrates the porch as a vital extension of the American character. By the author of Kate Vaiden.

Regardless of their sometimes ambiguous concepts of God, the Roman Stoic philosophers did acknowledge Him, but on the basis of reason alone, because they had not met Christ. Nonetheless, they did deduce from God's existence our need to live lives of virtue, honor, tranquility, and self-control--and they developed effective techniques to help us achieve this. Musonius Rufus the teacher, Epictetus the slave, Seneca the adviser to emperors, and Marcus Aurelius, the emperor himself, produced a practical technology we can use to integrate Christian ethics into our own daily practice. As Kevin Vost so wonderfully illustrates in his new book, The Porch and the Cross, the Stoics can help us learn--and remember--what is up to us, and what is up to God alone.

In ways that are highly individual, says Harris, yet still within a shared oral tradition, Zora Neale Hurston, Gloria Naylor, and Randall Kenan skillfully use storytelling techniques to define their audiences, reach out and draw them in, and fill them with anticipation. Considering how such dynamics come into play in Hurston's Mules and Men, Naylor's Mama Day, and Kenan's Let the Dead Bury Their Dead, Harris shows how the "power of the porch" resides in readers as well, who, in giving themselves over to a story, confer it on the writer. Against this background of give and take, anticipation and fulfillment, Harris considers Zora Neale Hurston's special challenges as a black woman writer in the thirties, and how her various roles as an anthropologist, folklorist, and novelist intermingle in her work. In Gloria Naylor's writing, Harris finds particularly satisfying themes and characters. A New York native, Naylor came to a knowledge of the South through her parents and during her stay on the Sea Islands she wrote Mama Day. A southerner by birth, Randall Kenan is particularly adept in getting his readers to accept aspects of African American culture that their rational minds might have wanted to reject. Although Kenan is set apart from Hurston and Naylor by his alliances with a new generation of writers intent upon broaching certain taboo subjects (in his case gay life in small southern towns), Kenan's Tims Creek is as rife with the otherworldly and the fantastic as Hurston's New Orleans and Naylor's Willow Springs.

When the Tuckers' next door neighbor mentions someone rang their doorbell late the previous night, Sarah and Kenny Tucker check their home's security camera and discover something shocking: the doorbell ringer also visited their house... and it was a terrified young woman with a shackle hanging from her right wrist.

In 1939, just before graduating from high school in the small town of Ridgeway in northeast Iowa, Everett Kuntz spent his entire savings of $12.50 on a 35mm Argus AF camera. He made a camera case from a worn-out boot, scraps from a tin can, and a clasp from his mother's purse. For the next several years, especially during the summers when he worked on his parents' dairy farm, he clicked the shutter of his trusty Argus all around the quiet town. Everett bought movie reel film in bulk from a mail-order house, rolled his own film, and developed it in a closet at home, but he never had the money to print his photographs. More than two thousand negatives stayed in a box while he married, raised a family, and worked as an electrical engineer in the Twin Cities. When he became ill with cancer in the fall of 2002--sixty years after he had developed the last of his bulk film--Everett opened his time capsule and printed the images from his youth. He died in 2003, having brought his childhood town back to life just as he was leaving it. A sense of peace radiates from these images. Whether skinny-dipping in the Turkey River, wheelbarrow-racing, threshing oats, milking cows, visiting with relatives after church, or hanging out at the drugstore or the movies, Ridgeway's hardworking citizens are modest and trusting and luminous in their graceful harmony and their unguarded affection for each other. Visiting the town in 2006 as he was writing the text to accompany these photographs, Jim Heynen crafted vignettes that perfectly complement these rediscovered images by blending fact and fiction to give context and voice to Ridgeway's citizens.