In 1932, the city of Natchez, Mississippi, reckoned with an unexpected influx of journalists and tourists as the lurid story of a local murder was splashed across headlines nationwide. Two eccentrics, Richard Dana and Octavia Dockery - known in the press as the "Wild Man" and the "Goat Woman" - enlisted an African American man named George Pearls to rob their reclusive neighbor, Jennie Merrill, at her estate. During the attempted robbery, Merrill was shot and killed. The crime drew national coverage when it came to light that Dana and Dockery, the alleged murderers, shared their huge, decaying antebellum mansion with their goats and other livestock, which prompted journalists to call the estate "Goat Castle." Pearls was killed by an Arkansas policeman in an unrelated incident before he could face trial. However, as was all too typical in the Jim Crow South, the white community demanded "justice," and an innocent black woman named Emily Burns was ultimately sent to prison for the murder of Merrill. Dana and Dockery not only avoided punishment but also lived to profit from the notoriety of the murder by opening their derelict home to tourists. Strange, fascinating, and sobering, Goat Castle tells the story of this local feud, killing, investigation, and trial, showing how a true crime tale of fallen southern grandeur and murder obscured an all too familiar story of racial injustice.

When it comes to Confederate monuments, there is no common ground. Polarizing debates over their meaning have intensified into legislative maneuvering to preserve the statues, legal battles to remove them, and rowdy crowds taking matters into their own hands. These conflicts have raged for well over a century--but they've never been as intense as they are today. In this eye-opening narrative of the efforts to raise, preserve, protest, and remove Confederate monuments, Karen L. Cox depicts what these statues meant to those who erected them and how a movement arose to force a reckoning. She lucidly shows the forces that drove white southerners to construct beacons of white supremacy, as well as the ways that antimonument sentiment, largely stifled during the Jim Crow era, returned with the civil rights movement and gathered momentum in the decades after the Voting Rights Act of 1965. Monument defenders responded with gerrymandering and "heritage" laws intended to block efforts to remove these statues, but hard as they worked to preserve the Lost Cause vision of southern history, civil rights activists, Black elected officials, and movements of ordinary people fought harder to take the story back. Timely, accessible, and essential, No Common Ground is the story of the seemingly invincible stone sentinels that are just beginning to fall from their pedestals.

"Leads us to the important conclusion that heritage tourism is about how people put their selves and their histories into the public eye and the conflicts of representation that arise."--Erve Chambers, author of "Native Tours: The Anthropology of Travel and Tourism" Once upon a time, it was impossible to drive through the South without coming across signs to "See Rock City" or similar tourist attractions. From battlegrounds to birthplaces, and sites in between, heritage tourism has always been part of how the South attracts visitors--and defines itself--yet such sites are often understudied in the scholarly literature. As the contributors to this volume make clear, the narrative of southern history told at these sites is often complicated by race, influenced by local politics, and shaped by competing memories. Included are essays on the meanings of New Orleans cemeteries; Stone Mountain, Georgia; historic Charleston, South Carolina; Yorktown National Battlefield; Selma, Alabama, as locus of the civil rights movement; and the homes of Mark Twain, Margaret Mitchell, and other notables. "Destination Dixie" reveals that heritage tourism in the South is about more than just marketing destinations and filling hotel rooms; it cuts to the heart of how southerners seek to shape their identity and image for a broader touring public--now often made up of northerners and southerners alike. Karen L. Cox is professor of history at the University of North Carolina-Charlotte and the author of "Dixie's Daughters: The United Daughters of the Confederacy and the Preservation of Confederate Culture" and "Dreaming of Dixie: How the South Was Created in American Popular Culture"

This paper examines the Refah Party in Turkey and addresses the following questions: what does it stand for, who leads it, who belongs to it, where is it going? The paper presents some background information about the Turkish secular state, the founding of Refah, the rise of Islamic influence in Turkish politics, and the recent success of the Refah Party. It then discusses the ideology of Refah, specifically as it applies to issues regarding the democratic, secular state, society, economics, and foreign affairs. The paper also presents information regarding the leadership and organization of Refah, and concludes with comments about the future viability of the party. Ultimately, this paper concludes that the Refah Party, although not unique from other Islamist movements in its ideological goals, is a unique product of Turkish politics, and must therefore adapt and compromise in order to function and survive within those constraints.

Even without the right to vote, members of the United Daughters of the Confederacy proved to have enormous social and political influence throughout the South--all in the name of preserving Confederate culture. Karen L. Cox's history of the UDC, an organization founded in 1894 to vindicate the Confederate generation and honor the Lost Cause, shows why myths surrounding the Confederacy continue to endure.

From the late nineteenth century through World War II, popular culture portrayed the American South as a region ensconced in its antebellum past, draped in moonlight and magnolias, and represented by such southern icons as the mammy, the belle, the chivalrous planter, white-columned mansions, and even bolls of cotton. In Dreaming of Dixie , Karen Cox shows that the chief purveyors of this constructed nostalgia for the Old South were outsiders of the region, especially advertising agencies, musicians, publishers, radio personalities, writers, and filmmakers playing to consumers' anxiety about modernity by marketing the South as a region still dedicated to America's pastoral traditions. Cox examines how southerners themselves embraced the imaginary romance of the region's past, particularly in the tourist trade as southern states and cities sought to capitalize on popular perceptions by showcasing their Old South heritage. Only when television emerged as the most influential medium of popular culture did views of the South begin to change, as news coverage of the civil rights movement brought images of violence, protest, and conflict in the South into people's living rooms. Until then, Cox argues, most Americans remained content with their romantic vision of Dixie. |Cox shows that the chief purveyors of nostalgia for the Old South were outsiders of the region, playing to consumers' anxiety about modernity by marketing the South as a region still dedicated to America's pastoral traditions. Cox examines how southerners themselves embraced the imaginary romance of the region's past.