Echoes from the Valley


Book Description

What began as a list of names, a box of documents, a number of family Bibles, and idle curiosity gradually evolved into a book about the settlement of Virginia and the western conquest of the great Valley of the Shenandoah, the birth of the New River settlements, and the emergence of the Watauga and Holston pioneers on the western slopes of the Appalachian Mountains. Placing the generations into a format of historic events began to bring these fugitives from the European wars and catastrophes into focus as real people. Since this story concerns the early foundation of this nation, the author did not choose to go back beyond the immigration from Europe. In a few cases, however, where the material was available and explanatory, it was incorporated into these pages. This does not mean that the more remote history of others was not available. It just did not contribute to the integrity of this book. The book is not a genealogy although it uses that structure to build the generations. And it is not simply a history. It is a perspective of history, demonstrated through the genealogy and migrations of one family. The whole is dependent upon each life among the hundreds of those who made this family possible. Make no mistake about it! The loss of a single onejust one!and the people that followed would never have been born! The relations are carefully delineated. Children are named where it is possible. To this extent, it is hoped other lineages may find the book useful. The appendix contains copies from books and papers that might be difficult or impossible to obtain. It is important to realize that as the reader goes backward in time, the numbers of people become fewer. This means that the chances of interrelations increase as the two hundredth year marker of the past is approached. All of us share a kinship in the origin and the destiny of the United States of America!










Chattanooga's St. Elmo


Book Description

During Chattanooga's post-Civil War industrial boom, A.M. Johnson subdivided land inherited by his wife, Thankful, from her industrialist father, James Whiteside. Located on the eastern side of Lookout Mountain, south of Chattanooga, Johnson named his new community St. Elmo after the title of the popular novel by Augusta Evans, who had visited the area before the war and used it as a setting for her book. By 1900, the community had grown to over 2,000 residents and was the home of wealthy industrialists, as well as small business owners and factory workers. Known as Chattanooga's first suburb, the St. Elmo neighborhood is listed in the National Register of Historic Places.




The Ancestry of Grafton Johnson, with Its Four Branches


Book Description

Issac Johnson (b. ca. 1722) was in the Shenahdoah Valley of Virginia about 1745, and claimed land there in 1749. Descendants lived throughout the United States.







American Book Prices Current


Book Description

A record of literary properties sold at auction in the United States.







Hidden in Plain Sight


Book Description

In the decades leading up to the Civil War, abolitionists crafted a variety of visual messages about the plight of enslaved people, portraying the violence, familial separation, and dehumanization that they faced. In response, proslavery southerners attempted to counter these messages either through idealization or outright erasure of enslaved life. In Hidden in Plain Sight: Concealing Enslavement in American Visual Culture, Rachel Stephens addresses an enormous body of material by tracing themes of concealment and silence through paintings, photographs, and ephemera, connecting long overlooked artworks with both the abolitionist materials to which they were responding and archival research across a range of southern historical narratives. Stephens begins her fascinating study with an examination of the ways that slavery was visually idealized and defended in antebellum art. She then explores the tyranny—especially that depicted in art—enacted by supporters of enslavement, introduces a range of ways that artwork depicting slavery was tangibly concealed, considers photographs of enslaved female caretakers with the white children they reared, and investigates a printmaker’s confidential work in support of the Confederacy. Finally, she delves into an especially pernicious group of proslavery artists in Richmond, Virginia. Reading visual culture as a key element of the antebellum battle over slavery, Hidden in Plain Sight complicates the existing narratives of American art and history.