The Sugar King Leon Godchaux

“A remarkable, vivid, and meticulously researched story about an unjustly forgotten major figure of the nineteenth century.” - Nicholas B. Lemann “It’s more than a bio. It’s a way to understand Jewishness, the South, and America.” - Walter Isaacson “Peter Wolf’s The Sugar King is an absorbing ancestral journey.” - Henry Louis Gates, Jr. Peter M. Wolf unearths Southern Jewish history in a major new work, with a foreword by Calvin Trillin. A penniless, illiterate, Jewish thirteen-year-old from France crosses the Atlantic alone. Landing in raucous and polyglot New Orleans in 1837, the third largest city in America, he starts out as a peddler of notions to plantations along the Mississippi. He remains unable to read or to write in English or in French his entire life. Nevertheless, by the end of his intrigue-filled life, Leon Godchaux is known as the “Sugar King of Louisiana,” the owner of fourteen plantations, the largest sugar producer in the region and the top taxpayer in the state. He refuses to enter the sugar business until the end of slavery. Unsympathetic to the Lost Cause, caught up in the Civil War, and negotiating Reconstruction and Jim Crow, Godchaux simultaneously builds an esteemed New Orleans clothing empire. Godchaux relies on the accomplishments of two Black men. Joachim Tassin, a slave whose birth status both men conceal, is entwined with Leon Godchaux in his clothing business, and Norbert Rillieux is a free man of color whose overlooked ingenious invention enables Godchaux to build his sugar empire.

"A remarkable, vivid, and meticulously researched story about an unjustly forgotten major figure of the nineteenth century." - Nicholas B. Lemann "It's more than a bio. It's a way to understand Jewishness, the South, and America." - Walter Isaacson "Peter Wolf's The Sugar King is an absorbing ancestral journey." - Henry Louis Gates, Jr. Peter M. Wolf unearths Southern Jewish history in a major new work, with a foreword by Calvin Trillin. A penniless, illiterate, Jewish thirteen-year-old from France crosses the Atlantic alone. Landing in raucous and polyglot New Orleans in 1837, the third largest city in America, he starts out as a peddler of notions to plantations along the Mississippi. He remains unable to read or to write in English or in French his entire life. Nevertheless, by the end of his intrigue-filled life, Leon Godchaux is known as the "Sugar King of Louisiana," the owner of fourteen plantations, the largest sugar producer in the region and the top taxpayer in the state. He refuses to enter the sugar business until the end of slavery. Unsympathetic to the Lost Cause, caught up in the Civil War, and negotiating Reconstruction and Jim Crow, Godchaux simultaneously builds an esteemed New Orleans clothing empire. Godchaux relies on the accomplishments of two Black men. Joachim Tassin, a slave whose birth status both men conceal, is entwined with Leon Godchaux in his clothing business, and Norbert Rillieux is a free man of color whose overlooked ingenious invention enables Godchaux to build his sugar empire.

Once a thriving center of sugar production on the east bank of the Mississippi River, Reserve has matured into one of America's quintessential small towns. Settled by members of Louisiana's expanding German Coast, Reserve has grown from an agrarian economy to one of global industry, trade, and resource development. Born under the name Bonnet Carre and later raised as St. Peter's, after the church at the center of its life, the term Reserve was adopted from the name of the plantation that had essentially started it all. Nestled between Baton Rouge and New Orleans, Reserve has offered its hospitality to weary travelers and visitors alike for 150 years. An integral part in the history of St. John the Baptist Parish, Reserve has retained its charm and warmth through a long-standing tradition of faith and family, where its sons and daughters may venture out onto the world stage but always call Reserve home. Strolling through Reserve today, one can enjoy a community steeped in German, French, and African roots.

Celebrate the unique and wonderful melding of Jewish and Bayou cultures. The early days of Louisiana settlement brought with them a clandestine group of Jewish pioneers. Isaac Monsanto and other traders spited the rarely enforced Code Noir banning their occupancy, but it wasn’t until the Louisiana Purchase that larger numbers colonized the area. Immigrants like the Sartorius brothers and Samuel Zemurray made their way from Central and Eastern Europe to settle the bayou country along the Mississippi. They made their homes in and around New Orleans and the Mississippi River delta, establishing congregations like that of Tememe Derech and B’Nai Israel, with the mighty river serving as a mode of transportation and communication, connecting the communities on both sides of the riverbank.

America's greatest party and America's most colorful city, in all their shades, shimmer here in a never-before-published 1950-1960 collection of photographs taken at New Orleans's annual Mardi Gras. Photographer Ruth Ketcham chose the revolutionary Kodachrome slide film to capture Carnival, its walking and parading krewes, bystanders, and masquers. Kodachrome's fade-resistant images preserve a bygone 1950s era, not only of Mardi Gras but also of a bustling French Quarter, alive again with Regal Beer ("Red beans and rice / And Regal on ice"), Dixieland jazz clubs, the burlesque dancers and temptations of Bourbon Street, and the shopper's paradise that was Canal Street.

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.