Ivey De'Long is an inquisitive, young boy entering his adolescent years. He lives in Baton Rouge with his mom and dad but spends his summers visiting his grandparents in Middle Creek Bottom, Louisiana. It's the summer of 1919, and he's just arrived, set to explore the swamps of this beautiful land, or, as his French grandmother calls it, "la belle terre." Upon his arrival, Ivey reunites with his best friend G.W., and together they fish the bayous, search for hidden treasure, and make some mischief. All his life, Ivey has been taught people are the same on the inside, regardless of race, so he doesn't understand why townsfolk don't always look fondly on a white boy running around with a poor, black kid in the swamp. In the spirit of To Kill a Mockingbird, young Ivey tells the story of racial tension in the American South and proves that prejudice goes well beyond skin color.

The AJCC Cancer Staging Manual and Handbook, prepared by the American Joint Committee on Cancer, are used by physicians and health care professionals throughout the world to facilitate the uniform description and reporting of neoplastic diseases. Proper classification and staging is essential for the physician to assign proper treatment, evaluate results of management and clinical trials, and to serve as the standard for local, regional and international reporting on cancer incidence and outcome. The seventh edition of the AJCC Cancer Staging Manual brings together all the currently available information on staging of cancer at various anatomic sites and incorporates newly acquired knowledge on the etiology and pathology of cancer. As knowledge of cancer biology expands, cancer staging must incorporate these advances. The current revision provides evidence-based staging based upon the established tenets of TNM classification supplemented by selected molecular markers. Relevant markers supported by evidence and of sufficient impact for treatment decisions have been included to define stage, for example Gleason's Score and PSA in prostate cancer Organized by disease site into 57 comprehensive chapters, the Seventh Edition features much-anticipated, major revisions to many chapters including breast, colon, prostate, kidney, and others. There are new primary site chapters for extrahepatic bile ducts, distal bile duct, cutaneous squamous cell carcinoma, Merkel cell carcinoma, and the adrenal gland plus a vastly expanded section on ophthalmologic malignancies User-friendly enhancements include: a revised and expanded presentation of the principles and rules of TNM staging a concise summary of changes in the TNM classification and "Staging at a Glance" opening each chapter to provide a snapshot of staging and coding details numerous new line drawings illustrating key sites throughout the text. full color text to highlight el

Before 1850, all legal executions in the South were performed before crowds that could number in the thousands; the last legal public execution was in 1936. This study focuses on the shift from public executions to ones behind barriers, situating that change within our understandings of lynching and competing visions of justice and religion. Intended to shame and intimidate, public executions after the Civil War had quite a different effect on southern Black communities. Crowds typically consisting of as many Black people as white behaved like congregations before a macabre pulpit, led in prayer and song by a Black minister on the scaffold. Black criminals often proclaimed their innocence and almost always their salvation. This turned the proceedings into public, mixed-race and mixed-gender celebrations of Black religious authority and devotion. In response, southern states rewrote their laws to eliminate these crowds and this Black authority, ultimately turning to electrocutions in the bowels of state penitentiaries. In just the same era when a wave of lynchings crested around the turn of the twentieth century, states transformed the ways that the South's white-dominated governments controlled legal capital punishment, making executions into private affairs witnessed only by white people.

Before 1850, all legal executions in the South were performed before crowds that could number in the thousands; the last legal public execution was in 1936. This study focuses on the shift from public executions to ones behind barriers, situating that change within our understandings of lynching and competing visions of justice and religion. Intended to shame and intimidate, public executions after the Civil War had quite a different effect on southern Black communities. Crowds typically consisting of as many Black people as white behaved like congregations before a macabre pulpit, led in prayer and song by a Black minister on the scaffold. Black criminals often proclaimed their innocence and almost always their salvation. This turned the proceedings into public, mixed-race and mixed-gender celebrations of Black religious authority and devotion. In response, southern states rewrote their laws to eliminate these crowds and this Black authority, ultimately turning to electrocutions in the bowels of state penitentiaries. In just the same era when a wave of lynchings crested around the turn of the twentieth century, states transformed the ways that the South's white-dominated governments controlled legal capital punishment, making executions into private affairs witnessed only by white people.

Ivey De'Long is an inquisitive, young boy entering his adolescent years. He lives in Baton Rouge with his mom and dad but spends his summers visiting his grandparents in Middle Creek Bottom, Louisiana. It's the summer of 1919, and he's just arrived, set to explore the swamps of this beautiful land, or, as his French grandmother calls it, "la belle terre." Upon his arrival, Ivey reunites with his best friend G.W., and together they fish the bayous, search for hidden treasure, and make some mischief. All his life, Ivey has been taught people are the same on the inside, regardless of race, so he doesn't understand why townsfolk don't always look fondly on a white boy running around with a poor, black kid in the swamp. In the spirit of To Kill a Mockingbird, young Ivey tells the story of racial tension in the American South and proves that prejudice goes well beyond skin color.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This book covers mass media and the sensational crime.Centered on a series of dramatic murders in nineteenth- and early twentieth-century Richmond, Virginia, ""The Body in the Reservoir"" uses these gripping stories of crime to explore the evolution of sensationalism in southern culture.In Richmond, as across the nation, the embrace of modernity was accompanied by the prodigious growth of mass culture and its accelerating interest in lurid stories of crime and bloodshed. But while others have emphasized the importance of the penny press and yellow journalism on the shifting nature of the media and cultural responses to violence, Michael Trotti reveals a more gradual and nuanced story of change. In addition, Richmond's racial makeup (one-third to one-half of the population was African American) allows Trotti to challenge assumptions about how black and white media reported the sensational; the surprising discrepancies offer insight into just how differently these two communities experienced American justice.An engaging look at the connections between culture and violence, this book gets to the heart - or perhaps the shadowy underbelly - of the sensational as the South became modern.